SYMBOLIC ARTICULATION OF INTERACTIONS BETWEEN THE SEEN AND THE UNSEEN THROUGH GONG MUSIC AND DANCE IN THE LOTUD MAMAHUI POGUN1
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Abstract
This discussion focuses on special gong ensemble music and dance, particularly in the ritual climax of the Mamahui Pogun, a community-wide ceremony of the Lotud Dusun from Tuaran, Sabah, Malaysia. This climax is the highlight of the whole ceremonial series that extends over several weeks, because it not only marks the conclusion but is believed to signify the complete merging of the physical and spiritual realms and ends with the sacrifice of three piglets. Gong ensemble music is essential as a medium that binds the seen and the unseen, and without it this major ritual series cannot proceed. In the climax, two particular types music are played–one (ginandang popotumbui) accompanies the solemn circular dancing of the priestesses (tantagas), and the other (mojumbak) expresses joy at the success of the ceremonies. The Lotud believe various deities participate in the ceremonial proceedings and are each represented by a tantagas. The solemn ritual dancing (mangain) accompanied by the gong music at the climax thus symbolizes the complete interaction between the physical and spiritual dimensions. The Lotud believe that their ritual gong music is of primary importance in the Mamahui Pogun, and that dancing accompanied by the music during the climax is a manifestation of the pact that is ratified between the human and spiritual worlds.
Keywords: gong music, dance, Lotud Dusun, rituals, Mamahui Pogun, traditional worldviews, tantagas, Sabah
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