Sabah Traditions and Culture

Sabah Traditions & Cultures

Verification of Report All form of writings in the report illustrates my views and opinions based to the application of learned experiences and theories during the period of the industrial training only. The organization is not bound to any content of the report.

Sabah Traditions and Cultures

Acknowledgement The purpose of conducting this research, is to study the various ethnics that exists in Sabah especially its traditions and cultures. Trainees also may take the advantage to experience folklore dances of Sabah, understanding more in-depth about what every ethnics has to offer to the society. As trainees in the tourism industries, it is important to know and aware of the cultures that roam in Sabah and contributions of Sabah Cultural Board towards its effort to promote, preserve, and develop traditions and cultures of Sabah. Hence we would like to take this opportunity to express our gratitude to Mr. Francis Chin, the General Manager of MoreAsiaTravel, for his support and encouragement to let us be independent and learn more regarding traditions and cultures of Sabah; to Mr. Joisin Romut, Manager of Research, Communication and Corporate Services Division of Sabah Cultural Board, for his positive responses in meeting our application for research and interview for SIFF event: and to Mr. Jason Blasius, and all the personnel of Sabah Cultural Board, for their helpful cooperation, material support and advices. Also, we would like to thank to our friends, families and senior co-workers; for their endless supports, either in the form of morals, finances and material support. The success of finishing this report could never have been reached without everyone‟s help.

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Sabah Traditions and Cultures

Executive Summary The objectives of this paper is to understand more in-depth about every ethnics of Sabah especially its traditions and unique cultures, and contributions of Sabah Cultural Board towards promoting, preserving and developing by focusing upon Sabah International Folklore Festival. In this paper information that will be discussed are the ethnics of Sabah, Sabah traditions and cultures, contributions of Sabah Cultural Board, Sabah International Folklore Festival and about other organization that strive to enhance Sabah cultural development. Inhabiting multi kinds of ethnics, Sabah main ethnics consist if the KadazanDusun, Bajau, Murut, and Rungus. Differences among these ethnics can be identified through their dialects, religions, customs, and their way of life. Organization that strives to promote, preserve, and develop traditions and cultures in Sabah, is Sabah Cultural Board, a government owned organization that was establish in year 1996. SIFF were one of its major activities to achieve its mission. The main objective of the SIFF is to promote culture tourism among participating countries and to introduce the state‟s unique cultures for international tourism. There are also many other organizations that strives on the cultural development of Sabah. For example Sabah Museum and Kadazandusun Cultural Association Sabah (KDCA). Sabah Museum contributed by exhibiting and display for the people today and future. Meanwhile, KDCA‟s Triennial Delegates Conference is where the various Kadazandusun multi-ethnic representatives discuss major issues affecting them and their future and take up both individual and collective stand and actions to resolve common challenges. But despite all these, there is still a need for the wide population of Sabah, to actively involve in these efforts in the long term. Because the right place for truly preserving traditions and cultures of Sabah is through them.

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Sabah Traditions and Cultures

Content Title

Pages

1.0 Introduction

5

2.0 Ethnics of Sabah

7

2.1 Kadazan-Dusun 2.2 Bajau 2.3 Murut 2.4 Rungus 3.0 Sabah traditions and cultures 3.1 The Kadazan-Dusun 3.1.1

Traditional dance

3.1.2

Traditional costumes

3.2 The Bajau

10 11

15

3.2.1

Traditional dance

3.2.2

Traditional costumes

3.3 The Murut

17

3.3.1

Traditional dance

3.3.2

Traditional costumes

3.4 The Rungus 3.4.1

Traditional dance

3.4.2

Traditional costumes

4.0 About Sabah Cultural Board 4.1 Activities of Sabah Cultural Board 4.1.1

About Sabah International Folklore Festival (SIFF)

4.1.2

Fourth SIFF

20

24 24

4.1.2.1 Program Tugu Budaya 4.1.2.2 Culture for Peace 5.0 About other organizations that strives on cultural development

29

6.0 Conclusion

30

References Appendix 4

Sabah Traditions and Cultures

1.0 Introduction Fondly known as „Land below the Wind‟, Sabah is blessed with amazing wonders of nature which includes its island, beaches, coral reefs, rivers, wetlands, forests, and mountains. Besides rich in biodiversity, Sabah is also rich in traditions and cultures of its indigenous communities, for there are more than 30 groups of ethnic communities, besides the Chinese, Malays, and Indians race. Their richness of the traditions and cultures in Sabah is expressed in differences between the traditional dress, dance, music, and handicraft of the various ethnic communities. Ethnics, traditions and culture are intimately connected to one another. None of them could exist without one another. Each one of the differences clearly reflects the identity of each racial-group. Handicrafts, dance, music, and dresses are defined with their own meaning and beliefs according to its ethnic. For example, Sumazau dance is for appeasing rice spirit of the Kadazan-Dusun and Mogunatip dance is to honor the Murut warrior for their victory of war. Nowadays, in this modernized world, most of the uniqueness of traditions and cultures from the olden days are disappearing leaving only memories. Much of the olden days thinking, practices and beliefs, begin to change along with the dynamic movement of urban technologies, and faster pace of life. People are beginning to forget the positive values of each ethnic‟s values, caught up with busy life, and slowly forgetting their origins and ancestors. Fame and fortune are what today‟s people are looking for. Maybe in the near future, without combined efforts to preserves the traditions and cultures of Sabah, the younger generations will no longer recognize their unique heritage, as the most valuable and priceless than any fortune. Hence, lose their real identity and moderation in the midst of this modern, fast changing world and lifestyles. Almost all the people of Sabah nowadays have undergone modernization and mainly, most of them are the local people of Sabah. Realizing the importance of preserving the traditions and cultures of Sabah since 1986, the state government of Sabah has officially established Sabah Cultural Board in the year 1996, to support the cultural development of Sabah. Reminding the people of Sabah for generations, of the heritage 5

Sabah Traditions and Cultures

they have and help treasure them, so traditions and cultures can become as part of this changing world, remembered forever. Therefore we need to humble ourselves towards understanding one another‟s traditions and cultures, for there is a lot that can be learned from one‟s traditions and cultures. Every bit of efforts we put forward can contribute towards peace and harmony for our nation and others too.

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Sabah Traditions and Cultures

2.0 Ethnics of Sabah Ethnic are characteristic of a people or a group (ethnic group) sharing a common and distinctive culture, religion, language, or the like. In Sabah, multi ethnic groups can be found including the Kadazandusun, Bajau, Murut, Kedayan, Bisaya, Irranun, Rungus, Kimarang, Kwijau, Lundayeh, Ubian, Binadan, Orang Sungai, Tatana, Tagaas, Brunei, Suluk and others. The main ethnics of Sabah consist of the Kadazan-Dusun, Bajau, Murut, and Rungus. 2.1 Kadazan-Dusun Kadazan-Dusun word comes from the combination of the Kadazan ethnic, Dusun ethnic, and also from other sub- ethnics. They are the largest ethnic group in Sabah. This ethnic speaks variety of languages and dialects, and exercised unique traditions and cultures. The Kadazan-Dusun ethnic stems into 27 subethnics. Some of them are the; Dusun Liwan, Dusun Tindal, Dusun Pahu, Dusun Lotud, Bagahak, Dusun Labuk, Dusun Kimaragang, Tagahas, Tangara, Dusun, Rungus, Orang Sungai, Kuijau, Tambanuo and more. The Dusun ethnic represent one third of the population of Sabah. They usually lives in the west coast of Sabah like, Penampang, Papar, Tuaran, Kiulu, Tamparuli, Tenghilan, Kota Belud, and the valley Ranau, Tambunan and Keningau. Traditionally, the Dusun is the traditional farmer plants padi, and some of them hunts and catches fish by the river. Usually, their settlement lies in the valley of west-coast and in the rural areas. Generally, ethnics that were mentioned above came from districts of Kota Marudu, the Lotud from Tuaran, the Sungai from Kinabatangan, Sugut, Paitan, and Pitas districts. The Lotud ethnic, lives in the south-west cost of Sabah, especially Tuaran,Tamparuli, Telipok, and Tampasuk of Kota Belud. They live collectively by living in the long house with several families inside, ranging from 150 to 200 people. Nowadays, long houses are rarely to be seen with this ethnic. (Source: http://ms.wikipedia.org/wiki/Kadazan-Dusun). 7

Sabah Traditions and Cultures

Below are some of the examples of language translation from English to Kadazan language: English Good morning, how are you? I am fine. How about you? Have you been to Mount Kinabalu?

Kadazan Kopivosian doungosuvab, onu abal nu? Avasi. Poingkuo gia iziau? Nokongoi ko nodi doiho Nuhu Kinabalu?

2.2 Bajau The Bajau ethnic, had already been living in the east and west coast of Sabah for couple of centuries before, and are recognized as the original settler of Sabah. They work as a farmer and fisherman for a living, in the west coast of Sabah. They are also famous for their diving skills and horsemanship, and usually called as Sabah Cowboy‟s. In the east coast, they live in Kota Belud, Papar, Semporna

and

Tuaran

districts,

as

fisherman.

(Source:

http://ms.wikipedia.org/wiki/Bajau) Due to the nomadic marine lifestyle, the Ubian Bajau, are less devoted to orthodox Islam. They practice more of a folk hybrid, revering local sea spirits, known

in

Islamic

terminology

as

Jinn.

(Source:

http://en.wikipedia.org/wiki/Bajau) Below are some of the examples of language translation from English to Bajau language: English Bajau They took turns stomping down on it Be-gilir-gilir pan gai eng-giok-on e. (the unhusked rice). P-in-emia pan iyo me He was search for there as well. It was fortunate that her husband was Alap pan ella =ni uun me. there. (Source: http://dspace.uta.edu/bitstream/10106/577/1/umi-uta-1776.pdf)

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Sabah Traditions and Cultures

2.3 Murut The Murut ethnic settlements are situated at the interior, south-east and near the barrier that separates between two countries of Kalimantan and Sarawak. Most of them are concentrated in the districts of Tenom, Rundum, Pensiangan and Keningau. They live together with other families in harmony, inside longhouse. Traditionally, most of them work as shifting cultivators, hunters, and fisherman by the river bank, for a living, besides collects forest yields like rattan, and honey. (source: http://ms.wikipedia.org/wiki/Murut).

Majority of the Murut ethnic today practices Christianity and some practice Islam religion. Here we can see that even among the Malaysia‟s ethnic are diverse in religion but still live in harmony. Below are some of the examples of language translation from English to Murut language: English Lowland Murut. „Tunu‟s father‟ áma§ ÷ִit.nu „drink this!‟ inúm]§ píti „will inform‟ mambála§ (source: http://pluto.huji.ac.il/~msyfalk/WordStructure/Murut.pdf) 2.4 Rungus Besides being the local ethnic of Sabah, the Rungus ethnic also one of the original settler of Borneo island. The Rungus, usually known as Dayak Dusun, Dayal Laut, Momogun, Momogun Rungus, Momogun Laut, Dusun Laut or Rungus. Momogun Rungus that lives in the area of Kudat, Kota Marudu, and Pitas, consist of several sub-ethnics like; Rungus Kirangavan, Rungus Pilzapazan, Rungus Gandahon, Rungus Gonsomon, Rungus Nulzuw, Rungus Tupak or Rungus Melobong. Whereas, Momogun Rungus that settled outside these districts were known

as

Rungus

Piromitan,

and

Rungus

Tindal-Sondot.

(source:

http://wapedia.mobi/ms/Rungus). Below are some of the examples of translation from English to Rungus language: English Nice at far Walking by the farm What are you doing there?

Rungus Tarajang timpan Manau-panau sid isan do tagad Monguro-nguro kou ka dino? 9

Sabah Traditions and Cultures

3.0 Sabah traditions and cultures Tradition is a mode of thought or behavior followed by a people continuously from generation to generation; a custom or usage. Meanwhile, culture is the totality of socially transmitted behavior patterns, arts, beliefs, institutions, and all other products of human work and thought. There are 32 indigenous groups in Sabah, and each one of them has their own traditions and cultures starting from their traditional customs to their dressing styles. Even now, the original design and color of their dressing are still been retained. Differences among these groups or ethnics can be identified through their dialects, religions, customs, and their way of life. Referring to tourism Malaysia‟s book of Heritage and Crafts, many different ethnic groups in Sabah exhibit various traditional costumes that are unique to the state. Each group adorns attire, headgear and personal ornaments that have distinctive forms, motifs and color schemes characteristics of their respective tribe and district. However, culturally different groups who live in close proximity may have similarity in their traditional attire. Hats and headgear are particularly interesting, especially the Kadazan-Dusun ladies‟ straw hat designs, the Bajau woven dastar headgear and most peculiarly, the Lotud man folds his headdress with the number of points signifies the number of wives he had. Many of these traditional costumes dyed with black due to limited source of dye extracts in the past, like vegetables and plants only. Colorful beads were then sewn to add more color to their dresses. Ethnics in Sabah, uses black stems to color their costumes into black. They believe that black is the color of god, and can protect the wearer from the evil spirits. Most traditional costumes are passed down from generation to generation and was considered as priceless and very valuable costumes, with antique accessories of silver jewelries, old silver belts of coins, and bead necklaces. 10

Sabah Traditions and Cultures

Next will be discussed is the traditions and cultures of the main ethnics of Sabah, that consist of the Kadazan-Dusun, Bajau, Murut, and Rungus. 3.1 The KadazanDusun The KadazanDusun ethnic shares a common animism. In the ancient time, they believed that all things, from rocks to trees are alive, and believe that these things must be appease from time to time. The Kaamatan festival carries a big meaning for the Kadazandusun Murut. The Kadazandusun Murut is a society which is synonymous with farming where their main economic activity is farming, besides livestock rearing and hunting. The main crop, which provides the main food for the Kadazandusun Murut community is rice. The type of padi grown is hill padi and also those grown in padi fields. According to the Huminodun legend, a massive disaster, involving a serious drought occurred to the extent that nothing could be grown to provide food for the people. Realising this, 'Kinoingan' sympathised with the fate that befell the Kadazandusun Murut, who were without food. So, to overcome the problem, Kinoingan decided to sacrifice his daughter, 'Huminodun", and from her sacrificial body grew various crops, like padi, and maize. Hence, the Kaamatan festival, celebrated after the padi harvesting season, is a tradition of thanksgiving for Kinoingan and Huminodun, who are rice spirits known as 'bambarayon'. Among the activities held during the Kaamatan festival is the 'Magavau' ceremony to pray for the rice spirit and also the selection of the pageant queen or the Unduk Ngadau Kaamatan to commemorate the sacrifice and positive values gathered

from

the

Huminodun

legend.

(Source: http://www.dailyexpress.com.my/news.cfm?NewsID=65341) In the terms of wedding, the groom‟s family negotiated with the bride‟s family. Dowries are given by the groom, and the house of the groom, will the first place to start the wedding ceremony, before the bride‟s. During the wedding, the 11

Sabah Traditions and Cultures

newly wedded couple, seats at the centre of the house. With the bride sitting to the left of the groom, rice was then served from a wok, believing that they shall always have plenty of rice. Each one of them will feed one another with a ball of rice. This is to symbolize the unification of different blood. There‟s a forbiddance during the wedding day, that is the bride and groom must not eat buffalo meat, or else, the wife will not be able to conceive. 3.1.1

Traditional dance The Kadazan-Dusun are also very well known for their Sumazau

dance. The rhythm of this dance is slow following the beat of the Gong, with the dancers moving their feet with small movement. The hands of the dancer were spread into an eagle like wing, moving up and down. The purpose Sumazau dance is to celebrate harvest festivals and giving honor to the rice spirit. Dance perform also believed can cure illnesses. Sumazau dance also were perform during ceremonies like weddings and gatherings. (Source: http://en.wikipedia.org/wiki/Murut_people) 3.1.2

Traditional costumes For the part of the traditional costumes of the Kadazan-Dusun,

they were usually worn daily, in ceremonies like weddings and rituals. But nowadays, it is only worn during on special ceremonies only and no longer worn daily. Costume of Women: Name Details Sinuangga' Blouse with short sleeves and U-neck worn by younger women. Sober embroidery along the opening for head and arms, and along the seams at the sides and along the middle of the back: red, yellow and cream cotton yarn. Main stitches: sinusuk bulus (chain stitch), tantop (flanel stitch). A flanel stitch technique is also used to make binuunsi', a narrow band of needle weaving in red and yellow looking somewhat like shoelace. Betawi buttons are looped through a string on the inside. This way, the valuable buttons can be used for various blouses. Betawi buttons used to be fixed all 12

Sabah Traditions and Cultures

the way up to the neck for ceremonial occasions and half way up from the lower end of the blouse for daily wear. Nowadays, this appears not to be differentiated. The buttons are tied together from the top down to the bottom of the blouse with a cotton thread.

Sinompukung

Kihongon

Simis Tapi'

Accessories: Name Himpogot

Tangkong

Titimbak Tiningkokos Gohong Hamai Simbong Paun

The gold-plated silver Betawi buttons were a status symbol for the Kadazan Penampang. If one could afford a set of thirty buttons (sonsolobuan), one was considered a wealthy person. Blouse with 3/4 sleeves. No embroidery. Usually worn over the sinuangga' like a jacket when the wearer goes out of the house, such as to visit a friend. Nowadays, the sinompukung is often embroidered and worn by older women as a blouse instead of as a jacket as in the olden days. Blouse with long sleeves, worn by elderly women and female ritual specialists/priestesses or Bobohizan during ceremonies. The embroidery is similar to the one on the sinuangga'. "Chemise"—a white cotton underblouse. Sometimes just a white kerchief is tucked into the U-neck. Long cylindrical wrap-skirt, formerly of plain black cotton. Nowadays often enlivened with siring: gold trimming, running over the hips, in front of the skirt, crossed by another band of trimming from the waist down. Details Silver "dollar" belt. A maximum of three are used depending on personal wealth, one around the waist and the other two above and below the tangkong. Hip-belt of approximately 84 embossed brass rings on rattan strings (hindavog). Three tangkong are worn together, alternately strung with red (hindagang), black (initom) and red rattan strings for unmarried girls and all black for married women. The string is always "bare" somewhere at the back to avoid asampon (lack of breathing space). Later in life the tangkong are stretched out for various reasons, one of which is so that it is easier to carry a back basket. Hairpin to decorate and fasten the hairbun. Brass or silver spiral bracelet. Brass or silver bracelets. Necklace. Earrings. Brooch of gold coin(s). 13

Sabah Traditions and Cultures

Siga do bobohizan

Husob

Costume of Men: Name Gaung Souva Kaking or toogot Siga

Tupi' sinikat

Worn during rituals/ceremonies by the Bobohizan. It is an ornate headdress that is made from feathers of peacocks or turkeys. The plumage is tightly packed together and sewn onto a wide band of cloth. The feathers form the support and shape of the headdress, which when seen from the front is almost wholly covered with the cloth that fans outwards from the head. From the back however, these feathers are almost wholly visible. The wide band of cloth to which the feathers are sewn is decorated with multicoloured applique, embroidery and beads. Andavi do tandaa' or long-tailed feathers of roosters are also sewn at the front of the cloth. The tip of each of these feathers is tied with several small pieces of colourful cloth. From the lower part of both sides of the headdress are sewn several long loops of coloured beads which hang down to the front/chest. The headdress is secured/tied by cloth at the back of the head. The headdress is approximately one and a half feet in height. A colourful cloth worn by the Bobohizan over one shoulder and across the body. Usually two husob are worn together cries-crossing each other Details Long-sleeved shirt without embroidery. Nowadays it is decorated with gold trimming and gold buttons. Black trousers with wide indigo-blue waistband. Gold trimming on the seams along the hips for modern trousers. Black waist sash. Headcover of handwoven kain dastar, folded or twisted in a number of distinctive ways: Hinopung (hopung = python): twisted model Kinahu' (kahu' = potholder): folded model Sinimbitan or tinahanuk: only one small corner sticking out. Circular hat of sturdy string made with the coil and tie technique to support the siga.

Source : 1) An Introduction To The Traditional Costumes of Sabah edited by Rita Lasimbang & Stella Moo-Tan, Published by Natural History Publications (Borneo) Sdn. Bhd in association with Department of Sabah Musuem, 1997. 2) Busana Traditional Etnik Sabah, Government Printing Department, Kota Kinabalu, Jawatankuasa Penerbitan Risalah Busana Traditional Etnik Sabah, 1993).

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Sabah Traditions and Cultures

3.2 The Bajau The Bajau people are very skilled in horsemanship besides in weaving and needlework. They are famous in Sabah as „Cowboys of the east‟, for their horsemanship. 3.2.1

Traditional dance Limbai dance is an original traditional dance of the Bajau. The

Limbai dance is performed during a wedding ceremony. It is an act of welcoming the bridegroom and his entourage and to invite them to the bride‟s house. The melody and rhythmic movements of the dancer will accompany the bridegroom to the bride's house and would preceed the "ijab-qabul" or wedding ceremony. The graceful movement of the dancers‟ wrists will sway their shawls to express their warm welcome to the party concerned. Daling-daling dance were also danced by the bajau ethnic. This traditional dance was brought over from the Mindanao archipelago by the Suluks and does not originate from Bajau tribe in the Semporna district. The intermingling relationship between the Bajau and Suluk in those early days resulted in the dance becoming a living heritage of the Bajau community residing in Semporna. The phrase "daling daling" actually originated from the English word "darling". The main characteristic of the dance is the interchange of quatrains between the male and female dancers and is usually performed as an entertainment in various occasions.(Source: http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp) 3.2.2

Traditional costumes During special occasions, the Bajau Horseman Wears a black,

sometime white, long-sleeved shirt called bady sampit, Smart, gold buttons betawi run down the front opening and the shirt is also decorated with silver flowers called intiras. The trousers are more tight-fitting than 15

Sabah Traditions and Cultures

the Bajau bridegroom‟s seluar sama, The horseman‟s seluar sampit is black, and both the shirt and trousers have gold lace trimmings sewn on. He also wears a headpiece podong similar to the Bajau bridegroom‟s. The Bajau horseman wears a silver-hilted dagger karis at his side. The sheath is made of wood and silver. He also carries a spear bujak and a shipping crop pasut. Perhaps the most interesting thing about the Bajau horseman is his horse, or rather pony. It has its own costume and is more gaily dressed than the rider. The outfit kain kuda almost completely covers the pony except for holes for the eyes and nose. This cloth is tied around the pony‟s legs to keep it in place. The saddle sila-sila is not like the cowboy saddles of the west but rather a smaller piece of buffalo hide so shaped to fit the pony‟s back. A thick piece of cloth Lapik is placed under the Sila-sila. Antique brass bells Seriau, Colourful reins Tingalu and bridle Kakang all make for a very festive pony costume. In all their finery, both ride and pony become quite an attraction. (Source: http://www.sabahtourism.com/sabah-malaysianborneo/en/culture/7-the-bajau/) Costume of Women: Name Details Brightly coloured satiny blouse, usually yellow. The flared Badu sipak sleeves show the cuffs of an underblouse in contrasting hue. The flared sleeves are two inches longer than the outstretched arms and hands. Used for weddings. Betawi buttons in front, sometimes also on the sleeves. Brightly coloured long-sleeved satiny blouse, used for formal Badu sampit occasions. Long handwoven wrap-skirt, with horizontal stripes, usually Kain mogah red and black, with supplementary weft motifs. Worn at weddings. Full-length black wrap-skirt with a wide vertical panel of Olos berangkit berangkit in front. The motifs are stylised: bunga kapas (cotton flower) and pucak rebung (bamboo shoot). This exclusive wedding garment has become very rare nowadays. Selendang Scarf over the shoulders.

16

Sabah Traditions and Cultures

Accessories: Name Mandapun

Sarempak

Galang Subang Keku Ingkot pangkat Costume of Men: Name Badu

Suar Tanjak Ingkot pangkat Selendang

Details Flat cloth-covered collar-ornament accentuating the neckline decorated with stylized leaves in silver, goldleaf or substitute. Two-piece head decoration in the shape of a ship made of gilded silver or modern substitute. Small ornaments dangling down from both ends are called garigai. The ornament is fitted around the hairbun on top of the head, three fingers away from the hairline. Silver bangles. old or silver ear pendants. Long tapered, gold, silver or brass fingercovers worn by the bride. Lat Silver coin belt with a wide buckle. Details Brightly coloured satiny blouse, usually green, with flared sleeves showing cuffs of underblouse in contrasting hue. The flared sleeves are two inches longer than the out-stretched arms and hands. Used for weddings. Betawi buttons in front, sometimes also on the sleeves. Trousers made of similar material in contrasting colour and red trimming. Black for weddings. Headdress of folded kain dastar (used for weddings). Podong, used by horseman. Silver coin belt with a wide buckle with an attachment called supu which is a round silver Bajau cigarette case. Sash tied around the waist.

Notes: The name betawi may refer to Batavia, present Jakarta and the former capital of the Dutch Indies. Similar buttons were in fashion in the Netherlands and

are

still

part of some Dutch traditional costumes.

(Source: http://www.sabah.org.my/bi/know_sabah/culture_costume.asp) 3.3 The Murut Traditionally before the activities of headhunting were banned, the Murut ethnic, spiritually believe in headhunting practices. It is a custom of collecting the head of its enemies and also as a „pass‟ for a man to get marry to the daughter of a Murut family. Besides hunting and fishing, the Murut also works as a shifting 17

Sabah Traditions and Cultures

cultivator, hill paddy and tapioca planter. In terms of occasions like, Murut wedding or funeral feasts, it can last for several days. River is part of their daily life. Most of the time, they live in communal, within longhouses by the river, and used rivers as their connective paths from one place to another. For them, ancient Chinese jars hold a prominent status in Murut customs. Jars are also a place of spirits, and larger jars were formerly used as coffins. But now, after converted to Christian fundamentalist, the Muruts no longer practices headhunting, but they still maintain their culture. Some of them also have taken up Islam as their religion. 3.3.1

Murut traditional dance Magunatip dance belongs to the Murut‟s tribe of Kuhijaw

(Kwijau). The "Magunatip" word is derived from the "apit" word, which means "trapped". In this dance one must master and show their agility and dexterity in jumping and putting their feet between the clapping bamboos without being trapped. This dance does not usually require any instrumental music because the rhythmic clapping and stamping of the bamboos produce a loud, harmonised, beat and interesting sound or rhythm. This dance is usually performed to highlight any festive occasion. (Source: http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp)

3.3.2

Murut Traditional costumes Traditional dress for men was a jacket made of tree bark

(Artocarpus tamaran), a red loincloth, and a headdress decorated with Argus pheasant feathers. Women wore a black sleeveless blouse and sarong, which fell just below the knees. Like most of the other indigenous groups in Sabah, the Murut decorated their clothing with distinctive beadwork and also made belts out of old silver coins. Another belt made of reddish-brown glass beads plus yellow and blue beads were hung

18

Sabah Traditions and Cultures

loosely

around

the

waist.

(Source:

http://en.wikipedia.org/wiki/Murut_people) The costumes for women are short, black, sleeveless blouse and a long wrap skirt of black decorated with colorful beads. Below are the details of explanation of their women‟s costumes. Name

Details Traditional costume of women comprising a blouse and a long wrap-skirt of black cotton, and decorated with beadwork. The decorated blouse is called babaru linantian and the wrap-skirt tapi’ linantian. Belts of silver coins (pipirot linggit) and various type of beads. Most popular being the aki' nampalur, kotos, bungkas, aki’ and olod. A headdress of several rows beads. When there are many strings, there are shaped into a round skullcap. The salupai functions as a support for the sinikot. A set of three hairpins, with the sinikot tataun in the middle and two sinikot surai on both side of the hairbun. The larger sinikot tataun has the longest strings of tiny beads floating downwards to the middle of the back. Necklaces of various types of beads usually in certain order according to the length: bungkas, kotos, aki’ pangungupu’, bulul and olod, etc. A pair of bracelets. If made from shell (probably the shell of the giant sea calm), they are called holong silou.

Pinongkolo

Pipirot

Salupai

Sinikot

Rarangkol Holong

The Murut costume for men comprised a jacket made of tree bark Artocarpus tamaran, a red loincloth and a headdress also made of tree bark decorated with Argus pheasant feathers. Below are the details of explanation of their men‟s costumes. Name Babaru puputul

Aba puputul

Details Bark vest. The bark comes from the puputul tree (artocaprus kunstleri). It is cut lengthwise to fashion sleeveless jackets and loincloths. The fiber of pineapple leaves was used and decorated with simple beadwork motifs. Loincloth of approximately 2 meters long made of inner back of the puputul tree. The fabric is passed between the legs and wound around the waist. Modern cotton aba (aba ra kain) are cut as shorts with lengths of cloth attached to front 19

Sabah Traditions and Cultures

and back, more or less like apron. Red cloth is common because red is used to symbolize bravery. Cotton appliqué of zig-zag motifs (rinda-rinda or rinipon kapit). Headband of tree-bark decorated with feathers, preferably of the tuwou (Argus pheasant), or a pair of sinikot.

Tupi'sinulatan

Some stylized motifs on Murut traditional costumes: Name Details Sinusu' Peacock neck feathers Inimburu Leech-like motif Sinuli Bamboo slats flooring Kalayam manuk Chicken feet-like motif Sinusulou Sulou-like motif (sulou = the giant sea clam (Source: http://www.sabah.org.my/bi/know_sabah/murut_costume.asp) 3.4 The Rungus Traditionally, the Rungus ethnic practiced animism, with female as their shamans, and live in communal in longhouses. Nowadays, many have become Christians. Like the rest of other Borneo ethnics, Rungus‟ living resides on rice, besides emphasizing on coconut, and banana as their main source of cash income. But now, most of them had improved their lifestyles, catching up with the modernized world. 3.4.1

Rungus traditional dance Mongigol Sumundai is a dance from the Kudat and Pitas districts,

performed by the Rungus. It is performed both as an entertainment during festivities as well as a ritual dance. Three to eight female dancers are led by a male dancer. The music accompaniment is produced by four gongs and

a

drum

called-tontog.

(Source: http://www.flickr.com/photos/agnieszka_wetton/3443710809/) The women resplendent in their beaded wear and headwear moved in slow short steps, behind the man who had his arms outstretched. The traditional instruments playing in the background accompanies their movement.

(Source:

http://www.journeymalaysia.com/rungustraditions.htm) 20

Sabah Traditions and Cultures

3.4.2

Rungus traditional costumes The traditional Rungus dress is black, often with hundreds or even

thousands of dollars worth of antique beads. Traditionally all Rungus women wore heavy brass coils around their arms, legs and necks. Brass arm coils are often accompanied by white and coral shell bracelets. Rings of

brass

may

also

be

worn

around

the

waist.

(Source:

http://en.wikipedia.org/wiki/Rungus) Costume of Women: Name Details Tight bodice fastened with a button to a rectangular Banat shouldercloth (longon banat) with a slit in the middle for the head and loose ends hanging over the shoulders. The narrow upper zone of the bodice (dokot) is decorated with horizontal bands filled with floating weft and/or embroidered motifs. These geometric motifs consist of diamonds, triangles, hooks and zig-zags. The lower part of the banat is embellished with vertical bands. Centre front is usually a horizontal diabolo with a male and female figure in each triangle and at the sides one or more black lizards on a white field. Tube-skirt falling below the knees. [Priestesses wear a tapi' Tapi' with heavy brass bells at the hem to accompany the chants.] The floating weft motifs in the horizontal bands comprise an astonishing range of subjects. There is a fern motif, vegetable seeds, a drunken woman and a pattern derived from the body of the black bird. Worn during festival or ceremonies. Calf-length blue or black commercial cotton wrap tied over Sukolob the chest. One long strip of linangkit/rinangkit along the vertical seam is intersected by a horizontal one in the middle of the suLolob. On the intersection four floral motifs in needle embroidery radiate from the centre. The pattern of the linangkit/rinangkit strips consists of separate motifs. On the intersection the horizontal band almost always shows the motifs of a rice field snake. Worn as daily attire. Notes: Usually the motifs of the tapi' and the sukolob indicate the social position of the wearer: sinombitan for the upper class and tinongkupan for the others. Accessories: 21

Sabah Traditions and Cultures

Name Sisingal

Details Several strings of beads tied together, worn around the head. Titimbok Hairpin of wood or rattan, cloth and beads. Sisik Brass decorative haircomb. Sad'ang Brass earrings. Ganggalung Disc of brass coil of approximately 40 cm in diameter worn as a necklace. These cumbersome ornaments are hardly worn anymore. Only in isolated villages will older women still put them on for ceremonial occasions. Litai or tinggot Narrow choker-like necklace of beadwork. Sulau Necklace of old beads and a disc of white shell, kima (Tridachna gigas—giant clam) in front and back. Bells are attached on either side of the disc in front. Togkol String of carnelian, glass and shell beads looped crossed over the shoulders. Pinakol Two bands of beadwork with geometric and human figures looped crossed over the shoulders. Orot Wide hip girdle/belt of coiled brass wire and rows of beads. Worn during weddings and other ceremonies. Giring Small round brass bells sewn at the hem of the tapi‟. Lungkaki' Tightly coiled brass ornament covering the lower leg. Just like the ganggalung these heavy leggings have gone out of fashion. Rampai A hairpin which has two or three rows of folded pieces of colourful cloth strung together and which float down to the nape. Satu’ Bracelet of coconut shell worn below the elbow. Batakan or kimo’ Bracelet of shell (kima). Saring Brass coiled wire bracelet covering most of the underarm. The saring is enclosed by the satu and batakan and angkop. Kinumai or Bracelet of shell (kima). golinsung Angko Bracelet of coconut shell-like satu' around the wrist. Costume of Men: Name Badu’ Soval sarabulu’

Hokos Sandai

Details Long-sleeved handwoven shirt with geometric motifs. Baggy trousers with wide waistline and rinangkit decorated seams. Plain trousers, without rinangkit are called masap or souval tanaru'. Waistband of long strips of red, green and yellow cotton, sewn together. Two folded lengths of printed commercial fabric falling down from each shoulder to the calves. 22

Sabah Traditions and Cultures

Inavol Sigal Mogah Pinakol Tinggot Pinikos (Source:

Narrow handwoven circular sashes with geometr motifs worn crosswise over the chest. Headdress of folded pis cloth produced by Binadan craftswomen. Sarong made from mogah cloth woven by Iranun weavers. Worn during the mogigol dance. Two bands of beadwork with geometric and human figures looped crossed over the shoulders. Narrow choker-like necklace of beadwork Upper arm bracelet made of hardwood. http://www.sabah.org.my/bi/know_sabah/rungus_costume.asp)

23

Sabah Traditions and Cultures

4.0 About Sabah Cultural Board Sabah Cultural Board is a government owned organization that was establish in year 1996, and are dedicated to promote, preserve, and develop traditions and cultures in Sabah. Its management were divided into several divisions, which is; Cultural Events and Performances Division, Cultural Research and Library Division, Cultural Training and Development Division, and Cultural Centers and District Branches. The function of Cultural Events & Performances Division is to promote the cultures and traditions of Sabah in the international and local level, besides instilling positive values to the younger generations, with culture as an intermediary. Whereas, Cultural Research Division function is to promote and conduct cultural researchers, besides facilitating other corporate services like communication. The Cultural Training & Development Division on the other hand, assists in culture-related entrepreneurship. 4.1 Activities of Sabah Cultural Board In accordance with government‟s effort for cultural development, there are variety of activities that were conducted by this Board, including organizing cultural events like Sabah International Folklore Festival (SIFF), Culture Exchange Programs, Culture carnivals (at the administrative district level in Sabah), and Cultural Fiesta of the multi ethnic people of Sabah, for example Pesta Kalimaran which refers to the craftsmanship of the Muruts. Sabah Cultural Board (SCB) also runs its cultural performances as a business by performing at hotels, occasions or to organizations, to support its programs and activities with nominal charges. 4.1.1

About Sabah International Folklore Festival (SIFF) Based from the Sabah Cultural Board‟s brochures, SIFF provides

the opportunity for the culture enthusiasts to enjoy and witness the beauty, uniqueness and authenticity of cultural performances of various ethnics of 24

Sabah Traditions and Cultures

the world. SIFF is truly meant to be an East-West Cultural rendezvous in promoting peace through culture. The main objective of the SIFF is to promote culture tourism among participating countries and to introduce the state‟s unique cultures onto the international tourism. SIFF provides the opportunity to witness and enjoy the unique and authentic cultural performances from various countries. A long list of cultural displays, were drawn up to be staged at different venues in the state capital. SIFF First

Date

Details th

May 29 nd

June 2 2001

Organised in conjunction with the Colours of Malaysia Month and Kaamatan Festival, a harvest festival fiesta by the largest ethnic group in Sabah namely the Kadazandusuns. Eleven countries participated to showcase their respective country’s popular folklore dances, which includes Malaysia, Poland, Taiwan, Austria, Croatia, Canada, Mali, Argentina, Brunei, China and Turkey. The friendly best performance competition was won by Poland, Turkey and Vietnam for the first, second and third places respectively.

Second

th

th

4 -11 Sept

Participated by ten (10) countries namely Malaysia, Philippines, Italy, Poland, Belgium, India, Taiwan, South Korea, Indonesia and

2004

South Africa. All the ensembles presented their folkdances to the audience in a spectacular performance. Again, Poland was the winner of the friendly best performance competition, followed by Philippines and India for the second and third places respectively.

Third

nd

th

2 -8 Sept

Participation was from twelve (12) countries namely Brunei, China, India, Japan, Kazakhstan, Latvia, Poland, Russia, Saudi Arabia,

2007

Singapore, Thailand and Malaysia. They performed their best unique and authentic traditional dances. Russia took the top prize in their debut in the folkdance performance competition while the regaining champion Poland came second and Kazakhstan came third.

Fourth

st

th

1 -9 July 2009

Eleven

ensembles

from

ten

countries

have

confirmed

their

participation. Fourth SIFF is set to be different from all of the previous SIFFs. Other

than the

performance

of

the various

international participants, also present the folkdances of the various ethnics of Sabah during the festival

(Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain) These performances true intent is actually to build understanding between all participating countries. According to the statement of Datuk 25

Sabah Traditions and Cultures

Masidi Manjun, the Sabah State Culture, Tourism and Environment Minister, “The true and overriding intent of the Sabah International Folklore Festival is building friendship and bringing nations closer together.” http://www.dailyexpress.com.my/news.cfm?NewsID=66088).

(Source: Hence,

these

efforts can be seen as catalyst towards another long term relationship that can benefit everyone.

4.1.2

Fourth SIFF-Local Folkdance Competition Upon this research, specifying to Sabah‟s local traditions, ethnics,

and cultures; a special focused is been given to Local Folkdance Competition Part I and Part II, of the 4th Sabah International Folklore Festival. This festival was organized by Sabah Cultural Board and was performed by more than 40 schools of primary and secondary, from all over Sabah. Contestant from other countries also takes part in the International Folkdances Competition. Ten countries include Malaysia, has join in this competition.

Traditional dance performance is one of the ways to introduced one‟s culture to others, besides by promoting through media and tours. Some traditional dances may show the daily routine life gone through by their people, their stories and rituals. The competition showcased all the main folkdances of Sabah. For example, Mogunatip dance, of the Murut ethnic, Sukang dance of the Sungai ethnic, Daling-Daling dance of the Bajau ethnic, Sumazau dance of the Kadazan/Dusun ethnic and more. Also, through this competition, spectators of international and local that present, can identified others country‟s unique traditional dances. The students especially, became more aware of other ethnic dances that present in Sabah, especially when they are presenting their ethnic dances.

26

Sabah Traditions and Cultures

Sabah is full with wonders of nature and cultures and there is lot more need to be explored for its tourism potential. Culture is another sure possibility that we can used to promote tourism in Sabah and at the same time making all the ethnics in Sabah thinks that it is worth protecting their heritage of traditions and cultures of their ancestors. Steps taken and done by Sabah Cultural Board including organizing events like SIFF are one of their noteworthy efforts. Through SIFF event, Sabah Cultural Board can introduce the cultures of Sabah to its audiences, especially the participants from other countries, for example from Kazakhstan, Arab, Indonesia, Thailand, and China countries, and vice versa.

SIFF event is one of the huge and collaborative steps taken by the Sabah Cultural Board in achieving its mission to promote, preserve and develop traditions and cultures in Sabah. In the process of managing this event, there are many works that is involved. For example, in terms of promotion, the board needs to published advertisement, flyers, banners, radio transmissions, participants‟ registration and more. Overall, SIFF is considered as the largest campaign and supported by the government to enhance the cultures of Sabah.

4.1.2.1 Program Tugu Budaya The „Program Tugu Budaya‟ in this SIFF event also is one of the integrated efforts of government towards achieving SIFF campaign, for students will be involved in this matter. According to Mr. Joisin Romut, manager of Research, Communication and Corporate Services Division of Sabah Cultural Board, the contestant that joined in the 4th SIFF competition mainly consist of students. The reason for this is because they are still young, so they are the perfect people to be nurtured with good cultural values, hence, contributing towards making a culturally educated nation. As the malay sayings goes “jika nak melentur buluh, biarlah dari 27

Sabah Traditions and Cultures

rebungnya”, which means if you want to educate a person to be a good person, better start when they are still young. 4.1.2.2 Culture for Peace “Sabah is also a venue for culture exchange” phrase, picked from the Sabah Cultural Board, SIFF website depicts the values from variety cultures by all participating countries that can be seen and shared in conjunction with the SIFF event. Here, trusts and understanding can be formed, because dances in SIFF event are shared and hence can create a good atmosphere that leads to trusts and friendships. This is in line with the SIFF slogan of „Culture for Peace‟. Where all misunderstandings can be solved by reaching one understanding that is well understood by all, “No one is better than others, as winning or losing is irrelevant, we are here to celebrate the uniqueness of our own culture,” says State Culture, Tourism and Environment Minister, Datuk Masidi Manjun. Hopes of Sabah Cultural Board (SCB) in the end of the 4th SIFF event is that so all of its objectives are succeed and crowds gave their full support for SCB promotion labeled as „Culture for Peace‟, and so that the young will be more interested in culture, for culture, is the benchmark for civilization. In organizing SIFF, Sabah Cultural Board partnered with Daily Express as the official media, and government organization like Sabah State Education Department to prepare a comprehensive programmes of activities for community awareness creation on Sabah‟s heritage and turn them into public community participatory events that will also be attractive to tourists and bring revenue earning opportunities to the community at large.

28

Sabah Traditions and Cultures

5.0 About other organizations that strives on cultural development

There are also many other organizations that focused on the cultural development of Sabah. Sabah Museum and KDCA are among many of them besides by the Sabah Cultural Board. Below are the brief descriptions of these organizations.

5.1 Sabah Museum To collect, preserve, conserve, document, exhibit and intepret material evidence and associated information on history, culture and the natural heritage of Sabah by through exhibition and display for the people today and future

generations.

(Source:

http://kepkas.sabah.gov.my/index.php?option=com_content&view=article&id=4 4&Itemid=60)

5.2 Kadazandusun Cultural Association Sabah KDCA‟s humble beginning started with the birth of the Society of Kadazan Penampang in 1953. This society paved the way for the formation of the Kadazan Cultural Association Sabah (KCA) in 1963, which in turn transformed into the present KDCA on September 25, 1991. Ever since its inception in the early 50‟s, the KDCA has focused much of its efforts in the preservation, development, enrichment and promotion of the Kadazandusun multi-ethnic cultures. Without KDCA, much more of the currently existing Kadazandusun cultural heritage would have sunk to oblivion by now, buried lost forever or displaced by the ever dominating modern cultures. The KDCA‟s Triennial Delegates Conference provides for the much needed forum where the various Kadazandusun multi-ethnic representatives discuss major issues affecting them and their future and take up both individual and collective stand and actions to resolve common challenges. (Source: http://kdca.org.my/about)

29

Sabah Traditions and Cultures

6.0 Conclusion It is a very big challenge to retain the identity of all the ethnics of Sabah overall. While the efforts of Sabah Cultural Board are commendable, there is still a need for the wide population of Sabah, to get involved in these efforts in the long term. This can only be achieved through a concerted effort to involve the community in the mainstream cultural and heritage activities, and not only as observers or audience, but also as active participants. We should appreciate the existence of our traditional ethnics in the country. This is a proof that there are remains for our people and visitors to wonder about a place‟s history, its culture, and the reasons that lies behind the differences that should be retained. More than any formal papers, books of history or verification papers, it is actually the soul of the people that believe is the most important. For, they are entitled to keep their traditions and cultures, and it is from their hearts is where the action to preserve can last forever.

30

Sabah Traditions and Cultures

References http://www.sabah.gov.my/lks/page.asp?v=siffmain. Retrieved July 1, 2009 http://en.wikipedia.org/wiki/Sabah. Retrieved July 1, 2009 http://www.scn.org/cmp/modules/per-culm.htm. Retrieved July 6, 2009 http://www.dailyexpress.com.my/news.cfm?NewsID=66088. Retrieved July 7, 2009 http://ms.wikipedia.org/wiki/Kadazan-Dusun. Retrieved July 8, 2009 http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/2-the-people-ofsabah/. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/traditional_costumes.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/culture_costume.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/culture_costume.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/lotud_costume.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/murut_costume.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/music/music_kulintangan.htm. Retrieved July 8, 2009 http://www.sabah.org.my/bi/know_sabah/culture_handicraft.asp. Retrieved July 8, 2009 http://www.sabah.org.my/bm/kenali_sabah/handicraft/handicraft.htm. Retrieved July 8, 2009 http://www.sabah.edu.my/itma07037/8.Culture/Culture.htm. Retrieved July 9, 2009 http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/6-the-kadazandusun/. Retrieved July 10, 2009 http://www.sabah.org.my/bi/know_sabah/culture_dances.asp. Retrieved July 10, 2009 http://www.flickr.com/photos/agnieszka_wetton/3443710809/. Retrieved July 11, 2009

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Sabah Traditions and Cultures

http://www.journeymalaysia.com/rungustraditions.htm. Retrieved July 11, 2009 http://www.dailyexpress.com.my/news.cfm?NewsID=66088. Retrieved July 15, 2009 http://www.dailyexpress.com.my/news.cfm?NewsID=65341. Retrieved July 16, 2009 http://kdca.org.my/about. Retrieved July 16, 2009 http://kepkas.sabah.gov.my/index.php?option=com_content&view=article&id=44&Itemi d=60. Retrieved July 16, 2009

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Sabah Traditions and Cultures

Appendix 4TH SABAH INTERNATIONAL FOLKLORE FESTIVAL 2009 (2 - 8 JULY 2009) One of the Board’s efforts to promote, preserve and develop traditions and cultures of Sabah is by organising Sabah International Folklore Festival (SIFF). 2009 SIFF will be the fourth. The first SIFF was in year 2001 from May 29 to June 2. It was organised in conjunction with the Colours of Malaysia Month and Kaamatan Festival, a harvest festival fiesta by the largest ethnic group in Sabah namely the Kadazandusuns. Eleven countries participated to showcase their respective country’s popular folklore dances, which includes Malaysia, Poland, Taiwan, Austria, Croatia, Canada, Mali, Argentina, Brunei, China and Turkey. The friendly best performance competition was won by Poland, Turkey and Vietnam for the first, second and third places respectively. The second SIFF was organised from 4th to 11th September 2004, and participated by ten (10) countries namely Malaysia, Philippines, Italy, Poland, Belgium, India, Taiwan, South Korea, Indonesia and South Africa. All the ensembles presented their folkdances to the audience in a spectacular performance. Again, Poland was the winner of the friendly best performance competition, followed by Philippines and India for the second and third places respectively. The third SIFF was in the year 2007 from 2nd to 8th September. Participation was from twelve (12) countries namely Brunei, China, India, Japan, Kazakhstan, Latvia, Poland, Russia, Saudi Arabia, Singapore, Thailand and Malaysia. They performed their best unique and authentic traditional dances. Russia took the top prize in their debut in the folkdance performance competition while the regaining champion Poland came second and Kazakhstan came third. Fourth SIFF will be taking place from 1st to 9th July 2009 in Kota Kinabalu, Sabah (arrival on the 1st & 2nd and departure back on the 9th). Eleven ensembles from ten countries have confirmed their participation. Fourth SIFF is set to be different from all of the previous SIFFs. Other than the performance of the various international participants, we will also present the folkdances of the various ethnics of Sabah during the festival – something that we cannot afford to miss! Fourth SIFF is not only a folkdance festival but it is also a venue for cultural exchange. OBJECTIVE OF SABAH INTERNATIONAL FOLKLORE FESTIVAL SIFF provides the opportunities for the culture enthusiasts to enjoy and witness the beauty, uniqueness and authenticity of cultural performances of various ethnics of the world. SIFF is truly meant to be an East-West Cultural rendezvous in promoting peace through culture. The main objective of the Sabah International Folklore Festival is to promote culture tourism among participating countries and to introduce the state’s unique cultures onto the international tourism. SIFF provides the opportunity to witness and enjoy the unique and authentic cultural performances from various countries. Long lists of cultural display were drawn up to be staged at different venues in the state capital. The main objectives of the event are as follows:- - To promote understanding and goodwill - To celebrate mankind brotherhood through cultures - To promote culture tourism among participating countries, and - To promote Sabah as an attractive tourists destinations in Asia; Malaysia Truly Asia HOW TO PARTICIPATE IN THE SABAH INTERNATIONAL FOLKLORE FESTIVAL? We are inviting folkdance ensembles around the globe to participate in this festival. Starting from this year, the organiser is making this festival as an annual event. The elements of this festival are international folkdances, local folkdances, and touristic excursion for the participants (ex. National Parks visit i.e. Mount Kinabalu, Tunku Abdul Rahman Park etc.) The details and updates including terms and conditions of participation, on-line registration, and on-line tickets purchasing (to watch and enjoy world class folkdances performers) are at http://www.sabahculture.com. If you are a culture enthusiast, then this folklore festival is not something for you to miss. So, please book your tickets earlier to ensure seats availability.

For further details and information, kindly contact the organiser’s Chief Liaison Officer, Mr. Joisin Romut at Tel: +6088259457(O) or +60198218718 (H/P) or Email: [email protected]

Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain

33