SAMA’-BAJAU INFLUENCES IN MAKIANG MUSICAL CULTURE
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Abstract
Situated along upper portions of the Kinabatangan River of eastern Sabah, from beyond Tongod upriver to below Kota Kinabatangan downstream, the Makiang speak a dialect of the Upper Kinabatangan language, one of five languages in Sabah’s indigenous Paitanic Family of Languages. Known as the Milian in the Makiang dialect, the Kinabatangan is said to be Sabah’s longest river. Over hundreds of years, it has provided a link between indigenous peoples in its upper reaches and east coast maritime peoples. The river has enabled trade between the many different interior communities with coastal peoples, leading to the diffusion of objects, ideas and practices. This paper discusses instruments and genres of Makiang group music that suggest evidence of diffusion from Sama’-Bajau and also Suluk musical practices, including the morunsai vocal dance genre as well as the performances of the ensembles sampasang no gabang and sampasang no kulintangan. It illustrates evidence for the processes of cultural convergences through which east coast Sama’-Bajau musical practices that have been absorbed into interior cultures and transformed over time.
Keywords: group music, morunsai, sampasang no gabang, sampasang no kulintangan, Makiang, Paitanic language family, Sama’-Bajau, eastern Sabah, diffusion, cultural convergence
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