TheSumazau is a traditionaldance performed by theKadazan fromPenampang andPapar districts, and by theDusun (where it is known assumayau)[5] as well as theMurut (with alternate version)[6] from adjacent areas in thewestern coast andinterior ofSabah, Malaysia throughout theKaamatan festival.[3][4][7] The dance involves male and female pairs who are dressed intraditional clothing.[8] The rhythm of the dance is set by the beat of hanginggongs. It is performed by raising both arms to shoulder height and flapping them.[8][9]
The clothing ensemble most associated with thesumazau is called thesinombiaka orbaju sumazau inMalay language,[12] which refers to traditional clothing made out of black cloth and gold braid. For women, it is accessorised with thetangkong (three rows of small brass rings attached torattan) andhimpogot, a belt ofBritish trade dollar coins that were issued from 1895 to 1937.[3] Men wearsigar, a colourful headcloth woven by theIranun people which is obtained via trade with theSama-Bajau and namedpodong/tanjak by the latter.[13]
Thesumazau begins with the first movement where dancers shift their weight from foot to foot while keeping their knees bent and arms swinging on their sides in time to the music.[14] When a male dancer cues the other dancers, they switch to another position where the arms are outstretched and their feet are on tiptoes.[15] Men move their arms in a gentle rolling motion while women motion their arms with their elbows bent downwards and raise theirheels slightly.[14] This move imitates the departure of abird,[4] specifically an eagle, which would have been visible frompaddy fields.[2][7][9]
The termsumazau can also refer to the music associated with the dance, known inMalay asrentak sumazau (sumazau rhythm).[16] Otherwise, it is also calledmagagong (to hit a gong), the nominalised formpagagungan ormagagong sumazau.[17][18]
The dance is usually accompanied by asompogogungan, a set of six to seven hanging gongs, and agandang.[14][19] Thesumazau ensemble may include akulintangan.[20]
Sompogogungan that was used during a seven-daymagang ceremony
In Gunsing (also spelled Guunsing) village ofPenampang District, the gongs are named as such, left to right from the players' viewpoint:
Sanang (canang in Malay)
Sasalakan
Naanangong
Hahambatan
Other
Hotungong
Tontoongan
Tatavag
Each gong name denotes the musical part that it plays.[21]
The gongs are classified into two types.Sanang gongs are small with thick brass walls, a single knob on a flat surface and a rim bent downwards. On the other hand, the remaining three gongs (calledtawag amonginterior Sabah Kadazan-Dusuns)[22] are heavy, made of brass or bronze, have deep rims, and the front surface is raised near the centre with larger knobs.[23]
Thegandang is a drum carved from a single piece of wood, with two heads made from eithercowhide orgoatskin.[24] The heads are bound with cane hoops. Into the hoops, wooden tuning pegs are inserted.
A truekulintangan (as opposed to a metallophone set)
Kulintangan in the context ofsumazau music may refer to a gong-chime of eight or nine small knobbed gongs or a small metallophone of nine keys (named as such since its tuning and music follows that of the former).[25] One is more likely to find the metallophone in asumazau ensemble.
From the instrument players' viewpoint, thegandang is placed left of thesompogogungan while thekulintangan is placed in front of thesompogogungan, sometimes with the player's back facing the audience.
Sumazau music consists of a rhythmic pattern of interlocking parts.[14] This starts with thegandang, followed by thesompogogungan, beginning with thesasalakan down to thetatavag. Thekulintangan provides melodic ornamentation over the texture of the drum and gongs.[14]
Thesompogogungan is struck with sticks covered with beeswax or rubber while thekulintangan is hit with two wooden beaters. Thegandang is placed in an approximately vertical position and hit on one head with a stick covered inbeeswax or a hard piece ofcoconut frond stem.[26]
No separate pieces exist for the music. Instead, the same rhythmic pattern is repeated continuously until the dance sequence ends.
Thesumazau plays both ceremonial and celebratory roles. Thesumazau is performed at certain stages in traditional ritual such as themagang after headhunting and for spirits inhabiting abangkavan (collection of skulls), and themoginum ceremony.[27][28] It is also performed duringKaamatan in honour of the traditional rice spirit, besides wedding celebrations, the 40th night of a deceased person's passing and other major social gatherings.[29]
During the visit by delegates of 23rd Conference of Speakers and Presiding officers of Commonwealth (CSPOC),sumazau was performed by theSabah Cultural Board performers during the welcoming reception with some of the guests dance together.[36]
During theCOVID-19 pandemic, a video depicting a medical assistant officer, Norbert Andilah dancing thesumazau in apersonal protective equipment (PPE suit) in an effort to combat boredom and depression among quarantined patients via SOP-compliant exercise sessions went viral.[37]
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Inoluting, Vivilin (2022).KAJIAN TERHADAP TARIAN MONGIGOL SUMUNDAI DALAM ETNIK KAUM RUNGUS DI KOTA MARUDU, SABAH [A STUDY ON THE MONGIGOL SUMUNDAI DANCE AMONG THE RUNGUS ETHNIC IN KOTA MARUDU, SABAH](PDF).Bachelor of Arts in Heritage Studies with Honours, Faculty of Creative Technology and Heritage (Thesis) (in Malay). pp. 1–66.Archived(PDF) from the original on 9 May 2025 – via Universiti Malaysia Kelantan.
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