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TARIAN MAGUNATIP
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Introduction and history
Magunatip is a traditional dance inherited from the Murut ethnic group, one of the most important indigenous communities living in the interior of Sabah, covering the Tenom, Keningau, Pensiangan and several other districts. The name Mangunatip comes from the word ‘Atip’, which means ‘Jepit,’ which refers to the act of pinching the two surfaces of the bamboo stick, which is used as the main instrument in this dance. The bamboo stick produces rhythmic sounds and choreographic elements, which ensure that the dancers have the skills and agility to play their feet between the pinched bamboo sticks and avoid being hit by the ‘Atipan’.
Typically, the Magunatip dance is performed by male and female dancers in a rhythmic rhythm, where the male will lead with the ‘Mahihialang’ dance, followed by the female dancers with the ‘Anggalang’ dance rhythm. It begins with the accompaniment of the musical instruments ‘Sansaring’, which is a small gong and ‘Jarang’, which is a drum, followed by the harmony of sounds from the tapping between two bamboos. The integration of the musical ensemble and movement patterns in this dance not only reflects the physical intelligence of the dancers or the dynamics of the performance but also has deep symbolism that links the dance elements with the cultural values and identity of the Murut ethnic community.
In the early stages, Magunatip's function was to celebrate the victory of their warriors, who had successfully defeated the enemy in war. It became a manifestation of the fighting spirit of the Murut ethnic community in defending the honor and lineage of their race at that time. In addition, Mangunatip also played a significant role in various traditional ceremonies that were important to the Murut community. Among them are:
1. 'Mansilad' Ceremony - A ritual for healing the sick, where this dance is believed to help heal patients by connecting them to spiritual forces.
2. 'Magintan Taduk' Ceremony - Worshipping ritual of the rice spirit as a symbol of fertility and survival.
3. 'Titikas' ceremony - A social event such as a traditional festival, wedding and welcoming important or high-status guests.
4. 'Massayau' ceremony - worship of spirits for the protection and safety of the local community.
Male dancers will wear clothing made from bark obtained from the Aputul tree (Artocarpus Kunstleri). The men's clothing is called 'Babaru puputul', which is a sleeveless bark jacket and is paired with loincloths known as 'Avah Puputul'. The head accessory is a hat called 'Lalandau', which is decorated with Sewah Tahu bird feathers or, in the language of the Murut ethnic community, 'Tuwou' feathers. To add finishing touches to the head, the Lalandau will be tied using an embroidered cloth to tighten and strengthen its position so that it does not fall easily while dancing.
The only accessory on the legs and hands of male dancers is the 'Holong', which is made of yellow and black hanging cloth. When performing, male dancers usually use props in the form of a machete known as 'Hayang' and a wooden shield known as 'Kolid'. Sometimes, the Hayang can be replaced with a spear, or, in the Murut language, it is called 'Tandus'. The use of these props gives Murut's men an aura of heroism, which is symbolic of the bravery that successfully conquers the enemy.
For female dancers, the attire worn is 'Pinongkolo' matched with a waist accessory (belt) called 'Pipirot'. It is divided into two types. If made of beads with a larger width, it is called 'Pipirot', while another type is known as 'Pipirot Linggit', which refers to a belt made of iron or silver.
To add to the aura of female dancers' makeup, head accessories consist of several ornaments, namely, 'Salupai', a type of headdress made of beads. The Salupai will be tied to the female dancer's forehead, and behind it will be placed a dangling bun decoration called 'Sinikot'. After that, Tuwou feather decorations will be attached to the dancer's hair. In addition, 'Sisingan' or dangling beaded earrings will be worn. Usually, these beaded earrings are matched with a necklace known as 'Rarangkol', which consists of several types of beads such as 'Bungkas', 'Kotos', 'Aki' Pangungupu', 'Bulul' or 'Olod'. Similar to male dancers, female dancers will also wear Holong bracelets. The only difference is that the bracelets for women are known as 'Holong Solod', which are made entirely of beads.
The musical instrument that accompanies the Magunatip dance is the Gong ensemble, which consists of several ensemble names according to the Murut ethnic sub-tribe, such as ‘Sampangigalan’ for the Timugon Murut sub-tribe and ‘Aripason’ for the Paluan Murut sub-tribe. The number of gongs in one ensemble is approximately 9 pieces up to 14 gongs. In the ‘Sampangigalan’ gong ensemble set, it contains 9 gongs which are divided into 6 types, namely ‘Jojolon/Utaatangan’, ‘Alipangon’, ‘Tingkaraan’, ‘Lubukon’, ‘Kutambuon’ and ‘Taubon’. The combination of gong sounds accompanies the Magunatip dance performance according to the rhythm and tempo from slow to faster tempos.
Suhaimi Magi. (61 tahun). Kampung Ulu Tomani, 89907 Tenom, Sabah
Mestrah binti Lauk. (33 tahun). Kampung Sapulut, Pensiangan 89950 Nabawan, Sabah.
Nor Syafiqah Yahya. (29 tahun). Persatuan Seni tari Keningau, 89900 Keningau, Sabah. 8 Oktober 2024.
Reference Source
On, L. K., Magi, S., Hussin, S., Shafii, A. S. H., & Bakhir, N. M. (2018). The healing ritual context of the Magunatip Dance of the Murut in Sabah, Malaysia. Advanced Science Letters, 24(7), 4798–4801. https://doi.org/10.1166/asl.2018.11203
Kitingan, J., P. (2012). Murut. Dalam Kntayya Mariappan. (Ed). Siri etnik Sabah ITBM-UMS: MURUT dan pelbagai etnik lain di sabah. Institut Terjemahan Buku Malaysia
Humin Jusilin. (2019). Warisan busana Murut. Dewan Bahasa dan Pustaka.
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