TOURISM MALAYSIA 1ST EDITION

c. Lanoh
Lanoh people live at the remote area of Hulu Perak district, Perak. Previously
they lived nomadic style, moved from place to other place looking for new
resources of food.

d. Jahai
Jahai tribe also part of Negrito ethnics. This tribe can be found in Banun,
Sungai Tiang and Temenggor Dam in Hulu Perak, Perak. In Kelantan the
populations are in Singai Rual and Jeli of Hulu Kelantan. Basically the
appearance of Jahai tribe looks similar with Habsyi people or Negro in Africa,
Andaman Tribes and Aeta in Philiphines. The populations are along the rivers
and lakes. They still live in nomadic way. Normally they move to other places
due to illness, people dying, quarrel among members, food resources and
additional of family members. The hut is simple and made of bamboo, bertam
and tepus leaves.

e. Mendriq
Mendriq people live at the remote area of Gua Musang, Kelantan. Previously
they lived nomadic style, moved from place to other place looking for new
resources of food.

f. Bateq
Bateq people lived at the remote area of north Pahang, west Trengganu and
south Kelantan. In Pahang there's about 5 villages in Lipis district, 2 villages
in Jerantut district comprise of 550 people from 100 families. In Kelantan, 4
villages at Pot Lebir comprise of 413 people of 84 families. In Trengganu, 12
families compries of 41 people.

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4.1.2 Senoi
The largest of Orang Asli group in Peninsula which mainly distributed from the

middle to northern part of the Peninsula Malaysia belongs to various tribes namely
Semai,TemiarJahut, Che Wong, Mahmeri and SemoqBeri.

a. Temiar
The selection of settlement of Temiar tribe was decided by the Penghulu. A
special "Berhalaq" ( spell) or "Mimpi" (dream) ceremony will be done by the
leader. The chosen location must be far from grave area, free from hard wood
area, swap area, waterfall and big river. They believe this will avoid any
disturbance from "spirit or "forest guardian". They build they house together.
In early stage of settlement, long house will be built to accommodate all family
members. After certain period of times, they will move and build smaller house
for their own family. They survive on hunting, forest plantation and collecting
forest product.

b. Semai
Semai tribe population area scattered at the Titiwangsa Range, covering
Central and South Perak and also West of Pahang. They live in well-organized
community, normally a village will comprise member from 60 people to 300
people. The community lead by Batin or Penghulu that capable to heal people
and also lead in their ancestor ceremony.

c. Semoq Beri
Semoq Beri people live at the edge boundary of Pahang and Trengganu.
Previously they lived nomadic style, moved from place to other place looking
for new resources of food.

d. Jahut
In Pahang Jahut tribe can be found at Kerdau-Paya, Paleng, Paya Mengkuang,
Kuala Krau-Penderas, Mendoi,Seboi, Pasu, Piau and Galong of Temerloh.

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While in district of Jerantut they live in Sungai Kiol and Kekwel (Kol). They
survive by collecting and selling some forest products like rattan and resin,
catching river fish, hunting and plantations.

e. Mah Meri
Mah Meri means "Orang Hutan or Forest People" and so called by the
"bersisik". They also had known as sea people because of their settlement near
the sea and also their job as a fisherman. It is believe that this tribe run away
from their enemies comes from the island archipelago of Southern Johor and
migrate to Selangor coastal area.

f. Che Wong
Che Wong tribe lives at the remote area of north Raub, Jerantut and Temerloh,
Pahang. Previously they lived nomadic style but today they have proper
standard of living supported by government. There's about 4 villages in
Jerantut, 1 village in Jerantut comprise of 417 people from 68 families.

4.1.3 Proto Malay

Also known as Aboriginal Malay, which this largest group of Orang Asli which
separated into six tribes; Jakun (Orang Hulu), Temuan, Semelai, Kuala, Kanaq and
Selatar. Proto Malay tribes lived by neighbouring with malay people in Selangor, Negeri
Sembilan, Melaka and Johor. Their custom and culture are quite similar with malay
people. Most of the village located near or sub-town area.

a. Kuala
It is believed that Kuala tribe came from the archipelago island of Riau-
Lingga and nearby area coastal area of Sumatera. Most of the settlement
located at river estuary along coastal area of Johor. In Batu Pahat the
populations comprise of 1309 people from 5 villages. In Pontian there's 4
villages, comprise of 1018 people from 214 families.

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b. Kanaq
Kanaq tribe can be found at the edge of Kampung Selangi, Mawai, Kota
Tinggi district of Johor. Populations only 17 families comprise of 65 people.
This is the smallest number of orang asli tribe.

c. Seletar
Seletar tribe or "Sea Gypsies" is sea traveller community who lives in the boat,
island, coastal and estuary. Their main settlement is Southern Johor and North
of Singapore. Traditionally, they depend on sea for living that required them
to move from place to place.

d. Jakun
Jakun tribe (Orang Ulu), who live in southern of Peninsular Malaysia came
from Yunan (Southern of China). Animisme is still practiced among them
until today. They really believe in the spirit of nature like mountain, rivers,
caves and many more. The disaster will happen to their village for any
breaching of nature rules.

e. Semelai
'Semelai' tribe population can be found mostly in Central of Pahang Tengah at
Tasik Bera, Sg. Bera, Sungai Teriang, Paya Besar and Paya Badak. Also can
be found at the Pahang border towards Negeri Sembilan like Sg. Serting, Sg.
Lui and Ulu Muar. Their physical appearance is not much difference with
Malay people.

f. Temuan
Temuan tribe is also part of Melayu Asli (Proto Malay) ethnic. The lived in
Selangor, Melaka, Pahang, Daerah Muar, Johor and Negeri Sembilan. Temuan
tribe in Negeri Sembilan practiced Adat Pepatih as part of their culture.

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4.2 RELIGION OF INDGIGENIOUS COMMUNITY
Religion and beliefs are other aspects of their cultural identity which is under threat.

Indigenous religious beliefs which revolve around the existence of spirit sin objects. The
religious beliefs of the Negrito are complex which include many different gods which is most of
the Semang tribes are animistic where they believe that non-human objects have spirits. Many
significance events in their lives such as birth, illness, death and agricultural ritual have much
animistics symbolism. Both the Semai and Temiar share similar traditional belief system.

Both groups believe in the existence of a ultimate supra-natural being responsible for the
creation of the world and all of it sin habitants such as plants, the mountains, trees and animals.
They also believe in the presence of a hunger god have supra-natural being that controls human
behaviour, punishing those whom is behaved against their own cultural norms and social more as
well as other natural laws. In addition, they also believe in others that become the foundation of
supernatural sanctions, such as bad luck, illness and other disasters.

4.3 TRADITIONAL FOOD OF INDIGENIOUS COMMUNITY
The Indigenous main traditional dish is a ‘lemang’. Besides that various types of

cakes,’ketupat’, rendang beef or chicken rendang, grilled meat, meat curry, laksa noodles,
steamed dishes and rice.

Figure 4.3: Traditional food Ketupat

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4.4 ECONOMY ACTIVITIES OF INDIGENIOUS COMMUNITY

Figure 4.4: Some activities of Indigenous Community
Orang Asli lives in remote forest areas engaged in some trading with the Malays, with
jungle produce being exchanged for salt, knives and metal axe-heads. They are engaged in
subsistence economic activities such as sub farming, hunting, fishing and gathering of forest
products. Subsistence farming is main activity for Orang Asli. They work on small-scale
agriculture around the house. Usually their cultivated crops are upland rice, millet, sweet
potatoes, cassava, cucumbers, okra and so on.
For the barter system helping the community to get the material needs and also get the
money. Beside that during hunting activity usually Orang Asli using tools such as bamboo
blowpipe to hunt the animals. For forest products, basically their collection is rattan, bamboo,
sandal wood, incense and roots as a source of medicines.

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4.5 PLACEMENT OF INDIGENIOUS COMMUNITY
While many Orang Asli people have settled in permanent communities near the park,

there are still Batek people living a semi-traditional life in Taman Negara. The Batek people are
one of the Negrito tribes.They are true nomads and are classified by some anthropologists as
pygmies due to their short stature.

Figure 4.5: A Semai village located along Tapah- Cameron Highland Road

For the Negrito huts usually are made of mainly bamboo, bound together with rattan
twines and thatched with attap and the floor is made of bamboo trunks overlaid with split
bamboo. The walls are also of split bamboo and there are no doors. Some huts don’t even have
walls. Cement and concrete are not used and there is no electricity supply.

The Senoi live in long community houses, constructed of bamboo, rattan and thatch and
held away from the ground poles. Unlike the Negrito’s and the Senoi’s who led nomadic life in
the jungles, the Proto – Malay settled closer to river and the sea.

4.6 CUSTOME OF INDIGENIOUS COMMUNITY
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Clothing worn by the Indigenous community showed that they are very unique and
different from other communities. Indigenous community wore clothing made from natural
materials such as tree barks like the terap and grass skirts. Other than that there are wore
Ornaments include skilfully wooden headbands with intricate patterns that are made from leaf
fronds.
4.7 TRADITIONAL DANCE OF INDIGENIOUS COMMUNITY

Sewang is are 'art dance' popular by Aboriginal communities in Malaysia .It is a set of
activities and processes involving uniqueness Aboriginal musical preparation such as tabuh
bamboo which are also called kong-kong. Preparation before sewang to be done, including:

i. Build the stage (stop ancestral spirits)
ii. Making costumes made from bark and woven pandanus, weaving using palm leaves,
iii. The provision of food and drink and so on.

Figure 4.6: Sewang dance the most popular dance among Orang Asli
Sewang also involves singing, dancing and displaying the symbols of daily identity such
as wicker basket, tornado, and blow when they are dancing. Instruments used in the dance are
Tambur, Pensol, Rebana and Centong.

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4.8 FESTIVAL OF INDIGENIOUS COMMUNITY

Festival is one of the symbols of a community's uniqueness. Indigenous people have a
unique festival because it has relationship with the belief of their community. Indigenous
community festival celebration began at the end of each year on December 31. This festival
actually existed hundreds or even thousands years ago, since the time of their ancestors were
initially more to the ritual worship or adoration. An approach to the celebration of the tribe is
slightly different, but they have the same goal.

Purposes of celebrating the festival are
 to expressing gratitude for good fortune and health acquired during the year that passes

brother closer ties among relatives and friends and the companionship.
 hoping the New Year days later the body healthier, living continues overflowing, live in

prosperity and hometown or peace settlement areas. It is designed to convey a sense of
gratitude for good fortune and health acquired during the year that passes, closer ties among
relatives and friends and the companionship.
 Also hoping for the healthier body, living continues overflowing, live in prosperity

4.9 WEDDING CEREMONY OF INDIGENIOUS COMMUNITY

Many Indigenous people married when still young age. Marriage is done by parent
prospective bride; the ceremony began from merisik until a person has become legally married
couple. Normally, men and women have relationships such as brother or cousin or second cousin
has the same ethnic groups. It is not an offense if the prospective groom to marry a woman from
another tribe. But the wife must enter the husband's ethnic groups. Here is the marriage process
among Indigenous people:

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Figure 4.7: Orang Asli Wedding Ceremony

4.9.1 Hantar Tanda
Also known as send a ring headed by a deputy village chief to set the day woo
after it was done sending the ring. Usually send the ring is done by parents and
older family members.

4.9.2 Propose
On the fixed date the both sides, represented by the TokBatin/Porridge/
Penghuhu/Jungkerah and Penggawa if different ethnic groups. When the
ceremony finished propose a date to set up the day of married about seven
months, eight months or a year from the propose ceremony.

4.9.3 Marriage ceremony
The ceremony was initiated by sharpening the teeth of both bride and groom to
remove misfortunate and to prove the maturity of the couple and they can
responsible to their responsibilities.

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If ethnic groups live in the long house, the ceremony will held in the middle of the long
house to be viewed by other family members. On the marriage ceremony, all family members
will powdery bridal couple by sprinkle with rose water and glutinous rice as allowing the
marriage. Usually they wear traditional wedding dress according to their own. Bride will be
decorated with various handmade accessories. After that, the ceremony ended by bathing the
couple as the sign they already be husband and wife.

4.10 HANDICRAFT OF INDIGENIOUS COMMUNITY
Placement setting surrounded jungle, educate indigenous people to be creative use of

natural resources; without armed with modern equipment, this indigenous come with unique
products such as sculpture, weaving, masks and blowpipe

Women are very good in producing handicrafts. They are so take advantage of all the raw
materials available in the surrounding area. Senoi tribes for example, using fresh seeds in
produced jewellery such as bracelets, earrings and necklaces

Figure 4.8: Example of handicraft made Orang Asli

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4.11 SUMMARY
Culture is a symbol of the identity of a community. Not the least of our indigenous

communities are also plenty of culture on their own. Not many people recognize the Aboriginal
community, and even then only sporadically aired in the media about the culture of this
community. Indigenous culture is unique because is has a tradition of cultural diversity in
practice until now. Especially those Orang Asli, they try their best to maintain the culture
inherited them and try to inherit the culture of younger successors.

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ACTIVITIES
Instruction: Answer all questions (TRUE/FALSE)
1. Kensiu, Kintak and Bateq include in Indigenous community
2. The largest of Orang Asli in Peninsula Malaysia is Senoi.
3. Semang tribes are animistic where they believe that non-human objects have

spirits.
4. Barter system is one of the important activities for Indigenous economy
5. Tambooh, Pensol and rebab are the instrument used in Sewang dance.
6. When the ceremony finished propose a date to set up the day of married about

seven months, eight months or a year from the propose ceremony.
7. Senoi tribes using fresh seeds in produced jewellery such as bracelets, earrings

and necklaces
8. Purpose of celebrating the festival is to expressing gratitude for good fortune

and health acquired during the year that passes brother closer ties among
relatives and friends and the companionship
9. Proto Malay led nomadic life in the jungle and the Senoi tribes settled closer to
river and the sea
10. Mah Meri means "Orang Hutan or Forest People" and also knew as sea people

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TOPIC 5
IBAN COMMUNITY IN MALAYSIA

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5.0 INTRODUCTION
The Iban people, also known as Sea Dayaks, mostly located in northwest Borneo

(Sarawak). This part of Borneo once a British Colony gained independence in 1963 together
with North Borneo (Sabah) when they agreed to joined Malaya and Singapore from the
Federation of Malaysia.

They were also known as the most fearless headhunters on the island of Borneo. The Iban
of today are no longer headhunters, but are generous, hospitable, and peaceful people. They are
the largest ethnic group in Sarawak and Brunei. The people groups under the Iban cluster,
including the Iban of Sarawak and Brunei, Balau, Remun and Sebuyau. They speak different
languages which are classified as a subgroup in the Malayic-Dayak family of languages.

Figure 5.1: Iban warrior
Traditionally the Iban are a riverine people, dwelling in longhouse communities located
along the main rivers and smaller streams in the interior of Sarawak. The early Iban settlers who
migrated from Kalimantan, via the Kapuas River. While some of them still practice traditional

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religions, the majority of the modern-day Iban had adopted the Christianity. The spoken
language is the Iban language (Jaku iban) in which. Many words in Malay can be found in Iban
and vice versa.

5.1 SPOKEN LANGUAGE/ THE LANGUAGE

The Iban, or Sea Dayak, is a language of the Indonesian (Austronesian) family. It is
distinctly from Malay but closely related to it. The existence of certain structural as well as
lexical affinities between the two languages has led several authors to treat Iban as a Malay
dialect.

Table 5.1: Example of Iban Language.

Num Jaku Iban English
I
1 Aku You
They
2 Nuan Speak
3 Sida’ Learn
Table
4 Bejaku How are you?

5 Belajar

6 Mija

7 Nama berita nuan?

5.2 THE IBAN LONGHOUSE

The Iban people live in longhouses. Each longhouse is an aggregation of separate family
units, independent of each other. A family unit is referred to as a "door" “pintu”, and a single
longhouses may consist of more than 200 people. The head of the longhouse is known as tuai,
which literally means old. A chief or headman governs over several longhouses in a specified
area. He is known as the pengulu are not hereditary. Men are choosen to hold these "offices" on
the basis of their valour, physical appearance, wealth and mastery of Iban customs and traditions.

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Structurally, each house consists of a series of family apartments arranged side by side.
The same term “bilik” refers to both the longhouse apartment and the family group that occupies
it. The “bilik” (family room) typically consists of three generations — grandparents, a son or
daughter, his or her spouse and their children — with membership acquired by birth, marriage,
incorporation or adoption (Freeman 1957). Fronting the “biliks” is a covered, unpartitioned
gallery called the ruai. This runs the entire length of the house and, while divided into family
sections (each built and maintained by an individual “bilik” family) the whole is available for
communal use. The wall that separates the “biliks” from the ruai thus bisects the structure into
two equal halves (See figure 5.2 below).

Figure 5.2: Longhouse structure
On one side of this wall, the “bilik” apartments represent each family’s domestic space,
symbolizing its existence as a discrete corporate group, while the unpartitioned gallery on the

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other side is a public space, symbolizing the longhouse as a whole and its membership in the
larger riverine society that encompasses it.

Figure 5.3: Longhouse
5.3 IBAN AGRICULTURE AND ECONOMIC

The Iban of Sarawak in Malaysian Borneo, traditionally longhouse-dwellers and shifting
cultivators, have long been noted for their mobility – both migration (“pindah”) of groups of
pioneering households to establish longhouses in new territories, and journeying (“bejalai”) of
young men for months or years at a time, at first to harvest and sell forest produce, then in later
generations to work for wages in oilfields, plantations, and cities (Freeman 1970; Sutlive 1978;
Kedit 1993).

In recent decades, a new form of mobility has been evident, associated with the agrarian
transition underway in Sarawak, whereby educated young people move permanently to urban
based employment, sending remittances to help support their parents back in the longhouse. This

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has had major implications for rural livelihoods, household organization, and the longhouse
community – some of them quite unexpected.

5.3.1 Pepper
Most of Iban community that stays in longhouses. They plant peperr and paddy as

their main economy activities. In Sarawak, pepper cultivation dates back to 1856 but
more extensive planting started in the 1900s.

Figure 5.4: Pepper plantation
Today, pepper is one of the important cash crops, supporting the livelihood of
about 67,000 rural dwellers in upland areas of Sarawak. Holdings are small, averaging
0.2 ha. They concentrate in certain Districts of Kuching, Samarahan, Sri Aman, Betong
and Sarikei Divisions. The present estimated planted area is about 13,000 ha.
Sarawak exported about 19,748 tonnes of pepper in 2004 and 18,824 tonnes in
2003, valued at RM 113.2 million and RM 120.0 million respectively. Nearly 98% of
Malaysian pepper is produced in Sarawak. Currently, Malaysia ranks No. 5 after

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Vietnam, India, Indonesia, and Brazil in terms of pepper production. The production in
2004 was about 20,000 tonnes.

Export Forms of Pepper
About 95 % of the pepper traded globally is in the form of black and white

peppercorns. The remaining 5% is made up of pepper oleoresin, pepper, oil, green pepper
and ground pepper.

The Pepper Plant
Pepper vines thrive in warm and wet tropical climate. They are normally grown

from stem cuttings, rarely from seeds. The root system is developed from adventitious
roots formed at nodes that are buried in the soil at planting. As the vegetative
(orthotropic) shoot climbs upward, a simple leaf is produced at each node. A bunch of
short adventitious roots also develops to help the shoot cling to the support. At each node
an axillary bud grows into a lateral branch (plagiotropic) which eventually bears the fruit
spikes.

Flower spikes originate at the node opposite each leaf. Most cultivars have
bisexual flowers that are usually self-pollinated. The fruit is a berry, pale green and soft
in the early stage, but turns dark green and hard as it matures. The outer skin (exocarp)
becomes yellow and bright red and becomes soft as it ripens. Each berry contains a single
seed enclosed by a pulpy mesocarp. The commercial black peppercorn is the entire dried
berry whereas the white peppercorn is the seed.

Peppercorn owes its pungency to the presence of the alkaloids piperine, chavicine and
piperettine. Volatile essential oils give rise to the typical aroma. Together, these
compounds constitute the oleoresin that can be recovered by solvent extraction. The
spiciness and pungency are influenced by varieties and also the growing local.
5.3.2 Rice Cultivation

Rice cultivation in Sarawak is greatly hampered by topographical conditions not
suited for securing irrigation water in spite of its favorable climate. Sarawak is located

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close to the equator and its climate is defined as a tropical rainforest type receiving 2,000
to 6,000 mm of annual precipitation. The land is mountainous except for coastal areas. It
is characterized by gently folded low mountains and hilly lands spread over most parts of
the country.

The lowlands, or coastal areas, consist of riverine and marine sand and mud.
Thick peat layers are often developed in the lowlands because of the favorable climatic
conditions for vegetation. In addition, the low lands often suffer from floods as well as
seawater intrusion, therefore, have not widely used for paddy cultivation in the past.
Under these natural circumstances hill paddy cultivation in the mountain areas has been
the major method of rice production for a long time.

Recent population pressures and the difficulties of production increase in hill
paddy areas make it necessary to grow more rice under wet paddy conditions in the
lowlands. Yet, since the topographical conditions limit supplemental irrigation only in
certain fortunate areas, natural rainfall is the only source of water in most parts of the
lowlands.

Figure 5.5: Rice Cultivation
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5.4 IBAN POPULAR TRADITIONAL DISH
5.4.1 “Manuk pansuh”
“Manuk Pansuh” is typical among the people in Sarawak, Malaysia. “Manuk
pansuh” is a dish prepared by cooking chicken meat in a bamboo and stuffed with water
(which later will be the soup), seasonings and covered with tapioca leaves (later could be
eaten together with the cooked chicken).
The origin of “Manuk pansuh” is not available, but the Ibans and the Bidayuhs
(people of Sarawak) always prepare this dish for any celebration days, especially the
Gawai Dayak (celebration for the end of harvesting).The uniqueness of using the bamboo
stem to cook is that the bamboo will give a special aroma and texture to the food where
it’s impossible to have using other methods such as using woks.

Figure 5.6: Manuk Pansuh preparation
5.4.2 Ai Tuak

“Ai Tuak” is a traditional iban brew generally made with glutinous rice, yeast,
sugar and water. It is similar to Chinese rice wine and Japanese rice wine. A visit to the
longhouse will usually see guests welcomed with a glass of tuak, a home-brewed rice
wine. Generally, in Sarawak, people loves this drink so much when they have any special

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occasion and festivals, especially during Gawai celebration. “AiTuak”, or rice wine is a
special kind of drink that made out of fermented rice with yeast and sugar or sometimes
the sugar cane although the first one is popular in the past. It's normally served as a
welcoming drink to the guests other than become a special drink during the celebrations.

Figure 5.7: Ai tuak

5.5 IBAN TRADITIONAL ATTIRE

5.5.1 Women attire
The traditional attire worn by Iban showcases patient (either in wearing or

creating it!). A simple suit is actually several layers piled one on top of the other.
Weighing the dress down is heavy jewelry such belts made of silver coins. The other
thing that is reflected in the Iban costume is the fine silversmith work that abounds in the
"super" large pieces in each attire. The most important is the “Sugu Tingg”i (a comb case
made entirely of silver).

They wear this attire for certain occasion only, for example “Kumang Gawai”
beauty pageant or welcome VIP to longhouse. From the top is “Sugu Tinggi”, Tango
(made from beads), “Tali” “Mulun”, “Selampai”, “Rawai”, “Tumpa Bentuk”,
“Sementing Ringgit”, “Lampit,” “Sementing Buchai”, “Buah Pauh” and “Gelang
Kaki”.

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Figure 5.8: Traditional women attire
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5.5.2 Men attire

Iban Man Costume comprises of “Gelang betis”, “Bulu kenyalang”, “Sangkuh”
(Spear), “Bulu burung ruai”, “Ketapu” (Hat), “Baju gagon” ("Baju Gagung" is a hard
thick clothing made from animal skin like a bear ski), “Tenggak Marik” (necklaces),
“Terabai” (Warrior Shield), “Parang Ilang”, “Sirat” and “Tumpa Betis” (anklet)

(figure 5.9).

Figure 5.9: Traditional Men Attire
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i. Ketapu
“Ketapu” in Iban mean hat. This Ketapu also has a few different types, depend on
how it's made and what it's made of. Ketapu Rutan “(tisik tenggiling”/”Tisik
Empurau”) is a helmet type of hat, more of a skull cap made of coarsely plaited
rattan, covered with fish scales (“tisik empurau”) (“tisik tenggiling”). In Batang
Rajang area, it is a cap made from sliced rattan and decorated with beads and
feathers or furs. “Ketapu Tunjang” is a hand woven rattan/bamboo sliced
haedgear with several pointed tops where plumes or feathers are inserted. “Ketapu
Silong”, mainly used in Batang Rajang area, is beaded headgear decorated with
long hornbill feathers.

Figure 5.10: Ketapu

ii. Sirat
The loincloths was once of the most basic markers of cultural identity, is now
distinctively ignored among modern Ibans. Even the so called expert such as the
anthropologists give a word or two regarding it, then pass on to other matters.

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iii. Parang ilang
“Parang ilang” is one of the traditional weapons of Sarawak which is a heritage.
During the head-hunting or “ngayau” era, parang ilang was used as a weapon of
war and considered to be holy after many enemies were beheaded. The owner of
the “parang ilang” was believed to be holy, having magical powers and high
social status in society. Following the end of the head-hunting era of the twentieth
century, the belief was extinguished as the parang ilang was no longer considered
as magical or holy.
It is considered as a common weapon used by the Iban and other Dayak
communities for hunting, foraging forest vegetables, farming, cutting trees and
more. It is of importance to the Sarawak native communities just like the keris are
to the Malays in Peninsular Malaysia. Similarly, the “parang ilang” has a hilt,
sheath and a blade. The hilt, which is made from wood, is adorned with carvings
and specific decorations.

Figure 5.11 : “Parang Ilang”

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5.6 IBAN MUSIC
5.6.1 Taboh
Iban music is percussion-oriented. The Iban have a musical heritage consisting of
various types of agung ensembles – percussion ensembles composed of large hanging,
suspended or held, bossed/knobbed gongs which act as drones without any accompanying
melodic instrument. The typical Iban agung ensemble will include a set of
“engkerumung”s (small agungs arranged together side by side and played like a
xylophone), a “tawak” (the so-called ‘bass’), a “bendai” (which acts as a snare) and also
a set of “ketebung” (a single sided drum/percussion).

Figure 5.12: Engkerumungs

Figure 5.13: Tawak
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The Ibans perform a unique dance called the “ngaja”t. It serves many purposes
depending on the occasion. During “Gawai Dayak” it is used to entertain the people
who in the olden days enjoy graceful “ngajat’ as a form of entertainment. Iban men and
women have different styles of “ngajat”. The “ngajat” involves a lot of precise body-
turning movements. The “ngajat” for men is more aggressive and depicts a man going to
war, or a bird flying (as a respect to the Iban god of war, “Singalang Burong”). The
women’s form of “ngajat” consists of soft, graceful movements with very precise body
turns. Each “ngajat” is accompanied by the taboh or the body.

Figure 5.14: “Bendai”

Figure 5.15: “Ketebung”
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5.7 IBAN TRADITIONAL DANCE
5.7.1 Ngajat
The Ibans perform a unique dance called the “ngajat”. It serves many purposes
depending on the occasion. During Gawai Dayak, it is used to entertain the people who in
the olden days enjoy graceful “ngajat” as a form of entertainment. Iban men and women
have different styles of “ngajat”. The men dance has various unique moves such as
“minta ampun” (apologizing to guests first), showing skills of playing with the sword and
the shield, biting the sword in the mouth for affirming his strength, balancing the sword
over his shoulder while still dancing, “engkaja”t (fast foot movement to distract the
attention of the enemy), running forward with the sword pointed towards the enemy and
shouting war cries to strike the enemy and finally the glory of holding the enemy's freshly
chopped head. The enemy head may be symbolized by a coconut which is hung
beforehand on the tree of life and the ending move is apologizing to the guests again.

Figure 5.16: “Ngajat” performance
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The performance of “ngajat semain” is done in slower tempo and with graceful
movements. The dancer softens his body, arms and hands as he swings forward and
backward. When he bends his body the swinging of his hands is very soft. The
performance of “ngajat nanggung lesung” dance is more or less like the “ngajat semain”
dance. Only when the dancer bites and raises the heavy wooden mortar (“lesung”) with
his teeth, does he use extraordinary skill. It is not an attractive dance, although his
audience enjoys seeing his trick of biting and raising a heavy mortar and then placing it
carefully again on the floor.

Figure 5.17: “Ngajat Nanggung Lesun” performance
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When the dancers take the floor to dance, the musicians beat two “dumbak”
drums, a bendai gong, a set of seven small gongs (“engkerumung”) and a large “tawak
gong”. The music for the performance of “ngajat bebunuh” dance is quicker in tempo
than the music for the “ngajat semain” and “ngajat nanggung lesung” dances, as in the
dance itself.

The ngajat for men is more aggressive and depicts a man going to war, or a bird
flying (as a respect to the Iban god of war, “Singalang Burong”). The women’s form of
ngajat consists of soft, graceful movements with very precise body turns. Each “ngajat”
is accompanied by the “taboh” or the body.

5.8 DECORATION ART

Borneo natives are diverse in cultures. Every tribe has their on rich heritage. They are
famous in making decorative arts, from weaving, wood carving to tattooing.

5.8.1 Pua Kumbu
“Pua Kumbu’ represent the soul of Iban culture. It is a woven mythological tale

about the weaver. The Iban tribe's lifestyle and beliefs are intricately woven into their
textiles. The “pua kumbu”, the hand-woven warp ikat textile of the Iban, represents the
quintessence of Iban culture. It is, depending on the design, historical archive, a
mythological or religious story or a personal tale. It is a statement about the soul of the
weaver and her relationship with the spirits.

Throughout history, women have been inextricably associated with textile arts.
No matter what materials are used, no matter what form of culture is referred, their
participation has remained constant in influencing, shaping and evolving numerous
varied techniques. When one reviews historical and anthropological literature, this fact is
seldom recognised or is relegated to rather insignificant cultural importance.

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Thus it is not suprising that although much has been written on Iban culture,
emphasis has been on male dominated activities. As a result, very little research has been
made into women's contribution on the technical aspects of weaving, there has been little
study of the pua kumbu in a cultural and social context. Discussion and ensuing
interpretation of the symbolism has been limited to the study of individual motifs rather
than examining the pua composition as a whole.

The first objective of this article is to appreciate the application of the technical,
creative and artistic skills of the women, who are weavers and dyers, that signify the
social values of Iban traditional society, the second is to examine the evaluation of a
hierarchy of women's status, identified through attainment of weaving skills and the third
is to examine the traditions and related functions of the symbolic language of the textile
design in the “pua kumbu”. Such information is important for a greater cultural
understanding of Iban textile weaving.

Figure 5.18: “Pua Kumbu”

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5.8.2 Bemban” Mat
The standard Iban mat is made of “bemban”, a white-flowering reed of the

arrowroot family (Donax spp) that grows in swampy places. The village women tend the
plants, and allocate appropriate harvesting rights to the mat-makers. Suitable lengths are
cut, then the shiny outer skin is stripped off; this is the working material.

Unlike rattan, ‘bemban” is harvested by the women themselves. “Bemban”, like
most mat-making materials, must be harvested during the new moon. There appears to be
a scientific basis for this ‘superstition’ – the plants contain less sap at this time, so they
will dry better, and be less susceptible to fungus and insect attack when they are stored
later. The bark strips are carefully trimmed to equal width; a well-made mat is of a tight,
even texture.

Craftworkers distinguish between the ‘bemban ai’, which is generally used for
making mats, and the somewhat more rigid ‘bemban batu’ which can also be used to
make small baskets, and the characteristic patterned sun hat called ‘tangoi lelambak’.

Figure 5.19: “Bemban” Mat
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Each bemban woven mat has a beautiful intricate pattern woven throughout,
providing a subtle yet refined decorative quality. Each “Bemban” woven mat is created
by one woman who will select and gather the plant material, prepare the fibers, design the
pattern and weave the mat. Bemban Woven mats are suitable for use in interiors such as
sitting areas and are often used as wall hangings or framed artworks due to their intricate
designs and high level of craftsmanship.
5.8.3 “Marik Empang”/ “Tango”

Beautifully adorning the bosom, and shoulder of an Iban maiden is the “Marik
empang” also known as “tango” at any occasion or festival that requires her to wear the
traditional costumes. Bead of different colors is skillfully assembled to create patterns
and designs that reflect the uniqueness of the Iban heritage “Marik Empang” is actually
an elaborate beaded collar worn by Iban maidens in most dances and ceremonies. It is
believed to have been developed as a substitute to wearing layers of chunky beads which
were heavy and uncomfortable.

Figure 5.20: “Marik Empang”/ “tango”
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5.8.4 Hornbill carving
The carving of Hornbill, regarded by the Iban tribe as the God of War, is the most

sacred carving used to honor and commemorate the warriors and leaders in the Iban
community. The statues of hornbills are displayed as centre piece during the “Gawai
Kenyalang” ceremonies alongside with other rituals, bard or chanting as well as
offerings.

Traditionally, only a proven warrior is allowed to cut down a that meant to be
used in the Hornbill statue carving process and in the other hand the wood for the
Hornbill crest can only be cut by a warrior, who has killed numerous enemies in a single
expedition.

Figure 5.20: Hornbill carving
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5.8.5 Tatto
The word tattoo is derived from the Tahitian word "tatu", which means 'to mark

something'. Tattoo has been commonly practiced by different civilizations and cultures
since 12,000 BC. The purpose and aim of getting a tattoo varied from one culture to
another.

One of the earliest people who practiced tattooing were the Egyptians.
Archaeological digs have shown us that tattooing was practiced in Egypt from the time
the Great Pyramids were being constructed. As the Egyptian empire grew, so did this art
form spread to other civilizations such as Crete, Greece, Arabia and China. During the
17th century, pilgrims returning from Jerusalem were seen bearing permanent marks on
their bodies.

However, tattoos and people who bore them were not always viewed as pious or
having good moral fiber. In the early 1800s, tattoos became associated with the criminal
underclass as they were branded in order to display their illicit status. Eventually, tattoos
became synonymous with the tough working class and criminals.

These days, tattoos have become an acceptable part of our lives, mainly due to its
revival by celebrities. While it has enjoyed an astounding comeback, the purpose behind
getting a tattoo nowadays is somewhat different. These days, tattoos are used to carry the
identity of certain groups, the mark of a person's individuality and the symbol of beauty.

Tattooing in Borneo

Borneo, located in South East Asia is the third largest island in the world. The
natives of Borneo consist of different tribes where each has its own language and culture.
Though their languages and cultures are different, all tribes share something in common:
the tradition and practice of tattooing.

For many centuries, the tradition and practice of tattooing has been a way of life
for the Iban - one of the largest tribe amongst the natives. Tattoos were very much
entwined with every aspect of their culture. The practice of tattooing was a sacred

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activity that connected the people to the spiritual world. Tattooing was also linked to the
men's success in headhunting and the coming of age amongst the womenfolk. Aside from
symbolizing their social status, tattoos also enhanced the women's beauty. It is believed
that the darker the color of the tattoo, the more beautiful the tattoo and the bearer is.
Women were also tattooed as proof of their accomplishment in weaving, dancing or
singing. Aside from these, the Iban also bore tattoos for protective purposes as it is said to
help ward off harm and disease.

Figure 5.21: Tattoo

5.9 THE IBAN FESTIVAL
Celebrated with enthusiasm across Sarawak both in cities and rural villages, “Gawai

Dayak” is a multi-day festival to honor the indigenous people. Gawai Dayak translates to
"Dayak Day"; the Dayak people include the Iban, Bidayuh, Kayan, Kenyah, Kelabit and Murut
tribes which once roamed Sarawak and relieved unsuspecting traders of their heads. Although
steeped in headhunting traditions of the past, the only head removed these days during “Gawai
Dayak” belongs to a chicken sacrificed to honor a successful rice harvest.
More than just a tourist demonstration of indigenous culture for tourists, “Gawai Dayak” is
celebrated with genuine joy and enthusiasm. Weddings take place, singing and toasts fill the air,
and families are reunited with one another after being afar from each year.

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The History of Gawai Dayak
The traditions celebrated during “Gawai Dayak” are ancient, but the holiday is not. The first
Gawai Dayak festival took place in 1965 after several years of renewed cultural pride within the
oppressed Dayak community. When first asked to create a public holiday in celebration of the
Dayak people in Sarawak, the colonial government refused; they were afraid that other minority
groups would make similar demands. Instead, the government declared June 1 as "Sarawak
Day". Eventually, once Sarawak awarded with independence, the holiday was officially changed
to Gawai Dayak.

The Traditional Gawai Dayak Ceremony
Unless advertised otherwise, the opening ceremonies for “Gawai Dayak” in villages are
typically closed to tourists. The festival begins on the evening of May 31 with traditional music
and “Muai Antu Rua” (“miring” ceremonies) - a ritual aimed at keeping the spirit of greed
from ruining the celebration. During “Muai Antu Rua” two men drag a basket along the
longhouse; families in each room throw clothing and household items into the basket. The basket
is later dumped on the ground as a "sacrifice" to prevent interference from evil spirits.

At sundown, the festival chief sacrifices a chicken to show thanks for a good harvest and to ask
the same for next year's rice harvest. Dinner usually accompanied by bamboo-steamed rice and
sweet cakes made from coconut milk is served after the sacrifice. Just before midnight a
procession known as the “Ngalu Petara” passes by seven times to welcome the friendly spirit
gods to the festival. At midnight, the festival chief holds a toast with “ ai tuak” - locally-brewed
rice wine - for long life. The festival turns into an informal free-for-all following the toast with
dancing, singing, and drinking.

What to Expect During Gawai Dayak
Once the previous night's formal ceremonies finish, tourists are invited to visit on June 1.
Activities differ between longhouses; some allow tourists to shoot traditional blowpipe guns or
to watch cockfights. No matter the locale, visitors are always greeted with a shot of strong rice
wine; drink up or find a place to hide it - refusing is impolite!

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Figure 5.22: Miring ceremonies

Iban and Dayak homes are opened during “Gawai Dayak”, allowing visitors a glimpse of daily
life. Tourists are invited to wear colorful costumes for photos, participate in traditional dances,
and sample delicious cakes and treats.

Witnessing the Gawai Dayak Festival
Although celebrated all over Sarawak in Borneo, your best bet for seeing Gawai Dayak
festivities is near the capital of Kuching. The Sarawak Cultural Village - the same venue used
annually for the Rainforest Music Festival - is a popular and convenient place for tourists to learn
more about indigenous culture. Kuching typically holds a celebration on May 31 at the Civic
Centre, which includes dinner, dancing, and even a beauty pageant.

Do not expect to arrive on May 31 to join the “Gawai Dayak” celebration; Kuching is busier
than ever with parades and demonstrations along the waterfront that begin a week prior to
“Gawai Dayak”. Another option for the more adventurous is to make your way up the river from
Sibu to the small village of Kapit and arrange for a visit to a local family's traditional longhouse.

There is a push within the Dayak community to unify the celebration, however for now “Gawai
Dayak” remains mostly incongruous with each longhouse holding separate events and
itineraries. Do not expect any less from the festival - as many as 30 families can occupy a single
longhouse.

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Gawai Dayak in Modern Times
Forget the romantic stereotypes - not all of Sarawak's indigenous people still live in longhouses
or choose to don a traditional costume during “Gawai Dayak”. Many Dayak people have moved
from their rural homes into the cities in search of work. Urban Dayak communities may choose
to celebrate their holiday simply by taking time off work - a rare occasion - to visit family
outside of the city. Christian Dayaks often attend mass at a church and then celebrate with dinner
in a restaurant.

5.10 SUMMARY

They were also known as the most fearless headhunters on the island of Borneo. The Iban
of today are no longer headhunters, but are generous, hospitable, and peaceful people. They are
the largest people group in Sarawak and are one of the main indigenous people groups in Brunei.
The people groups under the Iban cluster, in addition to the Iban of Sarawak and Brunei, include
the Balau, Remun and Sebuyau. All these Iban people speak different languages which are
classified as a subgroup in the Malayic-Dayak family of languages.

Today, many of the Iban are Christians, while a growing number are marrying into Malay
Muslim families. It is common to see a mixture of traditional Iban and Islamic Iban families
living together in a modernized Iban longhouse.

Farming is the main occupation of the Iban community, but not many are self-sufficient
as they must buy additional food to supplement what they grow. They grow cash crops such as
pepper, rubber, cocoa, oil palm, and fruits. Some still hunt wild animals in the jungle.
Traditionally, Iban hunted by setting traps or using blowpipes, but today many train hunting dogs
to run down their prey. They no longer rely on the rainforest's resources to survive. Increasingly,
younger Iban are becoming qualified professionals and migrating to major towns and cities.

Iban community rich with their own cultures. Until now most of iban still practice their
culture. This is part of their culture and way of life. For the Iban, these rules apply to virtually
all spheres of human life, social, economic, religious and political.

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ACTIVITY

Instruction: Answer all questions (TRUE / FALSE)

1. Iban community lives at longhouse (True/False)
2. Most of iban work as fisherman (True/False)
3. Ai Tuak made from grape (True/False)
4. Paddy is harvested every February – March. (True/False)
5. “Gawai Dayak” Festival annually celebrated on 31 May every year. (True/False)
6. “Miring” ceremonies gives thanks to God and spirits for bounty of the land(True/False)

“Marik Empang” / “Tango” made from bead. (True/False)
7. “Pua Kumbu” represents the soul of Iban culture. (True/False)
8. The women form of ngajat is more aggressive and depicts a women going to war.

(True/False)
9. The man’s man form of ngajat consists of soft, graceful movements with very precise

body turns. (True/False)
10. The Iban have a musical heritage consisting of various types of agung ensembles called

taboh. (True/False)
11. Statues of hornbills are displayed as centre of the “Gawai Dayak” Festivel (True/False)
12. A “ketapu” is one of women's traditional attire. (True/False)
13. “Sagu Tinggi” is one of women's traditional attire. (True/False)
14. “Bemban” Woven mats are suitable for use in interiors such as sitting areas(True/False)
15. The uniqueness of using the bamboo stem to cook “manuk pansuh” is bamboo will give

special aroma. (True/False)
16. Language spoken is Iban language namely “jaku iban” (True/False)
17. How are you in iban language is Nama gaga? (True/False)
18. “Terabai” is called shield of borneo (True/False)
19. “Manuk Pansuh” is a dish prepared by cooking chicken meat in a bamboo and stuffed

with water. (True/False).

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TOPIC 6
KADAZAN COMMUNITY IN MALAYSIA

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6.0 INTRODUCTION

The important of people and culture related to tourism development in Malaysia has
significantly increased. Kadazandusun is the indigenous tribes of Sabah, Malaysia. They live in
the interior, around the local area and particularly the west cost of Sabah. Kadazandusun is the
largest ethnic group, about 80% of the people of Sabah.

Sabah is one, out of the thirteen, states of Malaysia. It is located to the east of Malaysia,
bordering Sarawak, the largest state of Malaysia. Sabah is the second largest state of Malaysia
and Kota Kinabalu is the capital city of the state and one of the major tourist attractions of
Malaysia. Tourism has had a major role in bettering the economy of Sabah and Kota Kinabalu is
one of the hotspots for tourist.

Fondly known as “Land below the Wind”, Sabah is blessed with amazing 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.

In Sabah, multi ethnic groups can be found including the Kadazandusun, Bajau, Murut,
Kedayan, Irranum, Rungus, Kimarang, Kwijau, lundayeh, Ubian, Binadan, Orang Sungai, Tatana
Tagaas, Brunei, Suluk and others. The main ethnics of Sabah consist of the Kadazandusun,
Bajau, Murut and Rungus.

Kadazandusun is the largest ethnic category in sabah and is predominantly wet rice and
hill rice cultivators. Their language belongs to the Dusunic family and shares a common
animistic belief system with various customs and practices. Their ancient belief on the verity that
everything has life-the rocks, trees, and rivers are all living things.

They have souls and spirits that must be appeased from time to time through specific
rituals. In these modern times, some of the rituals are less performed except during certain
festivities.

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6.1 RELIGION

The majority of the Kadazandusun are Christians, mainly Roman Catholics and some
Protestants. Islam is also practiced by growing minority. The influence of the Spanish
missionaries from the Philippines resulted in Christianity, in its Roman Catholic form, rising to
prominence amongst Kadazans. A minority of them are Protestants due to later British influence
during the 20th century.

The Kadazandusun belief system centers around the great spirit or entity called
Kinorohingan and around the belief that spirit rule over the planting and harvesting of rice, a
generations-wide practice. Special rituals are performed before and after each harvest by a tribal
priestess known as a bobohizan.

6.2 ECONOMIC OF KADAZANDUSUN PEOPLE

6.2.1 Farming
Since time immemorial, the Kadazandusun community known as rice farmers and

a major producer of rice in Sabah. They harvest rice using a sickle, knives and
“linggaman”. However, in some places with the advances in agricultural technology, they
began to use tractors to plow the fields. Besides planting rice paddy fields and hills,
Kadazan people also planting corn, cassava, tobacco and vegetables such as sweet temu,
spinach, pumpkins, petola, beans, peppers and chillies.

These crops they planted around the house. In the area Kundasang, where the
climate is cold, Kadazan people planting a variety of cool-climate vegetables like
cabbage and asparagus. In addition, they also plants fruits like pineapple, jackfruit,
"tarap", banana, mango, papaya, coconut, "bambaangan", orange, red guava and
rambutan.

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6.2.2 Husbandry and Hunting
Kadazan people rear pigs, chickens, goats, ducks, cows, goats and geese. In the

past, they hunt with bamboo blowpipe, snares, traps, spears and hunting dogs.

6.2.3 Fishing
Kadazan people also catch fish in paddy fields, ponds and rivers with nets,

fishing nets and fishing gear such as the traditional "siud", "SAVAK", traps, "bangkala"
and "tambong". Kadazan people from Tatana tribes at the district of Kuala Penyu, is one
of tribe that worked as a fisherman.

6.2.4 Collecting Forest Products
Kadazan People, especially those living in interior areas of the state take woods

and bamboos to make fences. They also take Pandanus leaves woven into mats and
baskets. Fruits, vegetables and fish products, and hunting resources is for their daily
needs, but often it is also sold at the market.

6.3 CUISINE

Kadazan peoples of Sabah ethnic has a tradition of hereditary from generation to
generation and still practiced to this day. Among the famous traditional food Kadazandusun are
Hinava, Sup Manuk Lihing, Pinaasakan and Tapai.

6.3.1 Hinava.
Hinava is one of the special traditional dishes of ethnic Kadazandusun. Made

from fresh fish meat which is mixed with fruits, pound that has been shredded, red
chilies, ginger, onion, lime cotton and salt.

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6.3.2 Sup Manuk Lihing
By tradition the Kadazandusun, the food is very suitable for the new women after

childbirth. Materials required are a chicken village, a liquor which is called 'Lihing'
among the Kadazan and sliced ginger. Many traditional ethnic foods Kadazandusun today
can be found in common a certain number of restaurants providing local food traditions.

6.3.3 Pinasakan
Pinaasakan is one of the local dishes served quite often during meal times in a

family household. This food rarely can see these days if not during festive season like
Kaamatan.

6.3.4 Tapai
Tapai (rice wine) is a traditional drink that needs to be in life as a symbol or

practice that has been done over many generations. Tapai has become synonymous with
the Kadazandusun community. Among the factors drinking culture is the belief in the
spirit of fermented rice (Harvest Festival), customs, marriage ceremony, gatherings, open
house, entertaining event, the opening before the discussion fiancee, death, mutual
assistance, etc.

6.4 MUSIC AND DANCE

The Kadazandusun has developed their own unique dance and music. Kadazandusun are
also very well known for their Sumazau dance. The rhythm of this dance is slow following the
beat of the bronze gong, with the dancers moving their feet with small movement. Sumazau is
the name of the dance between a male and females, performed by couples as well as group of
couples, which usually a companied by a symphony of handcrafted bronze gong that are
individually called “tagung”. The hands of the dancer were spread into an eagle like wing,
moving up and down.

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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 wedding and gatherings.

Kadazandusun traditional musical instrument are:
i. Gong beating or "Magagung."

Gongs, usually made from brass or iron, are beaten using wooden sticks sometimes
with rubber covering at one end. Depending on the location of the Kadazan village,
the number of gongs used varies. In Penampang, six gongs are used whereas only five
gongs are used by the Kadazans of Papar.
People perform the "sumazau" dance making physical movements in accordance to
the sounds of the gongs beaten in harmony.

ii. Togunggu or Togunggak
These are gong-sound producing musical instruments made from dried bamboo. A
Togunggu set is made from thin bamboos while the Togunggak set is made from
thick bamboo stems.

iii. “Bungkau”
The "Bungkau" is made from the skin of the branch of a certain palm tree the
Kadazans call "Pohod." The sound is produced by using the right thumb to gently
bend the instrument back and forth while holding it in front of the mouth. The music
is produced by changing the size of the mouth.

iv. "Sompoton"
The "Sompoton" is a made from a dried gourd to which eight bamboo tubes of
varying length are inserted through a rectangular-size aperture. The musical sound is
produced by blowing through the narrow end of the gourd while the fingers are used
to open or close the holes made in the bamboo.

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v. "Suling"
The "Suling" or Kadazan flute is made from bamboo belonging to the "Vuhu"
bamboo family.

vi. "Tongkungon"
A fat stem of the "Poing" bamboo species is used to make the "Tongkungon."

vii. "Kulintangan"
A fat stem of the "Poing" bamboo species is used to make the "Tongkungon."

Kadazan native music is closely connected with the development of Kadazan traditional
dances. These dances include the following.

i. The "Sumazau"
The "Sumazau" is the most common of all the Kadazan dances. People perform
"Sumazau" during weddings, harvest festival celebrations, anniversaries, and even
during engagements.

ii. "Batibas"
The "Batibas" is the warrior dance of the Kadazan people. It is understood that
Kadazan warriors performed this dance after every battle, bringing back with them
the severed heads of their foes.

iii. The "Bobohizan" Dance
The "Bobohizan" (priests/priestesses) dance is the dance performed by Kadazan
priests and priestesses while chanting during animistic rituals such as the Magavau.

6.5 CUSTOMS AND BELIEFS
Pesta Kaamatan or Harvest Festival is a unique celebration of Kadazandusun society. It's

a celebration to honour the Rice Spirit - Bambaazon or Bambarayon and giving thanks for yet
another bountiful year. The festival begins on the first of May at many district levels. The rites

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and customs of the Pesta Kaamatan is a tribal practice of Kadazandusun and also Murut peoples.
The Bobohizan or Bobolian who are the High Priests or Priestesses (depending on the
district/area undertaking the preservation) will conduct the ritual. In different districts, the priests
or priestesses may be addressed to differently, for instance in Tambunan district they are known
as Bobolian, in Tuaran as Tantagas and in Penampang as Bobohizan.

It is believed that rice in whatever form embodies Bambaazon that must be protected
from harm. The homecoming of Babaazon is an integral part of the Harvest Festival. Ancient
folklore tells of the ultimate deed of Kinoingan or Minamagun - The Almighty God or Creator,
who sacrificed his only beloved daughter, Huminodun so that his people would have food.
Various parts of her body were planted from which plants grew.

During the Magavau ceremony, the Bobohizan will select some stalks of rice that are left
undistributed until the harvest is over. In some districts, the chosen stalks are cut before the field
is harvested and are then brought into the owner's house. The task of Bobohizan is to search and
salvage the lost Bambaazon who are hurt or separated from the main mystical body. In the old
days, this ceremony was often performed in freshly harvested fields during the first full moon
after the harvest to invoke the rice spirit.

The language used by Bobohizan is archaic whose meanings have been buried in time
and known only to the few remaining Bobohizan these days. The vital aspect of Magavau is the
paraphernalia used to summon Bambaazon. The sacrament of Magavau may vary according to
district practices but the ceremony always ends with food offerings to Bambaazon and merry
making for the village folks.

The highlight of Pesta Kaamatan is the selection of the pageant queen or "Unduk
Ngadau" which can be literally translated as "Zenith of the Sun". It conceptually derives from the
sacrifice of Huminodun. The maiden who has the honour of being selected should bear
semblance to Huminodun and will represent all that is virtuous in the revered Huminodun.

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