Hi again Datuk R, your explanation of the sumazau again reminds me what Tan Sri Simon says.. Sumazau is the vertical expression of the horizontal intention.... he he he
Lovely presentation and music. May I know how I can purchase the music (preferably online)? Want to support Sabahan musicians.. I love the old traditional style with kulintangan.
Hi Datuk, nice video. No problem at all using my vids for educational purposes, permission fully granted. I myself does not understand the sumazau, I am retired now but really have not done it due to back problems and no one taught me when I was young. But to make up for it, learning the theory from you is such a pleasure. Also understanding this theory would have helped me take a better video, zoomed on the correct techniques, etc. You effort is much appreciated Datuk. So sad the lighting is bad on the lady with sirung that her face was lost in the shadows, but I am quite sure back in 2014, that lady is a famous radio singer Rose Moguloi with the famous song "Aiso Titiu Momogun" . If I met her, I will ask her to confirm and pass you comment on correct sumazau for lady. Definitely she is active in culture and Kaamatan so she must have been taught well by her parents on the finer points of the dance. Cheers Datuk. P/S I am the same person who contacted you on how to plant the Bambangan. It worked. Thanks for that too.
The Sumazau: A conversation between two dancing partners. I suppose for a modern dance you can use pretty much any movement or movements to boogie. But for traditional dances, with the adherence to cultural heritage, traditions and history, dances must follow certain forms quintessential to those dances. The same goes for the Kadazans' and Dusuns' Sumazau dance. The Sumazau is performed for a variety of reasons of course-choreographed presentation, ritualistic dancing, story-telling and group enjoyment come to mind-but I want to elaborate the one usual way, the favourite girl-boy duet dance. This is the most graceful and traditional of styles, and a pleasure to behold but many are not doing it right these days (the girls especially). My paternal grandmother (Kg. Bantayan, Inanam) and maternal grandfather (Kg. Tunon, Penampang) explained to me that the man and woman, when dancing the Sumazau, are each telling a story; the dance movements are not random. Much as like the Spanish Tango or Flamenco dance, Sumazau is a conversation between the duet partners, using body movements as the language. The Girl First, remember, the girl is the “opiodo" [demure, in English] partner. Opiodo implies “feminine, soft and graceful." Thus her Sumazau movements must reflect these qualities. Which means when dancing, no flapping of the arms and hands and no big and jerky movements of the feet and torso. And no ranging far and wide on the dance floor, like a crab that has lost its GPS. My grandma would even say, "Keep your eyes downcast. You are that shy girl!" You start the dance with both arms down and both feet together. When it is time to raise your arms, the correct way is to bring it up so that the upper part arms is about 20-30 degrees sloped down from the shoulder. The arms should also be bent a bit at the elbows, and the palms of the hands pointing to the sides, with the fingers upwards. For heaven sakes, do not put the arms straight out in a horizontal manner like a jet plane 🙂. That is the man's style (why I will explain later). Now, to move the arms: Still at 20-30 degrees bend, straighten the elbows, pushing out the palms rhythmically to the gongs' beat. (Do not flap the hands with loose wrists (like a young magpie learning to fly!) Tip: It is perfectly acceptable to just push out the palms. To embellish it more stylistically though, rotate your wrists so the hands move forward and backwards a bit. The feet should be together. When dancing, the feet should be raised together at the same time. If you have to move sideways, just side step once to the left or right, and then raise your feet together again. Tip 1: You, girl, are that beautiful and graceful partner. Do not sidestep all over place, commanding the dance floor. You are not expected to; that is the boy's role. Tip 2: If you have to move to another part of the dance floor, stop your Sumazau, and walk to that place, wait for your partner to start first, and start your graceful dancing again. Do not go dancing, zig-zagging to that spot. The Boy The man is the eager partner, perhaps even wants to dominate his lady. His Sumazau movements reflects this, and so, especially the arms and hands, have more range of movements and positions. The man can hold his arms straight out and level or even higher. He can hold his arm, left or right, higher than the other. He can hold them both in front, like trying to touch his partner. If you want to dance like my late maternal grandfather (from Kolopis, Penampang), you can even hold both your arms pointing to the back (and even older style). Still, watch the hands. Don't move loosey-goosey with limp wrists; move them in rhythm to the gongs' beats. Move your feet in a more pronounced way (higer, further) than your partner's dainty side steps. The story underlying the dance The Sumazau is about a boy romancing his beautiful partner. He conveys his intentions though his dancing. In effect, he is saying, "I like you. I want to get close, corner you, and claim you for my own." The lady in turn will communicate through her dancing that, "I may be pretty and graceful, but I will not submit to you easily.” And so, you have a Sumazau spectacle where the man will slowly but eagerly close the distance between them with obvious intentions. He will try to trap her. He will raise his arms like an eagle spreading its great wings, trying to corner and envelope his dancing partner. The shy lady will sidestep left and right (preferably eyes downcast), trying to escape the great wings from closing over her. She will sidestep to the left and her partner will cut off that escape route. She will demurely move in the opposite direction and the man will respond accordingly. Like a chasing game. The stages of the dance Opening: Partners face each other about 8 feet apart. Gongs sounds. The man initiates (never the lady). Arms to the side. Up-arms stage: (still facing each other, apart): The man initiates (never the lady, for goodness sake!) by shouting (pangkis), "Keeeeheee! and putting up his arms. Closing the distance: The man dances and slowly approach the lady (never the lady; stay in your place-the eager suitor will come to you.) Capture the lady: The man dances like a great bird of prey, wings outstretched, trying to envelope his love interest. The shy lady will dance, side stepping left and right, and the man will respond accordingly, trying to cut off her escape routes. Closer and closer he will come. Finally the eager gentleman will invade her personal space, almost shoulder to armpit, and the lady stops and submits. Taking the cue, the last gong will beat the last note. Here's a picture of Donald Stephens (probably in the early 1970s) doing the Sumazau, "potong jalan" (heading off his partner's "escape" route.) Update: Youngsters do not know the more nuanced movements of the dance nowadays. For example Tun Fuad and his partner above: what the lady does next after Tun Fiad put his arm over the the lady's shoulder is she "gostan" (back pedal) while sumazau. Gostan trying to "escape"; Tun Fuad will respond by back pedaling also, matching the backwards movement of the dance. How many ladies do you see these days do the gostan move? See the couple at the right hand most; watch the lady's gostan move starting from 1:44. ruclips.net/video/qMt3bTZcqxA/видео.html
Siuk tarian sumazau sabah 👍👍👍👍👍.sandakan
Hi again Datuk R, your explanation of the sumazau again reminds me what Tan Sri Simon says..
Sumazau is the vertical expression of the horizontal intention.... he he he
Lovely presentation and music. May I know how I can purchase the music (preferably online)? Want to support Sabahan musicians.. I love the old traditional style with kulintangan.
Wahhh...bagus ni tarian...boleh belajar kah?😀😀😀
Hi Datuk, nice video. No problem at all using my vids for educational purposes, permission fully granted.
I myself does not understand the sumazau, I am retired now but really have not done it due to back problems and no one taught me when I was young. But to make up for it, learning the theory from you is such a pleasure. Also understanding this theory would have helped me take a better video, zoomed on the correct techniques, etc. You effort is much appreciated Datuk.
So sad the lighting is bad on the lady with sirung that her face was lost in the shadows, but I am quite sure back in 2014, that lady is a famous radio singer Rose Moguloi with the famous song "Aiso Titiu Momogun" .
If I met her, I will ask her to confirm and pass you comment on correct sumazau for lady. Definitely she is active in culture and Kaamatan so she must have been taught well by her parents on the finer points of the dance.
Cheers Datuk. P/S I am the same person who contacted you on how to plant the Bambangan. It worked. Thanks for that too.
Hi, asking permission to use this music untuk buat video hehe
The Sumazau: A conversation between two dancing partners.
I suppose for a modern dance you can use pretty much any movement or movements to boogie. But for traditional dances, with the adherence to cultural heritage, traditions and history, dances must follow certain forms quintessential to those dances. The same goes for the Kadazans' and Dusuns' Sumazau dance. The Sumazau is performed for a variety of reasons of course-choreographed presentation, ritualistic dancing, story-telling and group enjoyment come to mind-but I want to elaborate the one usual way, the favourite girl-boy duet dance. This is the most graceful and traditional of styles, and a pleasure to behold but many are not doing it right these days (the girls especially).
My paternal grandmother (Kg. Bantayan, Inanam) and maternal grandfather (Kg. Tunon, Penampang) explained to me that the man and woman, when dancing the Sumazau, are each telling a story; the dance movements are not random. Much as like the Spanish Tango or Flamenco dance, Sumazau is a conversation between the duet partners, using body movements as the language.
The Girl
First, remember, the girl is the “opiodo" [demure, in English] partner. Opiodo implies “feminine, soft and graceful." Thus her Sumazau movements must reflect these qualities. Which means when dancing, no flapping of the arms and hands and no big and jerky movements of the feet and torso. And no ranging far and wide on the dance floor, like a crab that has lost its GPS. My grandma would even say, "Keep your eyes downcast. You are that shy girl!"
You start the dance with both arms down and both feet together. When it is time to raise your arms, the correct way is to bring it up so that the upper part arms is about 20-30 degrees sloped down from the shoulder. The arms should also be bent a bit at the elbows, and the palms of the hands pointing to the sides, with the fingers upwards. For heaven sakes, do not put the arms straight out in a horizontal manner like a jet plane 🙂. That is the man's style (why I will explain later).
Now, to move the arms: Still at 20-30 degrees bend, straighten the elbows, pushing out the palms rhythmically to the gongs' beat. (Do not flap the hands with loose wrists (like a young magpie learning to fly!)
Tip: It is perfectly acceptable to just push out the palms. To embellish it more stylistically though, rotate your wrists so the hands move forward and backwards a bit.
The feet should be together. When dancing, the feet should be raised together at the same time. If you have to move sideways, just side step once to the left or right, and then raise your feet together again.
Tip 1: You, girl, are that beautiful and graceful partner. Do not sidestep all over place, commanding the dance floor. You are not expected to; that is the boy's role.
Tip 2: If you have to move to another part of the dance floor, stop your Sumazau, and walk to that place, wait for your partner to start first, and start your graceful dancing again. Do not go dancing, zig-zagging to that spot.
The Boy
The man is the eager partner, perhaps even wants to dominate his lady. His Sumazau movements reflects this, and so, especially the arms and hands, have more range of movements and positions.
The man can hold his arms straight out and level or even higher. He can hold his arm, left or right, higher than the other. He can hold them both in front, like trying to touch his partner. If you want to dance like my late maternal grandfather (from Kolopis, Penampang), you can even hold both your arms pointing to the back (and even older style). Still, watch the hands. Don't move loosey-goosey with limp wrists; move them in rhythm to the gongs' beats. Move your feet in a more pronounced way (higer, further) than your partner's dainty side steps.
The story underlying the dance
The Sumazau is about a boy romancing his beautiful partner. He conveys his intentions though his dancing. In effect, he is saying, "I like you. I want to get close, corner you, and claim you for my own." The lady in turn will communicate through her dancing that, "I may be pretty and graceful, but I will not submit to you easily.”
And so, you have a Sumazau spectacle where the man will slowly but eagerly close the distance between them with obvious intentions. He will try to trap her. He will raise his arms like an eagle spreading its great wings, trying to corner and envelope his dancing partner. The shy lady will sidestep left and right (preferably eyes downcast), trying to escape the great wings from closing over her. She will sidestep to the left and her partner will cut off that escape route. She will demurely move in the opposite direction and the man will respond accordingly. Like a chasing game.
The stages of the dance
Opening: Partners face each other about 8 feet apart. Gongs sounds. The man initiates (never the lady). Arms to the side.
Up-arms stage: (still facing each other, apart): The man initiates (never the lady, for goodness sake!) by shouting (pangkis), "Keeeeheee! and putting up his arms.
Closing the distance: The man dances and slowly approach the lady (never the lady; stay in your place-the eager suitor will come to you.)
Capture the lady: The man dances like a great bird of prey, wings outstretched, trying to envelope his love interest. The shy lady will dance, side stepping left and right, and the man will respond accordingly, trying to cut off her escape routes. Closer and closer he will come.
Finally the eager gentleman will invade her personal space, almost shoulder to armpit, and the lady stops and submits. Taking the cue, the last gong will beat the last note.
Here's a picture of Donald Stephens (probably in the early 1970s) doing the Sumazau, "potong jalan" (heading off his partner's "escape" route.)
Update:
Youngsters do not know the more nuanced movements of the dance nowadays. For example Tun Fuad and his partner above: what the lady does next after Tun Fiad put his arm over the the lady's shoulder is she "gostan" (back pedal) while sumazau. Gostan trying to "escape"; Tun Fuad will respond by back pedaling also, matching the backwards movement of the dance.
How many ladies do you see these days do the gostan move?
See the couple at the right hand most; watch the lady's gostan move starting from 1:44.
ruclips.net/video/qMt3bTZcqxA/видео.html