Safeguarding our cultural heritage
MANY indigenous traditions, be it locally or globally, are quietly fading into the background, as globalisation and digital media continue to shape our identities at lightning speed.
Among those at risk are the rich musical and dance traditions of the Bajau community in Semporna, Sabah.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Star
3 days ago
- The Star
Safeguarding our cultural heritage
Rich heritage: A Bajau Laut man in traditional dress in the bow of his lepa (boat) performing the igal-igal (fingernail) dance in Semporna, Sabah. — UWE ARANAS/Wikimedia Commons MANY indigenous traditions, be it locally or globally, are quietly fading into the background, as globalisation and digital media continue to shape our identities at lightning speed. Among those at risk are the rich musical and dance traditions of the Bajau community in Semporna, Sabah.
Malay Mail
5 days ago
- Malay Mail
Safeguarding Bajau cultural heritage for our shared future — Juanitha Annabelle Galawis
AUGUST 2 — Many indigenous traditions, be it locally or globally, are quietly fading into the background, as globalisation and digital media continue to shape our identities at lightning speed. Among those at risk are the rich musical and dance traditions of the Bajau community in Semporna, Sabah. Known for their seafaring lifestyle, colourful costumes, and graceful performances, the Bajau people have for generations used music and dance not only for celebration, but also to communicate values, history, and a shared sense of belonging. But today, their traditional art forms face serious challenges. Urban migration, lack of documentation, and the younger generation's shift towards mainstream pop culture have created a gap between elders and youth. While festivals like Regatta Lepa try to keep traditions alive, many fear these performances are becoming more staged than lived, more tourist attraction than cultural expression. This is where research plays a crucial role. Prof Dr Hanafi Hussin from the Faculty of Arts and Social Sciences UM, an expert in South-east Asian cultural studies, aims to document and systematise the music and dance repertoires of the Bajau community. The goal is not simply academic. It is a form of cultural preservation: recording rhythms, movements, meanings, and memories before they are lost to time. Through interviews, field recordings, and direct engagement with local practitioners, our study captures not just what the music and dance look or sound like, but how they are experienced in the everyday lives of the community. For example, the igal-igal dance, often performed at weddings and festivals, is more than entertainment; it's a symbol of elegance, pride, and continuity. Similarly, traditional percussion instruments like the gendang and kulintangan serve as cultural signposts that link the present to the past. The author says festivals like Regatta Lepa try to keep traditions alive, but many fear these performances are becoming more staged than lived, more tourist attraction than cultural expression. — Picture from Facebook/Pesta Regatta Semporna What makes this research especially important is the participatory approach. Rather than treating the Bajau as passive subjects, we work with them as active collaborators. Elders share their stories. Dancers demonstrate their techniques. Young people talk about their views on cultural identity in a modern world. By including these voices, the research becomes a dialogue, a bridge between generations and a way forward for cultural sustainability. This work also aligns with larger national and global concerns. Unesco has repeatedly highlighted the importance of safeguarding intangible cultural heritage, warning that languages, oral traditions, rituals, and performing arts are among the most vulnerable cultural elements. In Malaysia, where diversity is often celebrated in rhetoric, more concrete action is needed to support community-driven initiatives like this one. Policies should fund grassroots documentation, provide platforms for indigenous voices, and make space in national education for local traditions. To the readers, especially the youth—this is a call to look closer at the traditions around you. Heritage is not just something found in museums or festivals; it is lived, felt, and passed on through practice. When a traditional dance is no longer danced, or a song no longer sung, a piece of identity fades with it. But when we choose to learn, preserve, and celebrate these expressions, we are actively shaping a more inclusive and culturally rich future. In the end, preserving Bajau music and dance is not about resisting change or clinging to the past. It's about remembering who we are, where we come from, and recognising the beauty in diversity. Culture is not static, it evolves but we must make sure it evolves with memory, not amnesia. * Juanitha Annabelle Galawis is an undergraduate student of Universiti Malaya, taking an elective university course entitled 'Introduction to Journalism and Storytelling in Digital Age', and may be contacted via [email protected] ** This is the personal opinion of the writer or publication and does not necessarily represent the views of Malay Mail.
The Star
5 days ago
- The Star
Authenticity, passion drive dancers through every step
SYAHIDAH Hazmi, 25, from Selangor, has been with the Artis Budaya Dewan Bandaraya Kuala Lumpur cultural troupe for nearly five years. Over time, she has learned most of the traditional dances from across Malaysia, but says capturing their grace was still a work in progress. 'You can try to emulate the movements, but conveying the feeling is not easy. We just do our best,' she said. Syahidah and Amirul striking a pose in full Dayak traditional attire, complete with elaborate headgear and accessories used in Sarawakian dance performances. Syahidah said it was not enough to just memorise the dance steps. 'As dancers, we need to understand the story and meaning behind each routine. 'You can't simply mix and match, it must be authentic.' Fellow dancer Amirul Fahmi Zulkifli, 33, finds that the most important thing is to respect the dance and the costume. 'When we perform traditional dances from Sarawak or Sabah, even if we don't get everything perfect, we always make sure the costume is spot on. 'It has to be the correct outfit with the proper accessories,' he said. Ninie Marlina and Iznur Aireel dressed in Bajau traditional costume. Recounting a performance at Dataran Merdeka in full traditional Sarawak gear, Amirul said Sarawakians approached him after the show and quizzed him about his attire. 'They knew what it was, but they wanted to know if we got every detail right,' he said, referring specifically to the intricate headgear. 'The feathers on the headgear are from burung kuang (Great Argus pheasant). Those long, patterned tail feathers are crucial, especially in Dayak dances. 'The headgear is elaborate but meaningful. It's a big part of their culture, and we make sure to honour that,' he said. Siti Aishah Mustapa Kamal, 25 and Nor Muhammad Hijjahie Nor Hafizi, 21, dancers from Kuala Lumpur City Hall's cultural troupe rehearse in full Indian costume, presenting classical movements that celebrate Malaysia's Indian heritage through dance and dress. When asked which costume was his favourite, Amirul replied, 'Definitely the Dayak one, it's the least hot!' The Dayak men's traditional attire consists of a bark or cloth vest, and pants made from animal skin. Syahidah and Amirul find classical Indian dance, particularly bharatanatyam, most challenging. 'I especially love traditional Malay dances like joget gamelan. It's elegant and expressive,' said Syahidah. For 32-year-old Kesavaen Krishnamoorthy, Chinese dance is the most challenging, while his favourite is Bollywood dance as he finds it the most fun. Ninie Marlina Ahmaden, 31, described dancing with ABDBKL as a dream come true, as she can travel regularly, something that would not be possible if she was working elsewhere. Iznur Aireel Fauzi, 19, the youngest of the troupe, hopes to travel abroad for performances in the future. 'I am new and still learning, so I haven't been assigned an overseas performance yet, but I'm hoping one day I'll get the opportunity,' said Iznur. DBKL dancers, Haslinda Abdul Halim, 36, and Adam Khaiqal, 31, from Selangor, all striking a pose in full Chinese costume. 'I enjoy dancing, and it brings me so much joy. I am proud to represent Malaysia every time I perform,' said Natasha Idris Silva, 41, who has performed across the globe. 'It is a wonderful feeling to be appreciated for our differences,' Natasha added. Haslinda Abdul Halim, 36, from Ipoh, concurred, saying, 'We experience that a lot when performing abroad.' 'The support we receive overseas really boosts our morale, especially when we are far from home,' said Adam Khaiqal, 31, from Selangor.
