Page 62 - Proceedings Collega2023

transcendent, and integrative power of dramatic ritual. Emunah states that ‘Acting for real’ is not acting to
entertain, escape, or be misleading; it is acting for release, discovery, and renewal. Acting for real means
acting fully, acting feelingly, and acting knowingly—drawing from our depths and stretching to our heights,
beginning in the safe, contained drama therapy session and extending into the wide arena of real life. And,
conversely, from the limited spheres of our finite and not completely controllable real lives into the wide
arena of dramatic possibility (pp. 314-315).

Preliminary research found that dance, especially movement to rhythmic percussions, forms a
foundational ground for spiritual worship and an excellent source of emotional release, as experienced
throughout human history. “…Losing yourself in a dance trance provides a freeing sense of self” (Chaudhry,
2020). Chaudhry states that there is great healing power in the rhythmic movement that exercises the
body, as well as through the music that melds mind and spirit to the energy that surrounds us.
Subsequently, music constitutes one of the primordial forms of energetic connection to the pulse of life.
In this study, the collaborative creative process allows the dancer and musician to exchange energy
through dance and music. Through improvisations, rehearsals, and practices we experience therapy - our
souls rejuvenate and energy flows more freely. The collaborative creative process permeates the body and
soul through dance and music as a form of practice and therapeutic release.
Performers among the Bajau acquire their expertise in Igal (dance) through a combination of
passive observation of various sets of dance sequences and active 'practicing' or rehearsing while
performing,' in which they physically transform from observers to active participants in dance. As a former
dancer and practicing choreographer have the opportunity to learn, perform, and teach Igal on various
occasions. In 2004, I also went to Kampung Bangau-bangau Semporna Sabah with Hanafi Husin and Judeth
J. Baptist to research on Mag-Igal in the context of ritual (such as magduwata and magpa-igal) among the
Bajau-Sama people. I choose Igal for this alternative therapy because of the repertoires that are suitable
for PwDA in terms of the movements based on the music (Titik Lellang, Titik Tabawan, Titik Jin and Titik
Limbayan) (Mohd Anis Md Nor & Hanafi Hussin, 2019, pp. 75 – 91).

The indigenous people of Sabah have several different words for their organized movement
system, such as tandak, sazau, sayau, igal, bailug, and zapin or jepin. This means that indigenous dances
in Malaysia, specifically the igal of the Bajau Sama in Semporna, should not be given the generic term
dance or tari (in Malay for dance). The Bajau Sama has a complex system of choreographed movements
known as igal, which could be interpreted as dance, and mag-igal which is the act of dancing. Igal places
a premium on being graceful and expressive with your body. Depending on the tempo of the music, the
dance might be slow or upbeat, and quick. The music for this dance comes from a subgenre of kulintangan
and is referred to as titik. A tagunggu' ensemble plays music to accompany the dance. One
tambul/tambol/tambur, a double-headed brass snare drum, and six to eight miniature kettle gongs or pot
gongs on a rack make up this ensemble (Hafzan, 2012, p. 133). There are a variety of movements in Igal
including facial, hand, body and feet. These are some of the movements in Igal: facial (Takium, A ngiddat
and pahangad-hangad); hand (angalimbai, sinayangan, abetted, and tangan palantik); body (A nekang,
Pareo’reo’, Pagiling, pabulivud, Pattadung, Lemma Baran, and Kijjut Baha; and feet (A meka’, Pahenggel,
A ngangginsil, A ngengket Tape’, A ngengsod, Ni Lengngan-lengnganan, A ngagis, and Sintak Tape). In this
alternative process, we choose a few basic movements concentrated on the upper body, hand, and gesture
to suit the PwDA with wheelchairs.

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