TARIRAI

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Introduction and history

Tarirai is a traditional dance popular among the Bajau Laut ethnic community in Semporna, Sabah. The uniqueness of this dance lies in the use of Bolak-Bolak, hand props made of short wooden sticks that are clapped together throughout the performance. The inclusion of Bolak-Bolak creates a distinctive auditory dimension, enriching both the visual and rhythmic elements of the dance.

The term “Tarirai” generally translates to "dancing quickly" in the Bajau Laut language, though for the Sikubung sub-ethnic group, it specifically means "jumping erratically." Thus, the dance is often interpreted as a rapid or swift performance characterized by hopping movements.

The origins of the Tarirai dance trace back to a historical incident involving a group of fishermen seeking their livelihood along the shore. Upon reaching a rocky area, one fisherman leapt in surprise after encountering a sea snake known as “Taliaga”. His startled reaction became a source of amusement for the other fishermen.

That evening, the fishermen shared the humorous incident with the villagers, imitating the startled jump for entertainment. The villagers later incorporated additional humorous elements and accompanied the imitation with Tangungguk music. Over time, the movements inspired by this event developed into the Tarirai dance, which continues to be celebrated and cherished as a cultural tradition.


Functions and Roles

This dance serves as entertainment during festive gatherings, particularly during the “Sangom Maglami-lami” ceremony, a nighttime celebration held in conjunction with the Malam Berinai (henna night) ceremony. In Bajau Laut tradition, the community typically works together to organize this event, making the Tarirai dance a main attraction alongside the Igal-Igal dance.

Additionally, this dance functions as a medium of entertainment for various other occasions, such as weddings, engagements, traditional celebrations, the Regatta Lepa Water Festival, and special performances to welcome distinguished guests. The Tarirai dance adds joy to any event, brings a positive atmosphere, and enlivens the overall ambiance of the occasion.


Traditional Attire/ Accessories

The attire for female dancers is known as "Badju Ala Bimbang." Its distinctive feature is the layered beadwork sewn from the shoulders to below the chest. This outfit is typically paired with a long skirt or loose trousers resembling a skirt, known as "Sawwal Kinantiyu." The ensemble is completed with a traditional belt called "Kambot," made from stiff fabric and adorned with sequined bead embroidery.

The dancer's head is accessorized with a "Gandik" or "Mahkuta" headpiece, complemented by flowers pinned to the hair bun. This outfit does not include "Janggay" (long fingernails) to allow dancers to easily grip the Bolak-Bolak.

The male dancers' attire is called “Badju Tangguh” or sometimes referred to as “Badju Leyang.” This outfit features a mandarin-collar design with a front opening that reveals an inner shirt layer. It is paired with tight-fitting pants called “Sawwal Tanjak.” The look is enhanced with a waist cloth called “Kandit.”

As for accessories, the male dancers' traditional attire includes a headdress that comes in two types. If the material is stiff fabric and the knot is tied at the back, it is called “Tanjak.” If the material is fabric and tied around the forehead, it is known as “Porong.”

Equipment/ Ingredients

Tarirai is accompanied by a traditional musical ensemble known as "Tagungguk." This ensemble combines instruments such as the Agung (gong), Kulintangan, and Tambul (drum). The rhythm played during the performance is called "Titik Tarirai," which has a faster tempo compared to other traditional dances like Igal-Igal, Lellang, Limbayan, and Bolak-Bolak. The dynamics of the Titik Tarirai rhythm depend on the skill of the Kulintangan player, who plays a crucial role in determining the structure and intensity of the musical accompaniment for this dance performance.

Method / Preparation Method / Presentation Method


Figures and Achievements



Reference Source

Amsalie, Y., Pisali, A., Zainal, S., Jusilin, H., & Lauk, M. (2017). Persembahan tarian panangsang dalam ritual penyembuhan masyarakat bajau laut. Jurnal Gendang Alam (GA), 7.


Hafzan Zannie, Hamza (2013) Igal:The traditional performing arts of the bajau laut in Semporna, Sabah / Hafzan Zannie Hamza. Master thesis, University of Malaya.


Santamaria, M. C. M. (2016). Necessary (re) unions: Revisiting and revising studies on the Sama igal dance and kulintangan ensemble music traditions. In Sounding the Dance, Moving the Music (pp. 67-79). Routledge.


Santamaria, M. C. M. (2018). Music, Dance and the Sama-Bajau ‘Diaspora’: Understanding Aspects of Links among Communities through Ethnochoreomusicological Perspectives. Journal of Maritime Studies and National Integration, 2(2), 86-90.


Santamaria, M. C. M. (2023). Three Categories of Intangible Cultural Heritage and Three Degrees of Importance: The Case of the Sama-Bajau Igal Dance Tradition of Tawi-Tawi Province, Philippines. In Performing Arts Conference: Heritage and Modernity in the Performing Arts (p. 1).


Zainal, S., Rahman, M. K. A., Lazarus, E. M. C. L., Salleh, M. S., Amsalie, Y., Pisali, A., ... & bin Musa, M. N. H. (2021). Kelamat-Keombo’an: Permainan Watak Melalui Penyatuan Elemen Kelima Dalam Persembahan Teater Ritual Igal Etnik Bajau Pantai Timur Sabah: Kelamat-Keombo’an: Role Play Through The Fifth Elemets Unification In Igal Theatre-Ritual Performance Of Sabah East Coast Bajau. Jurnal Gendang Alam (GA), 11(2), 63-84.


Location

Informant/Figure/Editor/Researcher

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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