Botibas (Part 1)
Written by H. Joplin Mosiun
April 16, 2023
Dear reader, please acknowledge or cite the blog and author of the article if you wish to use any information on this site. Cheers!
This article is a revisit and rework of my 2019 WordPress post titled 'Botibas: Spirit of Violence & the Madness of the Warrior'. In this essay, I aim to provide a new and fresher perspective on a rare piece of culture and artistic tradition of the Penampang Kadazan. The term 'Botibas' refers to a musical piece performed either by a gong or togunggu (bamboo idiophones) ensemble that draws its name from the word 'Tibas'. The word translates to 'to hack' or 'to slash', suggesting a clear association with the acts of headhunting and warfare.
The roots of the botibas can be traced back to the era of Monsopiad when the Tangara emerged as a faction that separated itself from the Bangkaakon and rebelled against the Huguan Siou. During the badi (market), both groups would send their warriors to participate in the basoungan (cockfighting pit), where they would demonstrate their physical prowess, agility, and combat skills. The musical ensemble provided the music for martial arts performances such as mikuntau, bakanjar, batambul, and migogoh (wrestling).1
The botibas is essentially a call to war. Prior to departing for the battlefield, men undergo specific rites and rituals, and the botibas is played to accompany war dances. This process is believed to invoke the gimbaran spirits, preparing the men to confront the possibility of death. It is possible that war dances are a component of the rites and rituals designed to awaken the spirits inhabiting weapons or other paraphernalia used on the warpath. Traditional weapons such as the gayang or mandau (sword), tandus (spear), sosopuk (blowpipe), and kohid (shield) are incorporated into the war dances. Other war paraphernalia can include a specialized baazid for carrying heads, sickles that are used to decapitate the enemy's head, war coats and hats, and talismans. These rituals typically include a feast, and the sounding of the botibas serves as a reminder that the men may not return home.2
The botibas is beaten and the tobui (a conch shell or bamboo horns) is blown to welcome the men returning from a raid or war. Upon their return, the men undergo a series of post-war rituals and ceremonies while the process of preparing the heads was underway. Once the skulls were prepared and fastened to bundles of silad leaves, the men proceeded to perform war dances with the skull of the enemy hung over their shoulders. At times, the women would join in by encircling the men and moving to the rhythm of the botibas, celebrating the warriors' triumph.3
On the contrary, the act of 'dancing' the skulls was intended to taunt the losing village. Villages went on high alert and took precautions against possible raids upon hearing the sound of the botibas from nearby villages. A rival village might seek revenge by launching a surprise attack in order to retaliate for previous losses in battle.4
Not too long ago, during funerals, it was customary to play the botibas after the burial had been completed, as a sign of respect for the deceased and to bid them farewell. The sounding of the botibas and the magaggung sumazau after burial is also intended to appease the spirits residing in the vicinity, to ensure the safety of those leaving the site and to prevent any disasters from befalling them. This practice is also known as papasazau do hozop which translates to 'to dance the ghosts'.5
As the funeral procession proceeded on foot to the gravesite, the botibas would occasionally be sounded alongside the dunsai (funeral gong music). It was believed that the sound of botibas could ward off malevolent spirits from possessing the body and interfering with the ceremony. An individual wielding a gayang would lead the cortège, while the cacophony of irregular shrieks and shouts of the pangkis (war whoop) pierce through the din. The botibas in a way serve as a morale boost for the men involved.6
According to my father, who was told by his father, the British discouraged communities from performing botibas. In addition to abolishing slavery and headhunting, they may have viewed the botibas as a call to arms that could disrupt their plans.
But maybe this was limited to some isolated incidents in Putatan. The botibas was perhaps observed to potentially incite violent behaviour among intoxicated men that led to brawls during weddings. The nature of the botibas due to its connection to war aroused the heroic spirit of men under the influence of alcohol. The popularity of the botibas in Penampang may have declined due to calls from certain community leaders to ban its performances, particularly during weddings.7 This perhaps led to rumoured attempts by certain parties to lift the ban on botibas and revive it in the 1980s.
To be continued
Notes
1,2,3,7 Interview with George Doivin in 2005 at Kg. Terawi↩
4 Mopinggal in 2005 at Kg. Kibunut↩
5,6 Interview with Francis Mansah (Ambuasan) in 2005 at Kg. Guunsing↩
Comments
Post a Comment