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Malaysiakini
a day ago
- General
- Malaysiakini
Echoes of the gong: Kaamatan and the soul of Sabah
COMMENT | Each year, as May draws to a close, the gentle rhythm of the gong echoes through Sabah's valleys and hills, heralding the Kaamatan festival - a time of harvest, gratitude, and deep cultural reflection among the Kadazandusun-Murut-Rungus (KDMR) communities. Kaamatan, traditionally held at the end of the padi harvesting season, was once a village-scale celebration to give thanks to Bambarayon, the rice spirit. Today, while festivities are larger and more modern, the soul of the festival remains intact, especially for Christians like Mariati Bakait, an ethnic Kadazandusun who hails from Ranau. 'Kaamatan isn't just about merrymaking. It's about honouring the sacrifice that gave us life, like Huminodun's,' said the school teacher, referring to the mythic maiden who gave her body to restore life to the land during a great famine. 'Her story still teaches us what love and courage really mean,' Mariati tells Malaysiakini.
Borneo Post
2 days ago
- Entertainment
- Borneo Post
Modern elements eroding identity of traditional dressing of Sabah, Sarawak
Sarah Sanapan said that the Dusun Tindal shirt is among the best-selling, especially among Sabahans in the Peninsula, foreign tourists and cultural dancers. – Bernama photo KUALA LUMPUR (June 1): The combination of black fabric with touches of golden lace and sparkling beads continues to make traditional Sabah and Sarawak attire an admiration among many during the Kaamatan and Gawai Festival. Now, traditional clothing that was once popular only in two states in Borneo is increasingly gaining ground among young people, especially those working in the federal capital. The evidence was clearly visible at the Borneo Native Festival (BNF) at Pasar Seni here last week when many visitors appeared in traditional Sabah and Sarawak clothing, matched with modern styles. However, the increasing variety of modern styles is a little worrying for Sarah Sanapan, 59, a traditional Sabah tailor who strives to maintain the authenticity of each of her designs, especially the Kadazan, Dusun, Murut, and Rungus (KDMR) clothing, so that it does not become lost over time. 'I am afraid that amidst the increasingly rapid stream of modernisation, traditional clothing is starting to lose its touch of authenticity with attempts to modernise it,' she told Bernama when met during the BNF recently. With over 20 years of experience sewing traditional KDMR clothes, the Bisaya woman said that traditional clothing tailors like her should play the role of cultural ambassadors to advise customers to maintain authentic traditional clothing. Sharing the process of sewing traditional clothing, Sarah noted that Sabah's traditional clothing varies according to tribes and regions, but the Sinipak Dusun Tindal shirt from Kota Belud is among the most complicated and time-consuming to complete. 'To complete a set of Dusun Tindal shirts takes five days because it requires precision when sewing the para-para (sleeves), siling (golden lace) and beads and the easiest is the Kadazan Penampang shirt with five suits completed in a day,' she said. However, Sarah said that the Dusun Tindal shirt is among the best-selling, especially among Sabahans in the Peninsula, foreign tourists and cultural dancers. Regarding the price of traditional clothing, she said it is sold between RM300 and RM2,000, depending on the jewellery and needs to be matched with accessories such as necklaces, bracelets and belts called himpogot or tangkong. Also sharing the importance of maintaining the authenticity of traditional clothing is Catherine Eric, a 57-year-old tailor from Sarawak, who first brought a collection from her state to Peninsular Malaysia through BNF. The Iban woman is concerned that incorporating too many modern elements or applications into traditional clothing will dilute the traditional art and meaning inherent in each garment. Catherine also shared that she receives many orders for traditional Bidayuh clothing, however, the sewing process takes time because the lis (golden lace) part needs to be sewn carefully. 'Usually it takes me two to three days to complete a set of Bidayuh clothes, but if there is an urgent request, I will try to at least complete the clothes in a day,' she said. A pair of Bidayuh women's clothes without any ornaments cost between RM250 to RM450 and it could reach RM1,500 if worn complete with ornaments such as a scarf, belt, bracelets and anklets, she said. Regarding BNF, Sarah and Catherine agreed that it is like a cultural bridge that introduces the rich arts and traditions of Sabah and Sarawak to the various ethnic communities in Peninsular Malaysia as well as foreign tourists. The annual festival, the Kaamatan Festival and Gawai Day, are always eagerly awaited by the Borneo community in Peninsular Malaysia.-Bernama
Malaysiakini
3 days ago
- General
- Malaysiakini
Echoes of the gong: Kaamatan and the soul of Sabah
COMMENT | Each year, as May draws to a close, the gentle rhythm of the gong echoes through Sabah's valleys and hills, heralding the Kaamatan festival - a time of harvest, gratitude, and deep cultural reflection among the Kadazandusun-Murut-Rungus (KDMR) communities. Kaamatan, traditionally held at the end of the padi harvesting season, was once a village-scale celebration to give thanks to Bambarayon, the rice spirit. Today, while festivities are larger and more modern, the soul of the festival remains intact, especially for Christians like Mariati Bakait, an ethnic Kadazandusun who hails from Ranau. 'Kaamatan isn't just about merrymaking. It's about honouring the sacrifice that gave us life, like Huminodun's,' said the school teacher, referring to the mythic maiden who gave her body to restore life to the land during a great famine. 'Her story still teaches us what love and courage really mean,' Mariati tells Malaysiakini.
Borneo Post
25-05-2025
- Entertainment
- Borneo Post
Kaamatan and public speaking
The columnist with the finalists of the Unduk Ngadau Kaamatan National Level 2024 after their session on public speaking skills. Kaamatan 2025 is now in full swing across Sabah, marked by festive joy, cultural pride and a strong sense of community. Among the most anticipated highlights of the celebration is the iconic Unduk Ngadau Kaamatan pageant. The Unduk Ngadau Kaamatan pageant is much more than a beauty contest; it is a cultural and spiritual tribute rooted in the sacred story of Huminodun, the daughter of Kinoingan, the creator deity of the Kadazan and Dusun people. According to tradition, Huminodun sacrificed herself to save humanity from starvation. The Unduk Ngadau represents her spirit of selflessness, resilience and grace. In the past, an Unduk Ngadau contestant was primarily expected to appear resplendent on stage to reflect the poise and dignity of Huminodun. However, expectations have since evolved. Today, contestants are required not only to embody elegance but also to articulate their thoughts with clarity, to demonstrate intelligence and confidence, and to express a deep understanding of their language, culture and traditions. These evolving expectations bring public speaking to the forefront; skills that go far beyond the traditional question-and-answer (Q&A) segment. Contrary to popular belief, public speaking is not limited to verbal responses. A contestant well-versed in these skills will radiate quiet confidence, authenticity and presence both on and off the stage. Confidence reveals itself not only through speech but also through facial expressions, posture and body language. This year, 51 finalists will compete on the grand stage at Hongkod Koisaan on 31 May, before an audience of over 7,000 spectators, both in person and online. As a former judge of the Unduk Ngadau Kaamatan pageant at both district and state levels, I have often observed contestants struggle to express themselves with confidence. This shortcoming is rarely owing to a lack of beauty or cultural knowledge but more often a result of inadequate preparation in effective communication. I have seen many contestants who had the potential to win the crown or at least secure a higher placement fall short simply because of their limited public speaking skills. Drawing from my experience as a Toastmaster and public speaking coach, I wish to offer essential tips to guide all contestants, including other aspiring pageant candidates, in approaching both the Q&A segment and their overall presentation with greater confidence and poise: Start early with language preparation The Unduk Ngadau is a cultural contest deeply rooted in the Kadazan Dusun Murut Rungus (KDMR) heritage. Contestants are expected to demonstrate a natural and workable command of their mother tongues. This ability cannot be achieved through last-minute memorisation. Judges can easily tell when a contestant is reciting a rehearsed script versus speaking with genuine fluency. Develop clarity of thought Train yourself to think clearly and concisely. When answering a question, identify your main point and support it with one or two relevant insights or examples. Practise with feedback Practise regularly and sufficiently. Practise in front of friends, family or a coach who can provide honest feedback. Avoid just rehearsing the content; also practise your tone, gestures, expressions, and timing. Avoid memorising; internalise instead Rather than memorising your speech word-for-word, understand the essence of what you wish to say. Speak naturally and sincerely from the heart. Know your audience Understand whom you are speaking to, their background, interests and expectations. This understanding will help you tailor your message, language, tone and examples for maximum impact. For the Unduk Ngadau Kaamatan, the audience expects contestants to demonstrate knowledge of their culture, traditions and mother tongues. Know your subject Being well-informed builds confidence and credibility. Do your research, anticipate potential questions and stay updated on relevant topics. Be prepared Rehearse your speech multiple times. Familiarity with your material reduces nervousness, improves fluency and allows you to focus on delivery rather than memorisation. Check yourself for distractions Ensure your attire is comfortable and appropriate. Avoid distracting jewellery, exaggerated movements or habits that divert attention from your message. Know how to handle equipment in the audience's presence Test the microphone by gently tapping it. If the stand is too high or too low, remove the microphone and hold it in your hand confidently. Smile at everyone A warm smile sets a positive tone, makes you appear approachable and creates a welcoming atmosphere. It also helps calm your nerves. Establish eye contact immediately Scan the room and make eye contact with individuals in the audience. This builds trust and connection while keeping them engaged. Display the right posture Stand upright with a relaxed yet confident stance. Avoid slouching or stiffening. Good posture reflects confidence and presence. Know what to do with your hands Use natural, intentional gestures to highlight key points. Avoid crossing your arms, hiding your hands or using excessive gestures that distract. When at rest, place your hands on your sides or on top of your waist, but not clasp together at the crotch. Avoid starting with pause fillers Begin confidently. Avoid opening with pause fillers such as 'uh,' 'um' or 'okay.' Start with a strong statement, story, or question to capture attention. Replace filler words or sounds with brief pauses. Silence, when used effectively, adds power and presence. Use a clear, audible and confident voice Speak loudly enough to be heard clearly, without shouting. Enunciate your words and maintain a confident tone. Use vocal variety Avoid speaking in a monotone. Vary your pitch, pace and volume to reflect the emotion and importance of your message. This act keeps the audience interested. Ensure correct grammar and pronunciation Good language use adds to your credibility. Mispronunciations or grammatical errors can distract from your message. Use humour, if appropriate A well-placed, tasteful joke or light moment can make you more relatable and help put the audience at ease. Use humour sparingly and naturally. Share personal experiences Stories help audiences connect with you. Personal examples humanise your message and make it more memorable. Avoid apologising Avoid phrases like 'Sorry, I'm not prepared' or 'I'm nervous.' These phrases undermine your confidence. Focus instead on delivering your best and maintaining composure. Take a deep breath (from the diaphragm) Diaphragmatic breathing calms nerves and supports a stronger voice. Before speaking, take a few deep breaths to centre yourself. For the purpose of the contest, a contestant is expected to speak spontaneously. When speaking without preparation, use the P.R.E.P. structure: P – Proposal: Begin with your main idea or opinion. R – Reflection: Share a personal insight, quote, or anecdote related to your proposal. E – Explain or Expound: Provide supporting reasons, examples or context. P – Proposal (restate): Conclude by restating your main point, possibly with a twist or call to action. Example: 'I believe learning public speaking is essential. From my own experience, I used to fear speaking in front of others, but practice transformed me. Public speaking helps build confidence and influence others positively. That is why I strongly support initiatives to learn these skills.' There are other important aspects of public speaking to consider. A long speech is not necessarily better than a short one. The challenge lies in conveying meaningful content concisely. Every speech must have a message. Without one, it becomes merely a string of meaningless words. A strong message stems from knowledge, which is gained through the habit of reading. To make an impact, you must cultivate and express your views on issues that matter. The structure of a speech also matters. A well-organised speech is easier for the audience to follow. Every speech should have an opening that captures attention, a body with at least three points or arguments and a conclusion that reinforces the main message. To give the speech a sense of completion, the conclusion should relate back to the opening. For instance, if you mention the moon in your introduction, refer to it again in your conclusion. Avoid closing with phrases like 'Om iri iri no mantad doho' or 'That's all from me,' as they may suggest a lack of knowledge on your part. Delivery is equally important. Be mindful of body movement. Gestures, particularly hand movements, should be coordinated with your speech. Use vocal variety to convey different emotions; raise your voice when excited, soften it when serious or reflective. Maintain warm eye contact and appear to enjoy speaking. Speak clearly and assertively to reflect confidence. Avoid trying to impress the audience by saying what you think they want to hear. Audiences can sense insincerity. It is better to respond genuinely. For example, if you are asked, 'Do you believe that wealth brings happiness?' it is fine to say 'yes,' as long as your response is honest. Steer clear of topics such as sex, religion, race and politics to avoid offending the audience. Use local dialects and languages during local level contests. The use of KDMR languages can impress audiences, even if not everyone understands. While English can be used, it limits your audience to English speakers and excludes others. Finally, embrace every opportunity to claim the spotlight, what seasoned speakers refer to as 'stage time.' This term simply means any chance to speak before an audience, whether large or small. Each moment on stage is a valuable rehearsal ground, allowing you to sharpen your delivery, refine your message and build your confidence. With consistent exposure and deliberate practice, you will not only learn to speak with poise and professionalism but also develop the ability to captivate, inspire and move your audience with authenticity and impact. The Unduk Ngadau Kaamatan remains a powerful platform to celebrate and preserve our cultural identity. It is also a stage where young women can showcase not only their beauty but the strength of their voice and cultural pride. With the right preparation, especially in public speaking, they can truly embody the spirit of Huminodun in both word and presence.
Borneo Post
18-05-2025
- Entertainment
- Borneo Post
Kaamatan: A celebration of heritage, unity, economic vitality
The columnist serving as a judge for the recent Unduk Ngadau Kaamatan Kapayan with his fellow judges Botiza Disimond and Philomena Engsun along with auditor Lydia Liew. Every May, Sabah comes alive with colour, rhythm and cultural pride as communities across the state celebrate Pesta Kaamatan, a festival rooted in ancient tradition and spiritual meaning. While most prominently associated with the Kadazan, Dusun, Murut and Rungus communities, collectively known as the KDMR, Kaamatan has evolved into a unifying celebration for all Sabahans. It symbolises gratitude, identity and continuity. Kaamatan was officially declared a state holiday and began to be celebrated across Sabah in 1960. Before that, it was a modest observance held at the village or community level, sometimes taking place in simple clearings amid rice fields. The stories and rituals associated with the celebration varied from place to place, reflecting local interpretations and customs. My own parents, who used to grow rice, related to me in my early childhood that Kaamatan was traditionally held after the rice harvest, typically in May, by farming communities which honoured 'Bambazon,' the spirit of the rice, in hopes of ensuring another bountiful harvest the following year. As a child, I had only a vague understanding of Huminodun, the daughter of Kinoingan, the creator deity of the Kadazan and Dusun people. According to popular belief, she sacrificed herself so that her body might be transformed into rice to feed humanity in times of famine. It was only after 1960 that the narratives and meanings behind Kaamatan began to take shape and became standardised. Even so, many people today, including among the KDMR communities, retain only a general or superficial understanding of the festival's deeper spiritual significance. Also known as the Harvest Festival, Kaamatan was institutionalised by the then North Borneo government following the formation of the Kadazan Cultural Association (KCA), which is now known as the Kadazandusun Cultural Association (KDCA). This development was significantly influenced by Donald Stephens (later Tun Fuad Stephens), Sabah's first Chief Minister and a prominent Kadazan leader. The festival is now celebrated annually from 1 to 31 May, with 30 and 31 May being the peak of the festivity. In the early 1980s, there was an attempt to rename Pesta Kaamatan to Pesta Rakyat for political gain, but the move, which would have rendered the festival soulless and meaningless, was soundly rejected by the people. Apart from being a thanksgiving festival, Kaamatan is a time for reconciliation, community bonding and cultural expression. The festival is officiated annually by the Head of State of Sabah and organised by the KDCA. The month-long celebration culminates on 30 and 31 May at the KDCA Hall or Hongkod Koisaan in Penampang, where thousands gather in festive cheer. At the heart of Kaamatan lies a deep reverence for the land, an awareness of the spiritual dimension of rice cultivation and a cultural narrative that continues to shape the social fabric of indigenous Sabah. Central to this celebration is the Unduk Ngadau Kaamatan, a cultural pageant unlike any other, where beauty is intertwined with heritage, poise with storytelling and youth with ancestral wisdom. The word Kaamatan is derived from the Kadazandusun term 'tomot', meaning 'harvest'. The celebration traditionally marks the end of the rice harvesting season, a time when communities gather to give thanks to the rice spirit, 'Bambazon,' through a ceremony known as 'Magavau.' For generations, rice has been more than sustenance; it is sacred and believed to embody a spiritual essence. According to Kadazandusun cosmology, the rice spirit 'Bambazon' was born of a divine sacrifice. The widely held belief tells of Huminodun, the daughter of Kinoingan, who willingly gave her life to save humanity from famine. Her body, buried in the earth, gave rise to the first rice plants. It is in her honour that the Unduk Ngadau Kaamatan pageant is held, with each contestant representing Huminodun's grace, compassion and spiritual beauty. The Unduk Ngadau Kaamatan is perhaps the most iconic and anticipated highlight of the celebration. Often misunderstood as merely a beauty contest, the Unduk Ngadau Kaamatan is in fact a cultural tribute to Huminodun. The term 'Unduk Ngadau' is often interpreted as 'the maiden crowned by the sunlight,' signifying enlightenment, warmth and the enduring legacy of womanhood in the Kadazandusun tradition. Contestants are selected from district-level Kaamatan celebrations, where each community hosts its own local Unduk Ngadau Kaamatan competition. These young women or 'sumandak' are not judged solely on physical appearance, but also on their knowledge of traditions, fluency in their native languages, confidence and grace. They wear traditional attires unique to their ethnic backgrounds, such as the Kadazan 'sinuangga' and 'tangkong,' the Dusun 'tapi' and 'sinulob,' the Murut 'ba',' and the Rungus 'banat.' On the final day of Kaamatan, the now national-level Unduk Ngadau Kaamatan competition crowns one representative as the embodiment of Huminodun, a figure who carries forward the spirit of sacrifice, wisdom and cultural continuity. In recent years, the Unduk Ngadau Kaamatan has been both celebrated for its cultural value and critiqued by some for allegedly objectifying women. Yet many past winners have become educators, community leaders and advocates for indigenous rights. They use their platforms to promote language preservation, education and pride in cultural roots. Sabah's cultural diversity is unmatched in Malaysia, and Kaamatan is a prime platform for the state's indigenous groups to showcase their identity and heritage. The KDMR, along with other ethnic communities such as the Lundayeh, Tidong, Tatana and Lotud, unite in celebrating Kaamatan, each bringing unique customs, dialects and traditions. Predominantly found in Penampang, Papar and Kota Kinabalu, the Kadazan communities are known for their strong Catholic influence and vibrant musical traditions. Their Kaamatan attire includes the 'sinuangga' (blouse), 'tangkong' (brass ring belt) and intricate 'silings' (laces). The Kadazan Sumazau dance, performed to the rhythm of gongs, features graceful, bird-like movements. Being the largest ethnic group in Sabah, the Dusun communities are concentrated in the interior regions such as Ranau, Tambunan and Keningau. Although closely related to the Kadazan culturally and linguistically, Dusun communities retain distinct dialects and customs. Their Kaamatan ceremonies are often led by 'Bobohizans or Bobolians,' female priestesses who preserve ancient rituals and oral traditions. Primarily inhabiting Tenom, Nabawan and Pensiangan, the Murut communities were formerly famous for their warrior culture. They now celebrate Kaamatan with pride in their heritage. Their signature dance, the 'Magunatip,' involves stepping in and out of clapping bamboo poles with precision and rhythm. A Murut attire often includes feathers, beadwork and traditional loincloths, reflecting a deep connection to the natural world. Concentrated in the northern districts of Kudat and Pitas, the Rungus communities are a distinctive group within the broader Kadazandusun identity. Rungus women wear traditional black garments with colourful embroidery and layers of bead necklaces known as 'tingkob.' Their Kaamatan observances include storytelling, music using the 'sompoton' (a bamboo mouth organ), and rituals to honour their ancestors. As Sabah progresses and modernises, Kaamatan remains essential in safeguarding cultural identity. It is not merely a nostalgic commemoration but a living tradition that adapts to contemporary realities. Young people, including those raised in urban areas, are increasingly participating in Kaamatan by learning traditional dances, speaking their mother tongues and taking part in cultural events. Kaamatan now includes events such as traditional sports, handicraft exhibitions, cultural forums and outreach programmes. These activities ensure the festival remains relevant, inclusive and educational for all, regardless of ethnicity or age. Two additions have emerged as important components of the festival: Sugandoi Kaamatan and Buvazoi Tavantang Kaamatan. Sabah, known for its talented singers, has embraced Sugandoi Kaamatan, a traditional singing competition started in 1997. It serves as a springboard for aspiring performers. Meanwhile, the Buvazoi Tavantang Kaamatan, started in 2008 as Mister Kaamatan, is seen as the male counterpart to the Unduk Ngadau Kaamatan. It encourages young KDMR men, who are viewed as 'susumangod' or warriors, to take pride in their cultural roots. While it may lack the spiritual dimension of the Unduk Ngadau Kaamatan, it nonetheless holds cultural importance by fostering identity, confidence and continuity. Beyond the spiritual, cultural and traditional dimensions, Kaamatan creates valuable business opportunities for the local population by driving demand across various sectors. As a major cultural event, it attracts tourists and locals, boosting the hospitality industry; hotels, homestays, transport services, and tour guides benefit significantly. Artisans and crafters see increased sales of traditional attires, beadwork, and handmade souvenirs, while food vendors profit from selling local delicacies like 'hinava,' 'tuhau,' and 'lihing' at 'tamu' markets and festival venues. The festival also stimulates the entertainment and event services sector, with high demand for musicians, masters of ceremonies, stage setups, and decorators. The iconic Unduk Ngadau Kaamatan pageant further drives business for tailors, make-up artists, and photographers. Farmers and agro-based entrepreneurs sell fresh produce and indigenous products, while the home-based cottage industry offers Kaamatan-themed items, traditional drinks, and crafts. Digital commerce plays an increasing role, with many businesses promoting and selling festival-related goods online. Indeed, Kaamatan is more than a cultural celebration; it is a powerful seasonal economic driver that empowers small entrepreneurs, promotes indigenous products, and supports Sabah's rural economy. By blending tradition with enterprise, Kaamatan enhances both cultural pride and community livelihood. Perhaps the most powerful element of Kaamatan is its ability to unite. In a state as diverse as Sabah, with more than thirty indigenous groups and over fifty languages spoken, Kaamatan brings people together through shared values: gratitude for nature's bounty, respect for traditions and the joy of communal celebration. This year's theme, 'Kaamatan montok Toinsanan' or 'Kaamatan for All,' perfectly encapsulates the inclusive spirit of the festival. Whether in the rhythmic beat of the gongs, the grace of the Unduk Ngadau contestants, the valour of the Buvazoi Tavantang participants, the soulful voices of the Sugandoi singers, the hustle and bustle of entrepreneurship or the shared warmth of the traditional rice wine or 'lihing' among friends, Kaamatan is a powerful celebration of identity. It reminds Sabahans and all Malaysians that our heritage lives on, our stories have meaning, and our future is grounded in the enduring strength of our culture and traditions. Footnote Dr Richard A. Gontusan is a Human Resource Skill and Investment Consultant. A Kadazan himself, he is deeply interested in the preservation and promotion of the KDMR culture and traditions. His views expressed in this article are not necessarily the views of The Borneo Post.
