# data[].attributes.body
The picture below shows a group of Minang's musician dress in their traditional costume while playing the caklempong music.

Image was obtained from Google

# data[].attributes.body
This news article tells us about:

• What Semporna Division Wirawati
Chief, Faradibah Datuk Sabardin
said when she  was officiating at
the Bajau Laut Cultural Heritage
Documentation Programme’s
closing ceremony.

• As inheritors and guardians of the
culture, we must fight to maintain
our culture’s survival so that it will
not be lost because it is the
culture that shape the identity of
each Sabahan,” including the
Bajau Laut.

• The Bajau Laut community is very
fortunate to have been selected
among the 35 ethnic and 217 sub-
ethnic groups in Sabah for this
programme, due to the
uniqueness of their traditional
music.

• The main objectives of this
project is to record aspects of
cultural heritage (music)
possessed by ethnic groups in
State, such as oral and
expressive traditions,
cultural performances.

• Sabah Cultural Board together
with the Persatuan Kebajikan
Bajau Laut (Palauh) Semporna
(Perkebal) has successfully
documented two key areas
namely, oral and expressive
tradition and the presentation of
Bajau Laut cultural dance and
traditional music in conjunction
with the programme.

# data[].attributes.attachment_link.readable_text
Semporna Bajau Laut included

Published on: Monday, September 30, 2019

Documentation is crucial to enable cultural practices to be recorded for generations to come, including reference materials, especially for cultural researchers, said Semporna Division Wirawati Chief, Faradibah Datuk Sabardin. She said this is especially so with the acceleration of modern technology and the use of gadgets which are seen to be somewhat of a deterrent to the younger generation's desire to continue practising their respective culture as they considered it outdated. "As such, we as inheritors and guardians of this culture must fight to maintain our culture's survival so that it will not be lost because it is the culture that shape the identity of each Sabahan," she said. SEMPORNA:

She said this when officiating at the Bajau Laut Cultural Heritage Documentation Programme's closing ceremony and Sabah Cultural Board's Corporate Social Responsibility Programme with the community at Masjid Nurul Hidayah Kg Bangau-Bangau, here, Sunday. Also present was Sabah Cultural Board Deputy General Manager, Mackey Apison. The two-day event was held for the first time by the Sabah Cultural Board in Semporna that involved the participation of Bajau Laut community in cultural research. "The Bajau Laut community is very fortunate to have been selected among the 35 ethnic and 217 sub-ethnic groups in Sabah for this programme," she said.

On that note, she said cultural tourism in the district has the potential to grow in addition to the beauty of nature and seafood which it is already well known for. She said unique products such as the igal-igal dance on colourful lepa ships, food and handicrafts during the Regatta Lepa has made Semporna the focus of the world and certainly a factor in attracting tourists to continue visiting the area. In addition, she said, cultural products such as ethnic foods and handicrafts that meet the criteria of quality, reputation and unique characteristics can be listed as intellectual property in the Geographical Indication component as a protected product and producer. She said that through the registration, the cultural product could be considered an icon of Semporna's cultural tourism while enhancing the value of existing local products. "I believe that the Sabah Cultural Board is always ready to provide advice and registration for the community's intellectual property if there are appropriate cultural products in the area," she said. Commenting on the programme, Faradibah said the main objectives is to record aspects of cultural heritage possessed by ethnic groups in the State, such as oral and expressive traditions, cultural performances, social practices, rituals and festivals, natural and universal knowledge and traditional handicrafts. She said Sabah Cultural Board together with the Persatuan Kebajikan Bajau Laut (Palauh) Semporna (Perkebal) has successfully documented two key areas namely, oral and expressive tradition and the presentation of Bajau Laut cultural dance, clothing and traditional music in conjunction with the programme.

# data[].attributes.attachment_link.title
Semporna Bajau Laut included | Daily Express Online - Sabah's Leading News Portal

# data[].attributes.attachment_link.description
Documentation is crucial to enable cultural practices to be recorded for generations to come, including reference materials, especially for cultural researchers, said Semporna Division Wirawati Chief, Faradibah Datuk Sabardin. She said this is especially so with the acceleration of modern technology and the use of gadgets which are seen to be somewhat of a deterrent to the younger generation's desire to continue practising their respective culture as they considered it outdated.

# data[].attributes.body
This article reviews Bajau Laut musicscapes in ritual performance that meant to connect and balance the spiritual and physical
worlds.

# data[].attributes.attachment_link.title
Comprehensive analysis on musicscape of Bajau Laut community

# data[].attributes.headline
THE ROLES OF MUSIC IN BAJAU LAUT'S RITUALS

# data[].attributes.subject
THE ROLES OF MUSIC IN BAJAU LAUT'S RITUALS

# data[].attributes.body
This article explains the roles of music in Bajau Laut rituals.

This article also aims to highlight the responses between The Bajau Laut musicians and the dancing spirits-bearers.

# data[].attributes.attachment_link.title
The Roles of Music in Bajau Laut's Rituals

# data[].attributes.body
Titik tabawanis a specific musical piece played on the kulintangan ensembles.

This video shows a Titik Tabawan musical piece performed by Bajau Laut's professional dancer while being accompanied by Bajau Laut's traditional music instruments.

# data[].attributes.headline
VIDEOS OF BAJAU LAUT'S MUSIC INSTRUMENTS

# data[].attributes.subject
VIDEOS OF BAJAU LAUT'S MUSIC INSTRUMENTS

# data[].attributes.body
This video shows Bajau Laut musicians play their traditional music instruments during The Regatta Lepa.

The Regatta Lepa is an annual event that pays homage to the lepa, a traditional single-masted sailing boat of the Bajau Semporna.

# data[].attributes.attachment_link.title
REGATTA LEPA 2019 - BAJAU TRADITIONAL MUSIC INSTRUMENTS

# data[].attributes.headline
DETAILS EXPLANATION OF         TITIK TABAWAN

# data[].attributes.subject
DETAILS EXPLANATION OF         TITIK TABAWAN

# data[].attributes.body
Titik tabawanis a specific musical piece played on the kulintangan ensembles.

Titik Tabawan is composed of the Kulintangan graduated bosses-gong, two or three large hanging gongs, the tambul and a solembat.

# data[].attributes.body
Sama-Bajau traditional songs are handed down orally through generations.

The songs are usually sung during marriage celebrations, accompanied by thier tradirional music instruments.

Their traditional music instruments include:
• pulau (flute)
• gabbang (xylophone)
• tagunggo' (kulintang gongs)
• biula (violin)

Here are several types of Sama-Bajau traditional songs:
• isun-isun
• runsai, najat
• syair
• nasid
• bua-bua anak

wikipedia. (2020, April 14). Sama-Bajau. Retrieved from https://en.wikipedia.org/wiki/Sama-Bajau

Below is the image of
gabbang (xylophone).

# data[].attributes.headline
INTRODUCTION TO THE BAJAU LAUT COMMUNITY

# data[].attributes.subject
INTRODUCTION TO THE BAJAU LAUT COMMUNITY

# data[].attributes.body
The Bajau Laut people have long lived on the waters of South East Asia, dwelling in boats and living off the sea with hardly even a homeland that they call their own.

They are sometimes called
“sea gypsies,”. Being known as a migratory people, they drift from place to place and remain unattached in any official sense to any of the neighboring countries.

Making their living primarily off of fishing, the Bajau people live on long houseboats known as lepas.

When they do live not on boats, it's typically in small dwellings built on stilts over the water.

In addition to diving, they use nets and lines to fish.
Their belief is animistic in nature, and Islam in religion.

Goldfarb, K. (2018, May 25). The Bajau People: “Sea Nomads” Of The Far East. Retrieved from https://allthatsinteresting.com/bajau-people

# data[].attributes.body
This article highlight points like:

• There are 3 officially recognized
Dayak communities in Malaysia:
Bidayuh, Iban and Orang Ulu.

• Iban and Bidayuh groups have
ensembles of drums and gongs
to accompany dances.

• The Ibans of Dayak:
- (gendang) Few long barrel
drums.
- (engkrumong) a gong ensemble
consisting of a set of eight
small bossed gongs resting on
strings.
- (bebendai)  deep-rimmed tawak
gongs with a prominent boss,
and single-bossed gongs
suspended by a rope or chain.

• The Bidayuh :
- (sebbang) long wooden drums
originally used in headhunting
rituals.
- (gulintang)a wooden xylophone.
- a set of suspended gongs of
various sizes, large, wide agung
and smaller bebendai.

• The Orang Ulu mainly uses:
- the plucked lute (sape)

• Other instruments, such as
bamboo flutes and the tube-zither
(satong), bamboo stamping-poles
(tongkat), and mouth organs
(keluri/engkrurai), are used by
more than one group.

# data[].attributes.attachment_link.readable_text
In November 1999, when I first came to Sarawak, I found that the three officially recognized Dayak communities: Bidayuh, Iban, and Orang Ulu, each had its own cultural organization in the modem state capitol, Kuching. (1) Moreover, in 1992, the three communities joined forces in the Dayak Cultural Foundation with the object "to receive and administer funds for cultural, educational, scientific and charitable purposes, and for public welfare." (2) Since the beginning of 2000, the Dayak Cultural Foundation headquarters have been located in the Tun Jugah Tower, a new high-rise building in the business area, which also houses the Tun Jugah Foundation, a non-profit Iban cultural heritage foundation. In accordance with its objectives, the DCF aims to preserve cultural traditions, and one of the ways it does so is by organizing courses in Dayak dance and music. The set-up of these courses fits within the framework of the three officially recognized Dayak communities, so that each community has an appointed time for weekly instruction and group practice in the Foundation's spacious dance studio and music rooms. Special sets of costumes and musical instruments, selected according to what is considered characteristic for each community, are stored and available here. Iban and Bidayuh groups have ensembles of gongs and drums to accompany dances; the Iban have several long barrel drums (gendang) (3) and a gong ensemble consisting of a set of eight small bossed gongs resting on strings (engkrumong), deep-rimmed tawak gongs with a prominent boss, and single-bossed gongs suspended by a rope or chain (bebendai/chanang). The Bidayuh have long wooden drums originally used in headhunting rituals (sebbang), a wooden xylophone (gulintang), and a set of suspended gongs of various sizes, large, wide agung and smaller bebendai. The Orang Ulu group mainly uses the plucked lute (sape), originally a two-stringed, three-fretted instrument used in rituals associated with healing ceremonies (Langub 1997:177). (4) The present three- or four-stringed, multi-fretted sape is either played as a solo instrument or combined with another sape, and/or a wooden xylophone (tuvung lutang/jatung utog). Other instruments, such as bamboo flutes and the tube-zither (satong), bamboo stamping-poles (tongkat), and mouth organs (keluri/engkrurai), are used by more than one group. (5)

Music and dance practices are usually held separately, in the evening or during the weekend. Students tend to join a music or dance practice group (some study both music and dance) which corresponds with their tribal background--a child of Iban descent will frequently be put into an Iban dance or music group by its parents--indicating that for many students these practices function to support one's tribal identity. Yet, there are people who are keen to learn another style beyond their own, and join different groups. Each of the three main communities has a DCF dance company consisting of young adults who have successfully passed the basic course and must regularly attend practices in order to maintain a repertoire of group dances for public performance.

In accordance with its location in the state capitol, the music and dances practiced at the DCF express group identity at the state level. They remain confined within the framework of one of the three officially recognized Dayak communities and conform to state-developed standards of beauty and appropriateness. (6) Improvised dancing in an individual style, as is common in the longhouse, is replaced by uniform movement in orchestrated group compositions in three specific styles, created to express either Iban, Bidayuh, or Orang Ulu identity. Male and female dancers wear different costumes, basically, a selection of what is traditional festive dress in various Dayak communities. In addition, contrasts between the sexes are stressed by giving them characteristic movement patterns. This is most evident when groups of male and female dancers are combined, for which the DCF choreographers have a preference. ...

# data[].attributes.attachment_link.title
The Dayak Cultural Foundation's Ethnic Orchestra. (Brief Communications)

# data[].attributes.attachment_link.description
In November 1999, when I first came to Sarawak, I found that the three officially recognized Dayak communities: Bidayuh, Iban, and Orang Ulu, each had its own cultural organization in the modem state capitol, Kuching.

# data[].attributes.headline
THE SUCCESSES AND RECOGNITION OF DAYAK MODERN MUSICS

# data[].attributes.subject
THE SUCCESSES AND RECOGNITION OF DAYAK MODERN MUSICS

# data[].attributes.body
The news article tells us that:

• Back in 2008, Sarawak’s top and
most promising Dayak recording
artistes were honoured at the
inaugural Dayak Music Awards.

• The Most Successful Dayak Male
and Female Musicians received
RM5,000 cash and an award.

• Awards like the Best Male and
Female Singers, Best Song
Composer, Best Produced Album
of the Year, Most Promising New
Male and Female Singers,Best
Dayak Patriotic Song, Best Dayak
Song and Best Lyrics are given.

• Awards’ organising chairman,
Datuk Celestine Ujang said, 29
awards in eight categories would
be given out during the biggest
assembly of Dayak musicians and
artistes.

• Dayak music is becoming
increasingly popular, with many
young music talents coming up,”
said Ujang, who is also the
chamber’s deputy president, at
RTM Sarawak broadcasting
house.

• Ujang said there were now 24
recording houses in the state that
produced Dayak music albums.

•Ujang said Dayak albums had been
sold not only in Sarawak (which
has a Dayak population of more
than one million) but also in
neighbouring Kalimantan,
Indonesia.

• Some Dayak singers are able to
sell up to 70,000 copies of their
new albums.

# data[].attributes.attachment_link.readable_text
KUCHING: Sarawak's top and most promising Dayak recording artistes will be honoured at the inaugural Dayak Music Awards 2008 here in September, seen as long overdue recognition of the Borneo island aborigines' contributions.

The Most Successful Dayak Male and Female Singers will each receive RM5,000 cash and an award.

Other awards are for the Best Male and Female Singers, Most Promising New Male and Female Singers, Best Song Composer, Best Produced Album of the Year, Best Dayak Patriotic Song, Best Dayak Song and Best Lyrics.

Awards' organising chairman Datuk Celestine Ujang said 29 awards in eight categories would be given out during what is expected to be the biggest gathering of Dayak artistes and musicians at Crowne Plaza Riverside Hotel on Sept 27.

The Sarawak Dayak Chamber of Commerce and Industry is hosting the event, which is seen as long overdue recognition due to the growing Dayak music industry.

"Dayak music is becoming increasingly popular, with many young singing and composing talents coming up," said Ujang, also the chamber's deputy president, at RTM Sarawak broadcasting house here Thursday.

Ujang said there were now 24 recording houses in the state that produced Dayak music albums.

However, there are no figures on the number of Dayak (comprising Iban, Bidayuh and Orang Ulu) recording artistes and Dayak albums which have been produced over the years.

Pauline Linang was the first Dayak singer who recorded Iban songs in RTM in 1954. However, the first compact disc of Iban songs was recorded by Hassan Sani, a non-Dayak, in Singapore in the late 1960s.

Ujang said Dayak albums had been sold not only in Sarawak (which has a Dayak population of more than one million) but also in neighbouring Kalimantan, Indonesia.

Some Dayak singers are able to sell up to 70,000 copies of their new albums.

Ujang said the Malays and Chinese also sang Dayak songs and bought Dayak albums.

He called for the establishment of a Sarawak Dayak Artistes Association to help in the development of the Dayak music industry and to take over the hosting of the Dayak Music Awards.

# data[].attributes.attachment_link.title
Dayak performers to get their due ... finally

# data[].attributes.attachment_link.description
KUCHING: Sarawak's top and most promising Dayak recording artistes will be honoured at the inaugural Dayak Music Awards 2008 here in September, seen as long overdue recognition of the Borneo island aborigines' contributions. The Most Successful Dayak Male and Female Singers will each receive RM5,000 cash and an award.

# data[].attributes.body
Below are the achievements of   The Dayak music industry over    the years.

It is a fact that today, their music has even been recognised by other parts of the world.

Toyat, J. (2016, April 12). ‘Make Dayak music appeals more to outsiders’. Retrieved from https://www.theborneopost.com/2016/04/12/make-dayak-music-appeals-more-to-outsiders/

# data[].attributes.body
Iko Metung is a Sape' Traditional Instrument from Dayak community of Borneo.

The music is very relaxing and stresses about the beauty of our nature.

# data[].attributes.attachment_link.title
Iko Metung - Uyau Moris [Official] Sape' Traditional Instrument from Dayak Borneo

# data[].attributes.body
The sape' is a traditional lute of The Dayak Community.

The Sape is carved from a single bole of wood, with many modern instruments reaching over a metre in length.

# data[].attributes.body
The sape' is a traditional lute of Dayak community.

This article talks about what Mathew Ngau Jau, who is a world reowned Sape Maestro and Malaysia National Living Heritage. have to say about The Sape.

In this article, he explains about his vision and his dream of The Sape.

Below are the highlighted points that have been extracted from the article.

Pilo, W. (2018, December 10). sape master still going strong. Retrieved from https://dayakdaily.com/sape-master-still-going-strong/

# data[].attributes.body
Rijoq is a dayak vocal music that has been passed down to many generations through oral music.

Rijoq is a traditional poetry that is sung without any music component  by the Dayak community.

# data[].attributes.attachment_link.title
Details Finding on Rijoq (Vocal Music of Dayak Community)

# data[].attributes.body
By looking at this article, we can see that people of Dayak have their own traditional musical Instruments.

Their musical instruments     consist of:

• Sape
• Tribal Drum
• Tall Standing Drum
• Sarawak Gong
• Gulintang
• Satong

# data[].attributes.attachment_link.readable_text
In November 1999, when I first came to Sarawak, I found that the three officially recognized Dayak communities: Bidayuh, Iban, and Orang Ulu, each had its own cultural organization in the modem state capitol, Kuching. (1) Moreover, in 1992, the three communities joined forces in the Dayak Cultural Foundation with the object "to receive and administer funds for cultural, educational, scientific and charitable purposes, and for public welfare." (2) Since the beginning of 2000, the Dayak Cultural Foundation headquarters have been located in the Tun Jugah Tower, a new high-rise building in the business area, which also houses the Tun Jugah Foundation, a non-profit Iban cultural heritage foundation. In accordance with its objectives, the DCF aims to preserve cultural traditions, and one of the ways it does so is by organizing courses in Dayak dance and music. The set-up of these courses fits within the framework of the three officially recognized Dayak communities, so that each community has an appointed time for weekly instruction and group practice in the Foundation's spacious dance studio and music rooms. Special sets of costumes and musical instruments, selected according to what is considered characteristic for each community, are stored and available here. Iban and Bidayuh groups have ensembles of gongs and drums to accompany dances; the Iban have several long barrel drums (gendang) (3) and a gong ensemble consisting of a set of eight small bossed gongs resting on strings (engkrumong), deep-rimmed tawak gongs with a prominent boss, and single-bossed gongs suspended by a rope or chain (bebendai/chanang). The Bidayuh have long wooden drums originally used in headhunting rituals (sebbang), a wooden xylophone (gulintang), and a set of suspended gongs of various sizes, large, wide agung and smaller bebendai. The Orang Ulu group mainly uses the plucked lute (sape), originally a two-stringed, three-fretted instrument used in rituals associated with healing ceremonies (Langub 1997:177). (4) The present three- or four-stringed, multi-fretted sape is either played as a solo instrument or combined with another sape, and/or a wooden xylophone (tuvung lutang/jatung utog). Other instruments, such as bamboo flutes and the tube-zither (satong), bamboo stamping-poles (tongkat), and mouth organs (keluri/engkrurai), are used by more than one group. (5)

Music and dance practices are usually held separately, in the evening or during the weekend. Students tend to join a music or dance practice group (some study both music and dance) which corresponds with their tribal background--a child of Iban descent will frequently be put into an Iban dance or music group by its parents--indicating that for many students these practices function to support one's tribal identity. Yet, there are people who are keen to learn another style beyond their own, and join different groups. Each of the three main communities has a DCF dance company consisting of young adults who have successfully passed the basic course and must regularly attend practices in order to maintain a repertoire of group dances for public performance.

In accordance with its location in the state capitol, the music and dances practiced at the DCF express group identity at the state level. They remain confined within the framework of one of the three officially recognized Dayak communities and conform to state-developed standards of beauty and appropriateness. (6) Improvised dancing in an individual style, as is common in the longhouse, is replaced by uniform movement in orchestrated group compositions in three specific styles, created to express either Iban, Bidayuh, or Orang Ulu identity. Male and female dancers wear different costumes, basically, a selection of what is traditional festive dress in various Dayak communities. In addition, contrasts between the sexes are stressed by giving them characteristic movement patterns. This is most evident when groups of male and female dancers are combined, for which the DCF choreographers have a preference. ...

# data[].attributes.attachment_link.title
The Dayak Cultural Foundation's Ethnic Orchestra. (Brief Communications)

# data[].attributes.attachment_link.description
In November 1999, when I first came to Sarawak, I found that the three officially recognized Dayak communities: Bidayuh, Iban, and Orang Ulu, each had its own cultural organization in the modem state capitol, Kuching.

# data[].attributes.body
The Dayak is the non-Muslim indigenous peoples of the island of Borneo.

Their languages all belong to the Indonesian branch of the Austronesian (Malayo-Polynesian) language family.

Dayak is a generic term that has no precise ethnic or tribal significance.
In Malaysian Borneo, The Dayaks  is often understood locally to refer specifically to Iban and Bidayuh peoples.

Most Dayak village economies are based on the shifting cultivation of hill rice for subsistence. Fishing and hunting are subsidiary activities.

The Dayaks were animist in belief; however, many converted to Islam and since the 19th century there has been mass conversion to Christianity.

The Editors of Encyclopaedia Britannica. (2019, February 19). Dayak. Retrieved from https://www.britannica.com/topic/Dayak

# data[].attributes.body
In this article, we can highlight a few points about The Gongs such as:

• The Gongs are famously known
as the most iconic idiophones
among The Kadazans.

• The Gong is made of either bronze
or brass, it produces a distinct
muffled sound of a deep tone.

• One of the popular gong beat is
the sompogogunggan which
accompanies the Sumazau
Dance of The Kadazans.

• This beat is commonly played
during festivities and weddings by
the Kadazan community of
Penampang.

• For funerals, the Kadazandusun
play another famous Gong’s beat
called the dunsai.

• The Gongs also hold other cultural
meaning such as being a symbol
of wealth for a family.

# data[].attributes.attachment_link.readable_text
The gongs are Sabah's most iconic indiophones that are found throughout Sabah, particularly among the Kadazandusun and Murut ethnics. It is considered the backbone of the traditional musical instruments found in Sabah. The Gong is made of either brass or bronze. It is usually thick with a broad rim and produces a distinct muffled sound of a deep tone. In the olden days, it was originally traded in from Brunei.

There are many different rhythms and beats in which the gongs are being played according to the occasion, ritual or festivity. The gongs are created in many different sizes in order to produce different sounds.

The sopogandangan beat, which originates from the interior division of Sabah (played by the Dusun community of Tambunan), is commonly played to accompany the ritual. The ritual is usually held to commemorate the harvest festival and weddings, although traditionally, it was associated with headhunting.

Another popular gong beat is the sompogogungan which accompanies the sumazau dance. This beat is commonly played during festivities and weddings by the Kadazan community of Penampang. During funerals, the Kadazandusun play another beat called the , which decidedly has a lower-toned, less cheery sound.

Apart from being principal musical instruments, the gongs hold other cultural significance such as being a symbol of wealth for a family. In some ethnic Sabahan cultures, a set of gongs is sometimes demanded as a (dowry) in marriage. Therefore, before getting the woman of his dreams, a man first would have a handsome set of gongs to offer her family.

While the art of gong-making is slowly petering out in some parts of Sabah, in Kampung Sumangkap, Kudat, the gong-making industry is still going strong. Visitors curious about the how-tos of gong-making can drop by the Kampung Sumangkap Gong Factory to see how gongs are being made. Don't forget to pick up a miniature gong souvenir and decoration or two while you're at it.

# data[].attributes.attachment_link.title
The Gong - the Backbone of Sabah's Musical Ensembles

# data[].attributes.attachment_link.description
The gongs are Sabah's most iconic indiophones that are found throughout Sabah, particularly among the Kadazandusun and Murut ethnics. It is considered the backbone of the traditional musical instruments found in Sabah. The Gong is made of either brass or bronze. It is usually thick with a broad rim and produces a distinct muffled sound of a deep tone.

# data[].attributes.headline
THE SUCCESSES OF KADAZAN’S VETERAN MUSICIAN

# data[].attributes.subject
THE SUCCESSES OF KADAZAN’S VETERAN MUSICIAN

# data[].attributes.body
This new article tells us that:

• Comitee members of Kadazan
Veteran singers paid a visit to
legendary singer songwriter,
name Datuk Justin Stimol.

• Justin is an inspiration and being
consider as a legend to many
Kadazan and Sabah singers who
have a goals in composing and
singing their own songs.

• Justin, 81, began writing and
singing his own Kadazan Songs
for the radio by the age of 16.

• He was invited to New York in
1983 as the singing ambassador
of the Kadazan Culture at a
United Nations.

• During the trip, he assisted in the
completion of a video
documentary ”Borneo Playback”
where his voice was dubbed into
the movie.

• For the first time in 1984, the
sounds and sights of Sabah native
culture featuring himself appeared
in millions of American TV.

• He was given recognition as the
greatest two early musician of
Kadazan by the state museum.

# data[].attributes.attachment_link.readable_text
Kadazan veteran singers call on pioneer

Published on: Saturday, February 23, 2019

Committee members of Kadazan Veteran Singers or H0220 paid a tribute visit to veteran artiste-cum-singer songwriter Datuk Justin Stimol at his family office in Donggongon. When presenting a framed photo of his life, President Carfester Mokujin said Justin is a legend and an inspiration to all the club members as well as many other singers in Sabah when they attempted to composed and sing their own songs. Justin, 81, started composing and singing his own Kadazan songs for the radio at 16, being coached by the Missionary priest at school to study music and poetry and introduced to the music of Beethoven. PENAMPANG:

By 1962 he joined Radio Sabah as a broadcaster and founded his own band in 1963. After a string of radio hits, he recorded the old EP disc album via a recording studio at Jesselton while in 1974 recorded another EP album backed by a popular all girls band from Indonesia called "Pretty Sisters". In 1983 he was invited to New York, US as the singing ambassador of the Kadazan culture at a United Nations sponsored cultural festival for 33 indigenous races from all over the world. During this visit he assisted in the completion of a video documentary "Borneo Playback" produced by a former American Peace Corps, Mrs Carol Davidson where his voice was dubbed into the film. For the first time in 1984 the sights and sounds of Sabah native culture featuring himself and some family members appeared in the millions of American TV. Back at home, he was the founding member of the "magnificent seven" who founded the Kadazan Cultural Association, now renamed as KDCA.

He left RTM to have a brief stint in politics and scored 5,089 votes as opposition candidate which was half that of BN for Penampang in 1982. However, he returned to writing a few songs for close friends with full support of his wife and seven children. He was awarded a state datukship in 2011 in recognition for his contributions to arts and culture. In 2016 the Hungarian government gave him and family a free trip to the European country to attend the 50th independence anniversary to remember a peace poetry he had written for the country almost 50 years ago. Last November the State Museum gave him another recognition as the top two early musicians with Peter Pragas who was the first Music Director of Radio Sabah. His portrait in the museum leads the other singers in the Hall of Music for Sabah.

# data[].attributes.attachment_link.title
Kadazan veteran singers call on pioneer | Daily Express Online - Sabah's Leading News Portal

# data[].attributes.attachment_link.description
Committee members of Kadazan Veteran Singers or H0220 paid a tribute visit to veteran artiste-cum-singer songwriter Datuk Justin Stimol at his family office in Donggongon.

# data[].attributes.body
Sompoton or Sumpotan, is a mouth organ made from a gourd with bamboo pipes in northern Borneo, Sabah.

It originated in the state of Sabah and is played by both male and female indigenous people in Sabah, especially by the Kadazan Dusun commmunity.

Borneo Post Online. (2014, June 1). Traditional music: Keeping it authentic. Retrieved from https://www.theborneopost.com/2014/06/01/traditional-music-keeping-it-authentic/

# data[].attributes.body
Sundatang is a traditional string instrument of The Kadazans community.

This article explains about the use, how it looks and how is it being played by The Kadazan Community.

# data[].attributes.body
Magagung is one of the well-known music instrument of Kadazan community.

Magagung is also known as Tagung among the Kadazan Dusun particularly in North Borneo,(Sabah).

Magagung is often used to entertain peoples during festivals or festive occasions.

# data[].attributes.attachment_link.title
Sabah: Magagung (Gong) | Traditional Musical Instrument

# data[].attributes.body
Sundatang is a traditional string instrument of The Kadazans community.

Sundatang is also known as a two-string Kadazan 'guitar'.

The lower string has seven frets made from little black bees' wax called 'sopinit'. The top string is free and make a sound which sounds like "tang, tang, tang"
thus the name sundatang.

# data[].attributes.attachment_link.title
SUNDATANG (The Kadazan Traditional String Instrument)

# data[].attributes.body
Iban music is percussion-oriented.
The Ibans have a musical heritage consisting of various types of agung ensembles.

The percussion ensembles composed of large hanging, suspended or held, bossed/knobbed gongs which act as drones without any accompanying melodic instrument.

The typical Iban agung ensemble will include:
• a set of engkerumungs (small
agungs arranged together side by
side and played like a xylophone),
• a tawak (the so-called ‘bass’),
• a bendai (which acts as a snare)
• a set of ketebung (a single sided
drum/percussion).

# data[].attributes.body
Sumazau is a genre of music of the Kadazan of Penampang District, Sabah.

This article explains about the roles of Kadazan traditional music instruments in Sumazau Music.

By examining this article, we can also understand the roles of Kadazan's music in their sacred traditional rituals.

How Sumazau music has changed and grown throughout the years are also included in this article.

# data[].attributes.body
By looking at this article, we can conclude that people of Kadazandusun have their own traditional music and musical instruments.

Their musical instruments
consist of:

• Bungkau (Free Aerophone)
• Kulintangan (Idiofon)
• Sompoton (Erofon)
• Togunggak' (Idiofon)
• Gong beating or Magagung
• Suling
• Tongkungon
• Sundatang

# data[].attributes.attachment_link.readable_text
Kadazan traditional music and dances refer primarily to the sounds produced by way of "Magagung" (gong beating), "Bungkau", "Sompoton" and "Suling" (Seruling) (Flute), and to the Kadazan dance of "Sumazau" for merry-making and the warrior dance of "Batibas" or variations of these.

Kadazan traditional music and dances had been in existence for centuries.

The way the gongs are beaten vary from place to place producing sounds and rhythms with some difference.

The same is true of the dances where the variations are due to the influence from the dances of other racial groups living in nearby villages.

Kadazan Traditional Music and Musical Instruments
Local musical sounds are produced by way of:

Gong beating or "Magagung."

The six gongs vary in size. The smallest is beaten first followed by the other five goings, one after another. The sixth and biggest gong produces a "bass" sound.

People perform the "sumazau" dance making physical movements in accordance to the sounds of the gongs beaten in harmony.

Togunggu or Togunggak
These are gong-sound producing musical instruments made from dried bamboo.
A Togunggu set is made from thin bamboos while the Togunggak set is made from thick bamboo stems.

"Bungkau"
The "Bungkau" is made from the skin of the branch of a certain palm tree the Kadazans call "Pohod."
The sound is produced by using the right thumb to gently bend the instrument back and forth while holding it in front of the mouth. The music is produced by changing the size of the mouth.

"Sompoton"
The "Sompoton" is a made from a dried gourd to which eight bamboo tubes of varying length are inserted through a rectangular-size aperture.
Bees' Wax called "sopinut" is used to fix the bamboo tubes firmly to the dried gourd and to prevent air from escaping through the gap when the musical gourd is played.

The bamboo used belongs to a particular species called "Humbising" in Kadazan. The musical sound is produced by blowing through the narrow end of the gourd while the fingers are used to open or close the holes made in the bamboo.

"Suling"

"Tongkungon"

"Sundatang"
The "Sundatang" is a Kadazan guitar with two(?) strings.
It is somewhat similar to a sitar.

"Kulintangan"
The "Kulintangan" is a set of small brass gongs that vary in size. These gongs are arranged on top of two thick parallel strings fixed to a rectangular wooden structure.
Only one person is needed to play the gongs using two sticks. The set is sometimes played in unison with the beating of the set of six bigger gongs.

Dance to Kadazan Traditional Music

Kadazan native music is closely connected with the development of Kadazan traditional dances. These dances include the following.

The "Sumazau"

"Batibas"
The "Batibas" is the warrior dance of the Kadazan people. It is understood that Kadazan warriors performed this dance after every battle, bringing back with them the severed heads of their foes.

The "Bobohizan" Dance
The "Bobohizan" (priests/priestesses) dance is the dance performed by Kadazan priests and priestesses while chanting during animistic rituals such as the Magavau.

There is no Kadazan traditional music specific to this bobohizan dance but the sound of gongs being beaten as usual.

Opportunities to Listen to Kadazan Music and Participate in Sumazau
There are opportunities to listen, and even play, Kadazan musical instruments and participate in the sumazau dance.

You will have the opportunity if you can find the time to attend Kadazan harvest festivals or get invited to a Kadazan wedding.

Native Musical Sounds Blend With Modern Music
Some Kadazan artists had blended the sound of the "Tagung" or gong, "Bungkau" or "Suling" to some of their songs.

Kadazan Music and Dances as Evidence of Their Identity
Kadazan identity includes demonstrating some ability in playing one or two Kadazan musical instruments and / or ability to perform the sumazau dance.

If you cannot play any Kadazan traditional musical instruments or do the sumazau, you can at least support activities that promote Kadazan music and dances. You can do this by attending events organized by Kadazan communities.

Click HERE for information on the Kadazan in the Kadazan Language

Click HERE for Kadazan Custom and Tradition<br><br>

# data[].attributes.attachment_link.description
Kadazan traditional music and dances refer primarily to the sounds produced by way of "Magagung" (gong beating), "Bungkau", "Sompoton" and "Suling" (Seruling) (Flute), and to the Kadazan dance of "Sumazau" for merry-making and the warrior dance of "Batibas" or variations of these. Kadazan traditional music and dances had been in existence for centuries.

# data[].attributes.body
The Kadazandusun people groups are the the largest indigenous grouping in Sabah.

Most of them live in the interior, usually along one of the many rivers rather than in coastal areas.

The Coastal Kadazan dialect is the most well established Kadazandusun dialect even though they are not the largest people group numerically.

The Kadazandusun were traditionally animists but have been influenced by both Christianity and Islam.

Joshua Project. (2020).
Kadazan, Eastern in Malaysia. Retrieved from https://joshuaproject.net/people_groups/11694/MY

# data[].attributes.body
This news article tells us that:

• During the Concert of Visit
Malaysia again (2020), many
Minangkabau music traditions are
being showcased.

• Malaysian duet partners, Syamel
Fodzly and Ernie Zakrie are
the one who works on showing
the beautifully of Minang’s
music art.

• They sung their hit song, Takkan
Terlerai in a mix of
Minangkabau and Malay
language.

• They were also being
accompanied by 14 dancers that
wears traditional Minangkabau
outfits.

• Both of them dance in Minang
traditional dance, that
challenge them to show off their
dancing skills.

# data[].attributes.attachment_link.readable_text
IT is Visit Malaysia Year again, and to mark this year-long celebration, a star-studded concert combining the best of the country's old and new talents heralded its official launch recently.

Leading the young ones were popular duet partners Syamel Fodzly and Ernie Zakri, better known as the champions of Astro's celebrity duet show Duo Star (which was screened three years ago).

Syamel, 27, and Ernie, 28, who cemented their "power duet" partnership by winning Best Vocals in Anugerah Juara Lagu 32 in 2018, had audiences cheering all the way at the two-hour Konsert Visit Malaysia 2020 which began at 8.30pm.

This took place in the packed Panggung Sari of Istana Budaya, Jalan Tun Razak, Kuala Lumpur, and was witnessed by Deputy Tourism, Arts and Culture Minister Muhammad Bakhtiar Wan Chik as well as Istana Budaya director-general Datuk Juhari Shaarani.

Syamel and Ernie sang their popular single Takkan Terlerai, Perfect (made popular by British singer-songwriter Ed Sheeran) and the traditional Minangkabau tune Cinduo Mato.

They were backed by two of the country's best known orchestras, the National Symphony Orchestra (led by its chief conductor and music director Datuk Mustafa Fuzer Nawi) and the Malaysian Traditional Orchestra (led by its conductor Mohd Yazid Zakaria).

As soon as Syamel appeared on stage in a black suit and silver spectacles while sporting a new moustachioed look, cheers erupted across the concert hall.

After his "perfect" rendition of the first lines of Perfect, Ernie emerged. She looked stunning and adorable in a figure-hugging pink and white floral dress, and her auburn hair was beautifully curled to look wavier than usual.

Syamel's and Ernie's version of Perfect was truly their own. The duo appeared very comfortable with each other.

It was another class act with Takkan Terlerai, their popular single recorded last year. It brought out the best in the singers' vocals.

Cinduo Mato was the first Asli song performed by Syamel and Ernie.

Sung in a mix of Minangkabau and Malay, and accompanied by 14 dancers in traditional Minangkabau outfits, it challenged them to show off their dancing skills, which they passed with flying colours.

Pop king Datuk Jamal Abdillah, dressed in his trademark sunglasses and a smart, grey suit, was the star attraction among the veterans.

Performing the anthem of a struggling young musician, Aku Penghibur with his deep and caressing voice was accompanied by posters of his studio albums and singles projected on the big screen behind him.

Jamal's other song, Gadis Melayu, was sing-along fun all the way. Jamal swayed and danced in the company of 13 beauties dressed in the traditional costumes of each Malaysian state.

Papa Rock Datuk Ramli Sarip was another show-stealer, even though he only sang one song. Dressed in a black jacket and matching black jeans, he belted out his iconic band Sweet Charity's popular song Camelia.

Pop Yeh Yeh legend Datuk Jeffrydin looked stunning in a white retro suit from the 1970s, as he belted out two of his best known songs ,Kenanganku and Siti Haidar.

Inviting the audience to dance at their seats, the 72-year-old Singapore-born crooner displayed slick moves twirling around his dancers who were dressed in 1970s-style floral fashion, complete with sideburns and high hair.

Ethnic creative queen Noraniza Idris, dressed stylishly in brown, gave fans Dikir Puteri accompanied by the Malaysian Traditional Orchestra.

While her performance was relatively subdued, the Kluang-born singer showed her guests that her passion for traditional pop music burned brighter than ever.

The same could be said for keroncong legend Datuk Yusni Hamid. Emerging on stage in a silver-studded, jet black dress, she sang Ketawalah Lagi, one of her most famous Asli songs.

Dancers of the Culture, Arts and Heritage Department and Istana Budaya performed two interesting pieces, namely Fiesta Rakyat and Asmaradana. Fiesta Rakyat featured a medley of Orang Asli, Malay and East Malaysian indigenous dances.

Asmaradana, a Javanese dance number, was beautifully executed by 14 Istana Budaya dancers.

Singers Asmidar Ahmad and Rojer showcased traditional songs and dances from their home states Perak and Johor respectively.

Asmidar, who was dressed in a shimmering blue dress, sang Silat Melayu and Tari Tualang Tiga from Tan Sri P. Ramlee's film Semerah Padi, was accompanied by 30 Istana Budaya dancers in Perak Malay costumes.

Rojer, who was dressed in a traditional Johor baju Melayu and tall songkok, led the Malaysian Traditional Orchestra performing Laksamana Raja Di Laut, a traditional gambus-heavy tune that paid tribute to the courage and loyalty of Hang Tuah. He looked every bit like his late mentor Datuk Suhaimi Mohd Zin or Pak Ngah, who died last year.

The evening ended with Kurik Kundi, a traditional song made popular by Siti and performed by Asmidar and Ernie, accompanied by dancers dressed in the traditional costumes of all major ethnic groups of Malaysia.

Finally, Kelantan-born super singer Idayu Yaakob took to the stage, accompanied by all of the singers and dancers, to belt out the theme song for Visit Malaysia Year 2020.

In between the various acts, Istana Budaya unveiled its major showcases for this year. There will be 27 in total, which include eight plays and 13 musicals from now until December.

# data[].attributes.attachment_link.description
IT is Visit Malaysia Year again, and to mark this year-long celebration, a star-studded concert combining the best of the country's old and new talents heralded its official launch recently. Leading the young ones were popular duet partners Syamel Fodzly and Ernie Zakri, better known as the champions of Astro's celebrity duet show Duo Star (which was screened three years ago).

# data[].attributes.headline
CAKLEMPONG MUSIC              OF MINANGKABAU

# data[].attributes.subject
CAKLEMPONG MUSIC              OF MINANGKABAU

# data[].attributes.body
This article explains on Caklempong Music of Minangkabau in details.

From this article, we can see that Caklempong is often played to enlivens wedding ceremonies and carnival processions of The Minangs.

# data[].attributes.headline
EXPLANATION OF                THE RANDAI

# data[].attributes.subject
EXPLANATION OF                THE RANDAI

# data[].attributes.body
The Randai is one of the most popular theatrical form of Minangkabau people.

The Randai includes many Minang's music elements as a whole.

Those music elements include instrumental music, singing, dance movements, stories and acting.

Sooi Beng, T. & Matusky, P. (2017). The Music of Malaysia: The Classical, Folk and Syncretic Traditions. Page 55-61. Retrieved from https://books.google.com.my/books?id=9jwlDwAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

# data[].attributes.body
Caklempong is a traditional music of the Minangkabau People.

In this video, you will see how the traditional music of Caklempong being played by a group of Minang's musician.

# data[].attributes.attachment_link.title
Malaysian Traditional Music (Negeri Sembilan - Minangkabau)

# data[].attributes.body
By reading through this article, we can see that people of Minangkabau have their own traditional music and instruments.

Some of their traditional music instruments consist of:

• Caklempong
• Bongai
• Tumbuk
• Kalang
• Dikir Rebana

# data[].attributes.attachment_link.readable_text
About Negeri Sembilan

The state of Negeri Sembilan that lies on the southwest coast of Malay Peninsula is very popular among the locals as well as international visitors for its beaches, palaces and nature parks. As a top holiday destination, Negeri Sembilan has excellent accommodation and recreational facilities to take care of the overwhelming number of tourists that flock the state every year.

History

The Minangkabau people of Sumatra migrated across the Straits of Malacca several centuries ago and settled in Negeri Sembilan somewhere in the 15th century. In the ancient times, Negeri Sembilan did not exist as a unified state that it is today but instead, it existed as a loose confederation of about nine fiefdoms that developed in the isolated valley of the region. These nine fiefdoms were under the rule of the Melaka Sultanate before its downfall in 1511 when the Portuguese captured the region.

After that, the region became under the protection of the Johor Sultanate up to the 18th century when it was now so weak because of the attacks by the Bugis. These attacks actually forced the Manangkabau people to seek help from a prince, Raja Melewar of Pagar Ruyon. In 1773, the prince then announced himself as the first Yam Tuan of the Negeri Sembilan. As a result, all the nine fiefdoms came under his protection and that is how Negeri Sembilan became a unified state.

Cuisine

Traditional food for the Minangkabau people is hot and spicy because they use the chilli padi, which is one of the hottest chillies, as one of the ingredients. Next time you visit Negeri Sembilan state, be sure to try their most popular traditional dishes such as rending, which is simply pieces of beef that have been cooked in coconut milk and hot chillies. Another dish prepared by the unique Minangkabau style of cooking is Masak Lemak Chili Padi, which is just fish, vegetable or beef cooked in coconut milk and then blended with ground chili padi.

Dances

People of Minangkabau have their traditional music and musical instruments. Some of their most popular traditional music includes the Caklempong, Bongai, Tumbuk Kalang and Dikir Rebana. In fact, most of their musical instruments bear significance resemblance to their ancestral home, Sumatra.
Some of the popular dances include the Tarian Lilin, Rentak Kuda as well as Tarian Piring and Tarian Randai.

Top attractions

There are many, but we will just look at a few here. Also, do not forget that there are wonderful beaches there. Here are some attractions that you should not miss:

The Army Museum

Port Dickson Army museum is among the best museums in Malaysia. Apart from the 9 galleries, the museum also consist of a number of outdoor displays.

Gunung Telepak Buruk

One of the most beautiful peaks that is located near Jeram Toi Waterfall. It has a reticent height of 269 meters and it offers a very stunning view.

Gunung Angsi

This is a small beautiful mountain, which is located just 20 km from Seremban, the capital of Negeri Sembilan state. It's actually the best place to unwind from a tiresome journey to Negeri Sembilan or from various activities. It is the home to the Ulu Bendul Recreational Park, which has shady picnic, beautiful streams and BBQ sites. Many people like visiting the park on weekends.

# data[].attributes.attachment_link.description
Find the latest news and information on the top stories, industrial, business, information technology, events, conference, franchise, lifestyle, entertainment, culture, tourism and more about Malaysia. Our goal is to serve the needs of business industry movers and shakers, managers, thought leaders and others to be aware of what is happening in the global industrial scene.

# data[].attributes.headline
DETAILS EXPLANATION       ON POP MINANG 

# data[].attributes.subject
DETAILS EXPLANATION       ON POP MINANG 

# data[].attributes.body
This article focus on one of the biggest representative of Minang regional culture, named Pop Minang.

Basically, Pop Minang is a popular music genre named after what today still is the province of West Sumatra.

# data[].attributes.body
The Minangkabau, or Minang, comprise a majority of the state of Negeri Sembilan in Peninsular Malaysia.

The Minang speak the national language of Malaysia, but they have their own dialect that reflects lingual roots in the language of their Indonesian heritage.

Within Malaysia, the Minang refer to themselves as Orang Negeri or person from Negeri. The Minang are most noted for their adherence to adat pepatih
(matrilineal inheritance).

The Minang are devout Muslims in spite of their matrilineal heritage.

Joshua Project. (2019). Minangkabau, Orang Negeri in Malaysia. Retrieved from https://joshuaproject.net/people_groups/14208/MY

# data[].attributes.body
The Minangkabau, or Minang, comprise a majority of the state of Negeri Sembilan in Peninsular Malaysia.
The Minangs reside at variety states in Negeri Sembilan. But, most of them can be found live in Bahau, Kuala Pilah, Tampin and Bemban.

Joshua Project. (2019). Minangkabau, Orang Negeri in Malaysia. Retrieved from https://joshuaproject.net/people_groups/14208/MY

Image was taken from People Group Location from IMB.
Map by Joshua Project.

# data[].attributes.body
This video shows a group of Iban's Kid playing the melody of Taboh Ngajat by using their traditional music instruments.

Taboh Ngajat is Iban's traditional music that will be performed usually during their rituals celebration.

# data[].attributes.body
This news article tells us that:

• Award-winning artiste, Melissa
Francis has put a new benchmark
for the Iban music industry, with
her latest  music video has gained
over 100,000 views, and still
growing on Youtube.

• The music video told the story of
a mother, acted by Melissa
herself, who is a successful
singer but being left by her
husband.

• This article emphasizes how
nowadays, Malaysians have
become more open-minded in
accepting different music genres.

• Individuals nowadays listen to all
sorts of music without
contemplating the language of the
lyrics.

• Melissa is very proud through the
fact that all Malaysians accept her
music even though her song is in
Iban language.

• We can clearly see on the
progress that Iban Music has
achieved throoughout the years.

# data[].attributes.attachment_link.readable_text
The latest music video from award-winning artiste Melissa Francis has set a new benchmark for the Iban music industry, in that it has garnered over 100,000 views - and still counting - on YouTube.

The clip for 'Pengidup Aku' (My Life) was released on the online video channel on Sept 18.

The music video depicts the story of a mother, played by Melissa herself, who is a successful singer but offstage, the husband left her.

It conveys the message of a mother's love, courage and resilience in rebuilding her happiness with her only son, amidst all the hurdles that she faces - both in her career and her personal life.

The six-minute video also comes with Malay subtitles for non-Iban speakers.

Other actors for the video are Ezra Wan Emang as Melissa's son, Jerry Jamal Kennedy as the husband, Marzella Sigai as her husband's girlfriend, Allan Chua as Melissa's friend, and Orden Syam as her makeup artist.

Commenting on the response to the music video, Melissa said she was touched by the positive reviews posted by her fans.

"Everybody said they watched the music video repeatedly. Some of them cried a few times after watching it. I was touched by such many positive comments. Those who had viewed the video, said I was so strong (and) they wanted to emulate my strength," enthused the songstress, whose brother Hairee Francis had penned 'Pengidup Aku' based on her personal life.

Produced by Platinum World Network, the song debuted on the local radio in December last year, following the release of her album bearing the same title then.

According to Melissa, fans from all over Malaysia are very accepting of the music even though the song is in Iban.

"I am glad that an Iban song is accepted by all in Malaysia," she enthused.

Melissa - the 2008 and 2012 winner of the 'Best Female Artiste Award' of the Dayak Music Awards, was also grateful for Kuching-based media platform 'SukaSuka' for fully sponsoring the music video.

"I feel so grateful to be working with them - they are professionals and they take good care of artistes and talents.

Melissa - also the winner of 'Artis Paling STYLO' (Most Stylish Artiste Award) in 'Anugerah Bintang Paling Popular Berita Harian 2012' - expressed her hope for her fans to enjoy her latest music video, which she regarded as 'sincerely coming from her heart'.

"I hope 'Pengidup Aku' can be accepted by the fans. This is a gift to all of you, from the bottom of my heart. Be positive and remember that everything happens for a reason," she said.

The video was shot in four days, taking place at various locations in Kuching.

The official clip of 'Pengidup Aku' can be viewed on SukaSuka's YouTube channel and Facebook page; the karaoke version has also been released on SukaSuka's YouTube channel.

# data[].attributes.attachment_link.title
Music video of Iban artiste's latest song gains over 100,000 views on YouTube - Borneo Post Online

# data[].attributes.attachment_link.description
The latest music video from award-winning artiste Melissa Francis has set a new benchmark for the Iban music industry, in that it has garnered over 100,000 views - and still counting - on YouTube. The clip for 'Pengidup Aku' (My Life) was released on the online video channel on Sept 18.

# data[].attributes.body
This article discusses The History of Iban Popular Music, an Alternative Conception of Modernity.

By examining this article, we can observe the progress and evolution of Iban Music over the years.

We can also understand how modernity has historically shaped developments in the industry of Iban Popular Music.

# data[].attributes.body
The name given is Muhammad Ashraf Bin Azrul. People often call me Ashraf or Yap, depends on their preferences.

I am a 20 years old scholar, who inscribes poems as a pastime.

I was born in Perak, grew up in Johor and presently reside in Melaka.

I am a proud EIC student who will surely graduate my degree as a dean list scholar.

Addition to that, people will also behold me attaining immense triumphs in the near future.

# data[].attributes.body
This video shows a performance of Ensera Taboh. Ensera Taboh is a famous contemporary music of The Ibans community.

In Ensera Taboh performance, professional male and female dancer of Iban's community will dance while being accompanied by Iban's skilled musicians who played various kinds of Iban's traditional music instruments.

# data[].attributes.body
This article elucidates about various types of Instruments and their roles in The Inventory of Iban Cultural Music.

It is corroborated that Iban traditional music can be divided into two major categories, which is Vocal and Instrumental Music.

# data[].attributes.attachment_link.title
Details Explanation of Iban's Music (HIGHLIGHTED)

# data[].attributes.body
The Iban is a group of former headhunters that is found throughout Borneo but is particularly concentrated in Sarawak.

They have traditionally lived along the mid levels hills and delta plains of Borneo.

Iban is the largest of Sarawak's ethnic groups, the Ibans form 30 percent of the State's population of 2.5 million.

The 4 main Iban settlements were located at Sungai Saribas, Sungai Skrang, Sungai Batang Lupar and Sungai Rajang.
Their main belief is animism.

Hays, J. (2008). Facts and Details: Borneo and Ethnic Groups in Borneo (IBAN). Retrieved from http://factsanddetails.com/indonesia/Minorities_and_Regions/sub6_3f/entry-4019.html

# data[].attributes.body
About my project, music is the cultural element that i choose to clasp research on.

5 Malaysian ethnic groups that I pick to hold my study are Iban, Minang, Kadazan, Dayak and Bajau Laut.

The purpose of selecting music as my cultural element is I want to discern how much differences music entities can be in various societies of Malaysia.

Addition to that, I am also interested in their music origin and how music assists them to thrive over the years.

# data[].attributes.body
The Bajau Laut people roamed the waters of the Coral Triangle between Malaysia, Philippines and Indonesia. Most of them settled along Sabah's east coast and particularly in Semporna.
Even today, a sizeable population still live in wooden houseboats or stilt huts built atop coral reefs near Semporna’s islands.

PulauMabul.com. (2020). Bajau Laut (Sea Gypsies). Retrieved from https://www.pulaumabul.com/bajau-laut-sea-gypsies/

Image was acquired from Joshua Project

# data[].attributes.body
Traditionally, The Dayaks lived along the banks of the larger rivers and stays in longhouse communities.
The Dayak groups were located further in the inland Kalimantan. Apart from Kalimantan, they also resides in the Malaysian state of Sarawak and Brunei.

The Editors of Encyclopaedia Britannica. (2019, February 19). Dayak. Retrieved from https://www.britannica.com/topic/Dayak

Image was obtained from Google

# data[].attributes.body
The Kadazans are an ethnic group indigenous to the state of Sabah in Malaysia. They are found mainly in Penampang on the west coast of Sabah, the surrounding locales, and various locations in the interior.

Essays, UK. (November 2018). Origins Of The Kadazan People. Retrieved from https://www.ukessays.com/essays/english-literature/origins-of-the-kadazan-people-english-literature-essay.php?vref=1

Image was acquired from Google

# data[].attributes.body
The Ibans can be found throughout Borneo but is particularly concentrated in Sarawak. Majority of Iban community resides at Sungai Skrang, Sungai Batang Lupar, Sungai Rajang and Sungai Saripas.

Hays, J. (2008). Facts and Details: Borneo and Ethnic Groups in Borneo (IBAN). Retrieved from http://factsanddetails.com/indonesia/Minorities_and_Regions/sub6_3f/entry-4019.html

Image was obtained from Google