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TARIAN MONGIGOL SUMUNDAI

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Introduction and history

The Mongigol Sumundai dance is a traditional dance rich in cultural elements and symbolism for the Rungus ethnic community who mostly live in the northern region of Sabah, especially in the Kudat district and the small Matunggong district. The Mongigol dance is a specific dance move for male dancers, while the Sumundai dance is specifically danced by female dancers. However, these two dances are performed simultaneously, where a male dancer will lead the dance and be followed by four or more female dancers. In general, this dance can be categorized as an imitation dance because it imitates the movement of objects that are closely related to the life of the Rungus ethnic community in the past (Pangayan, 2020). Nowadays, the Mongigol Sumundai dance is often performed in various festive events, especially during the Kaamatan Festival, the Magahau Festival or ritual ceremonies as a sign of gratitude for agricultural produce.

Functions and Roles

The Mongigol Sumundai dance is a traditional Rungus ethnic dance that has an important role in the rituals and culture of the Rungus community in Sabah. This dance is usually performed in various cultural and traditional events, especially in wedding ceremonies and party celebrations. It symbolizes the cooperation, unity, and harmony of the Rungus community. In addition to serving as entertainment, Mongigol Sumundai is also a symbol of respect for guests as well as a tool to strengthen the identity and cultural heritage of the unique Rungus ethnic group.

Traditional Attire/ Accessories

Male dancers' clothing is known as 'Badu Sinudaan', which is a long-sleeved shirt woven using the 'Surip' motif paired with special 'Masap' pants with an authentic weave known as 'Suval Inavol'. The male dancer's head accessory is known as 'Sigal', which is embroidered from Dastar cloth. On the neck, male dancers will wear necklaces known as 'Tinggot'.

On the shoulder finish, there are two types of accessories to be worn. The first is a long embroidered cloth (sash) that is crossed on the left and right shoulders, known as 'Inavol'. The second shoulder accessory is known as 'Pinakol,' which refers to a pair of flat beaded sash-type belts worn horizontally from the chest to the back.

At the waist, the accessories used by male dancers are 'Hokos' and 'Sandai', which are woven belts tied around the waist to tighten the 'Mugah' cloth on the outside of the 'Masap' as if wearing a sarong covering the pants. Sometimes, the male dancers do not wear pants as the Mugah cloth is sufficient to match the entire set of male dancers' attire. Meanwhile, for additional decoration, male dancers will use a type of specially woven handkerchief.

Female dancers have a more complex attire set with dense beaded accessories. The main set of clothes for female dancers uses a woven fabric known as 'Banat Ngolitan' to cover the body of the dancer, matched with a skirt called 'Tapi Rinugading' and a cloth on the shoulders known as 'Longon'. The female dancer's head accessory is known as 'Titimbok', which is a headdress that is inserted on the back hair of the female dancer. Meanwhile, 'Sisingal' is an ornament that covers the hair made of beads.

On the neck, the female dancer will be wearing a necklace of beads known as 'Inggot' and a mother-of-chain ornament called 'Sulau' made of seashells. For accessories on the shoulders of female dancers, flat beaded sashes are used, which are 'Pinakol', 'Sandang' and 'Sopilang', which will be worn crosswise on the shoulders of female dancers. For the hand part, every female dancer will wear a bracelet known as 'Saring', which is a white bracelet (wide size) and a copper type 'Saring' (fine size). On the hips, the accessory used is 'Orot', which is a type of fine bead that fully covers the hips and waist of women. On the leg, the accessory worn is 'Bongkol', which is an anklet made of beads.

Equipment/ Ingredients

Usually, this dance is accompanied by the traditional musical instruments of Rungus gongs, which cover seven types: Koritikon (canang), Sandangau (canang), Pompom, Soludon, Tongikon (Tavag), Hungkodonan (Tavag), and Bimbingan (Tavag). Male dancers arrange their movement patterns according to the beat of the gong played, followed by female dancers from behind, imitating every movement of the male dancer who leads the dance movement.

Method / Preparation Method / Presentation Method

In general, the Mongigol Sumundai dance has seven types of movements for female dancers and five types of movements for male dancers, which vary as follows:

Male Dancer Variety:

Name of Variety/Movement	Description
Monongdiu-kondiu	A movement like an eagle where male dancers will clap their hands as the floor pattern position moves in a circle.
Mamari-pari	Imitation movements or imitating stingrays swimming in the ocean.
Monongsasazau	The act of dancing is like a local twirl
Monindak Balanak	Imitation movements or imitating fish
Sumodili	The act of shuffling the feet locally by male dancers

Female Dancer Variety::

Name of Variety/Movement	Description
Mamanbazangan	The movement where the arms are extended outward and raised to waist level.
Manangantanga	Movements resembling the act of descending the stairs.
Manadusadu	The movement of making a small kick using the heel of the foot.
Mongitakita	A slight bouncing action on the body.
Monondoli	A localized and subtle foot shuffling motion.
Sumirid	A movement directed to one side of the body.
Lumingkid	Body positioned sideways.

Figures and Achievements

Victor B. Pangayan. (2024). Akademi Seni dan Teknologi Kreatif, Universiti Malaysia Sabah, 88400 Kota Kinabalu, Sabah. 10 Oktober 2024.

Reference Source

Pangayan, V. B. (2020). Tarian Mongigol-Sumundai Momogun Rungus Di Sabah: Analisis Konsep Persembahan dan Ragam Gerak. Jurnal Gendang Alam. https://doi.org/10.51200/ga.vi.2840

Mahfar, S. F. & Jusilin, H. (2017). Reka corak dan simbolisme motif pinakol dalam pakaian masyarakat Rungus di Sabah. Jurnal Gendang Alam, 7, 1–17.

Low Kok On. (2013). Collecting and contextualising Sundait (Riddles) among the Rungus people of Sabah. Pertanika Journal of Social Science and Humanities, 12(3), 897–922. http://www.pertanika.upm.edu.my/

Yoon, P. L., & Jusilin, H. (2018). Ciri estetika dalam reka bentuk dan motif pakaian tradisional golongan perempuan etnik Rungus di Kudat. Jurnal Gendang Alam, 8, 65.

Projek Akhir Tari (PenTAS) Fakulti Muzik dan Seni Persembahan, Universiti Pendidikan Sultan Idris. 17 Jun 2023.