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TARIAN MODTOMU SUMIRID
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Introduction and history
The Sumirid Dance is a traditional dance of the Kadazan-Dusun ethnic community, specifically from the Dusun Liwan sub-group in the Kundasang area of the Ranau district in Sabah. This dance has a unique history, inspired by a significant event called Modtomu. Modtomu is a gathering of village or tribal leaders to resolve disputes, address community problems, or discuss important issues within their communities.
Sumirid refers to movements associated with the traditional process of separating rice grains from their stalks by stomping them with the feet, an activity known as Mongogik in the Dusun language. Before the advent of rice threshing machines, Mongogik was performed manually and was an essential method in rice processing. These movements later inspired the creation of the Sumirid Dance, which serves as a form of dance and a cultural symbol that preserves the traditional practices of the Dusun Liwan community.
The Sumirid Dance, a significant part of the Modtomu ceremony, was crucial in welcoming and honouring distinguished guests, such as tribal leaders. These guests attended the ceremony to resolve important issues within the Dusun Liwan community. The dance was not just a form of entertainment but a strategic interlude, marking the end of one issue's discussion and the beginning of the next.
In addition, beyond being a gesture of respect, it is a profound expression of gratitude and reverence. It is a tribute to nature and ancestors, particularly during celebrations marking the return of men who had protected their community or brought home abundant game from the forest. The symbolic movements in the dance not only convey a spirit of bravery and agility but also express the community's deep gratitude for the blessings of nature.
Moreover, the dance is regarded as a tribute to Bambarayon, the spirit of rice believed to bestow bountiful harvests. During every Mongigik activity, the Dusun Liwan community performs this dance as a sign of appreciation for their deeply rooted cultural heritage. Today, the Sumirid Dance is often performed at significant events such as harvest festivals, weddings, and cultural ceremonies, serving as a unifying medium that strengthens the bonds among community members.
Male dancers wear an attire called Sinonson, crafted from tree bark, symbolising the strength and resilience of Dusun Liwan men, who were often engaged in hunting and warfare. Their headgear, known as Sigar, is adorned with feathers from the Sungang bird, representing bravery and skill. Additionally, the men wear loincloths made from tree bark or traditional woven fabric, further enhancing the authenticity and uniqueness of the dance performance.
Female dancers don a distinctive black attire adorned with golden lace or trim, known as Garung Lapoi, complemented by a headpiece called Sunduk or Sinurondoi. Accessories for the women in the Sumirid dance emphasise the waist area, including the Himpogot and Tangkong. The Himpogot, also referred to as Botungkat, is a belt-like accessory crafted from silver coins. At the same time, the Tangkong consists of circular metal or iron pieces with central holes arranged to form a belt-like structure.
This dance is accompanied by two traditional musical instruments of the Dusun Liwan ethnic group: the Gong and the Bungkau. The Gong, used in this performance, typically comprises three to five instruments of varying sizes, producing a harmonious resonance. Meanwhile, the melodic tones of the Bungkau are blended to create the rhythm for the Sumirid Dance. Meanwhile, the Bungkau, a type of jaw harp belonging to the lamellophone category, is crafted from Polod wood or palm wood. It is usually sized between 6 to 8 inches (17 to 19 centimetres), making it both portable and practical for performance.
The Sumirid Dance is typically performed in pairs, with four to five pairs of dancers participating. The choreography emphasizes hand movements, which feature two distinct positions: open-palmed and clenched. Female dancers alternate, extending their hands to the left and right, while male dancers perform clenched-hand gestures. Another variation involves semi-circular rotations of the hands. Simultaneously, the dancers' feet either gently stomp in rhythm with the rotating hand movements or shuffle when the hands are extended outward.
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Reference Source
Kein, E. D., & bin Hamza, H. Z. (2023). Kajian Kes Terhadap Sumirid Sebagai Tari Gubahan Baharu Neo-Tradisional. Kajian Kes dalam Seni Persembahan Volume, 63. Universiti Pendidikan Sultan Idris.
Pugh-Kitingan, J. (2012). Kadazan Dusun. Institut Terjemahan & Buku Malaysia.
Location
State JKKN Contact Information
Puan Nurshahrinna Syahrial
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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