Professional Documents
Culture Documents
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 Kadazan-
Dusun, 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 10
3.1 The Kadazan-Dusun 11
3.1.1 Traditional dance
3.1.2 Traditional costumes
3.2 The Bajau 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 20
3.4.1 Traditional dance
3.4.2 Traditional costumes
4.0 About Sabah Cultural Board 24
4.1 Activities of Sabah Cultural Board 24
4.1.1 About Sabah International Folklore Festival (SIFF)
4.1.2 Fourth SIFF
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
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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.
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
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Sabah Traditions and Cultures
they have and help treasure them, so traditions and cultures can become as part of this
changing world, remembered forever.
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Sabah Traditions and Cultures
2.1 Kadazan-Dusun
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).
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Sabah Traditions and Cultures
English Kadazan
Good morning, how are you? Kopivosian doungosuvab, onu abal nu?
I am fine. How about you? Avasi. Poingkuo gia iziau?
Have you been to Mount Kinabalu? 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)
English Bajau
They took turns stomping down on it Be-gilir-gilir pan gai eng-giok-on e.
(the unhusked rice).
He was search for there as well. P-in-emia pan iyo me
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).
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Sabah Traditions and Cultures
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.
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.
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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.
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.
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
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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.
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)
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
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Sabah Traditions and Cultures
Accessories:
Name Details
Himpogot 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.
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.
Titimbak Hairpin to decorate and fasten the hairbun.
Tiningkokos Brass or silver spiral bracelet.
Gohong Brass or silver bracelets.
Hamai Necklace.
Simbong Earrings.
Paun Brooch of gold coin(s).
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Sabah Traditions and Cultures
Costume of Men:
Name Details
Gaung Long-sleeved shirt without embroidery. Nowadays it is
decorated with gold trimming and gold buttons.
Souva Black trousers with wide indigo-blue waistband. Gold
trimming on the seams along the hips for modern trousers.
Kaking or toogot Black waist sash.
Siga 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.
Tupi' sinikat 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
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.
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Sabah Traditions and Cultures
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-malaysian-
borneo/en/culture/7-the-bajau/)
Costume of Women:
Name Details
Badu sipak Brightly coloured satiny blouse, usually yellow. The flared
sleeves show the cuffs of an 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.
Badu sampit Brightly coloured long-sleeved satiny blouse, used for formal
occasions.
Kain mogah Long handwoven wrap-skirt, with horizontal stripes, usually
red and black, with supplementary weft motifs. Worn at
weddings.
Olos berangkit Full-length black wrap-skirt with a wide vertical panel of
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.
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Sabah Traditions and Cultures
Accessories:
Name Details
Mandapun Flat cloth-covered collar-ornament accentuating the
neckline decorated with stylized leaves in silver, goldleaf or
substitute.
Sarempak 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.
Galang Silver bangles.
Subang old or silver ear pendants.
Keku Long tapered, gold, silver or brass fingercovers worn by the
bride.
Ingkot pangkat Lat Silver coin belt with a wide buckle.
Costume of Men:
Name Details
Badu 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.
Suar Trousers made of similar material in contrasting colour and
red trimming. Black for weddings.
Tanjak Headdress of folded kain dastar (used for weddings). Podong,
used by horseman.
Ingkot pangkat Silver coin belt with a wide buckle with an attachment called
supu which is a round silver Bajau cigarette case.
Selendang 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)
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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.
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Sabah Traditions and Cultures
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
Pinongkolo 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
Pipirot
beads. Most popular being the aki' nampalur, kotos,
bungkas, aki’ and olod.
A headdress of several rows beads. When there are many
Salupai
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
Sinikot 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
Rarangkol
according to the length: bungkas, kotos, aki’ pangungupu’,
bulul and olod, etc.
Holong A pair of bracelets. If made from shell (probably the shell of
the giant sea calm), they are called holong silou.
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 Details
Bark vest. The bark comes from the puputul tree (artocaprus
Babaru puputul 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
Aba puputul 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
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Sabah Traditions and Cultures
20
Sabah Traditions and Cultures
Costume of Women:
Name Details
Banat Tight bodice fastened with a button to a rectangular
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.
Sukolob Calf-length blue or black commercial cotton wrap tied over
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.
Accessories:
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Sabah Traditions and Cultures
Name Details
Sisingal 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 Details
Badu’ Long-sleeved handwoven shirt with geometric motifs.
Soval sarabulu’ Baggy trousers with wide waistline and rinangkit decorated
seams. Plain trousers, without rinangkit are called masap or
souval tanaru'.
Hokos Waistband of long strips of red, green and yellow cotton,
sewn together.
Sandai Two folded lengths of printed commercial fabric falling
down from each shoulder to the calves.
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Sabah Traditions and Cultures
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Sabah Traditions and Cultures
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.
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.
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Sabah Traditions and Cultures
June 2 2001 nd 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
4 -11 Sept th
Participated by ten (10) countries namely Malaysia, Philippines,
2004 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.
Third nd th
2 -8 Sept Participation was from twelve (12) countries namely Brunei, China,
(Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain)
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Sabah Traditions and Cultures
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.
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Sabah Traditions and Cultures
28
Sabah Traditions and Cultures
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.
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)
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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.
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Sabah Traditions and Cultures
References
http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/2-the-people-of-
sabah/. Retrieved
July 8, 2009
http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/6-the-kadazandusun/.
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Sabah Traditions and Cultures
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.
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: borneosiff@gmail.com
Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain
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