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TARIAN SUMAGAYAN
Citra Seni Budaya Association, 89150 Kota Belud, SabahPicture
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Introduction and history
Sumagayan, also known as Sagayan, is one of the traditional dances of the Iranun ethnic community in Sabah, predominantly residing in the districts of Kota Belud, Kota Marudu, and Tuaran. This dance is performed using masks, as it is closely linked to the legend Darangan ni Bantugen, an epic tale of heroism in Iranun traditional literature. The epic narrates the story of Bantugen, a renowned warrior who battles enemies to protect his people (the Iranum nation). Hence, the basic elements of this dance are characterized by combat and martial art movements that resemble the techniques of silat.
However, since the late 1970s, the popularity of this dance has declined, leading to its diminished recognition among the general public. One of its key elements, the use of masks during performances, is no longer widely practised. Today, only a small segment of the Iranun community, particularly in the East Coast regions of Sabah, including the small districts of Tungku, Nala, and Barigas, continues to preserve this dance as part of their efforts to maintain their culture and identity.
Typically, this dance is performed to welcome the arrival of the groom's entourage at the bride's house. It serves as a symbolic gesture of the host's (the bride's family) warmth in receiving their soon-to-be extended family. Additionally, the dance acts as a form of appreciation for the groom, who will later take on the role of head of the bride's family.
The attire of Sumagayan dancers typically features the traditional clothing of the Iranun ethnic community, known as Malaboro. The upper garment, called Sinipak, is a type of shirt with slits along the sleeves that extend to the dancer's elbows. Female dancers complete their attire with long woven skirts, while male dancers wear long trousers paired with a Samping (a wrapped cloth) draped diagonally. This attire is usually made from handwoven fabric known as Mugah.
The accessories for both male and female dancers generally include ornaments for the neck, waist, and head. The neck ornament, called Mandapun, is made from gold-coloured brass or aluminium plates sewn onto black velvet fabric. At the waist, male dancers wear a belt known as Sabitan Bobutulan, while female dancers wear a similar belt called Sabitan. These belts are crafted from aluminium plates combined with elastic bands or black velvet measuring three inches in width. For head adornments, female dancers wear a Sinisip, also known as Sarimpak, which is entirely made from thin, gold-painted aluminium sheets. Male dancers, on the other hand, wear a Sigar, a traditional headdress made from Dastar fabric.
An additional accessory that enhances the uniqueness of this attire is Kinuku, a hand ornament for female dancers consisting of long nail extensions made from thin aluminium sheets measuring three to five inches. Meanwhile, male dancers carry hand props such as spears or machetes, adding a dynamic element to their performance.
The musical instruments accompanying this dance include the Kulintangan, Bebandir (Canang), and gongs. Typically, the dance is performed to an energetic musical rhythm that enhances the strength and agility of the silat-inspired movements displayed throughout the performance.
This dance is performed by one male dancer and four to six female dancers. The male dancer also takes on the role of a singer, known as Daragan, who plays a crucial part in providing the narrative context throughout the performance to convey the epic tale of Bantugen. The singing is synchronized with the accompanying music, and the dance movements follow the rhythm of the song.
Asnari Taim. Citra Seni Budaya Association, 89150 Kota Belud, Sabah. 01 November 2024.
Reference Source
Lokman Abdul Samad & Asmiaty Amat. (2012). Iranun. Dalam Kntayya Mariappan & Paul Porodong (Eds). Siri Etnik Sabah ITBM-UMS: Murut & Pelbagai Etnik Kecil di Sabah. Institut Terjemahan dan Buku Malaysia. Kuala Lumpur.
Saidatul Nornis. (2018). Ngalai: Ritual Penyembuhan dalam Kalangan Orang Bajau di Kota Belud, Sabah. Akademika 88(3), 101-112. doi: 10.17576/akad-2018-8803-09.
Taim, M. A., & Amat, A. (2022). Sumaranun dance: Movement changes from medical ritual to dance movement. Imaji Jurnal Seni Dan Pendidikan Seni, 20(1), 47–57. https://doi.org/10.21831/imaji.v20i1.45189
Location
State JKKN Contact Information
Encik Hassanal Redzuan
Cultural Officer
Jabatan Kebudayaan dan Kesenian Negara, Sabah
Kompleks JKKN Sabah,
Jalan Tasik off KM4 Jalan Penampang,
88200 Kota Kinabalu
SABAH
088-205070
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