Penularan pandemik COVID-19 di Malaysia yang mula dikesan pada akhir bulan Januari 2020 lalu telah memaksa kerajaan melaksanakan Perintah Kawalan Pergerakan (PKP) yang seterusnya dilanjutkan kepada Perintah Kawalan Pergerakan Bersyarat (PKPB) dan disusuli dengan Perintah Kawalan Pergerakan Pemulihan (PKPP) mulai 18 Mac 2020. Bukan itu sahaja, Perintah Kawalan Pergerakan Diperketatkan (PKPD) di beberapa kawasan juga dilaksanakan. Memandangkan pengalaman PKP ini adalah pertama kali bagi kebanyakan penduduk dan tempohnya yang panjang sehingga memberikan impak terhadap pelbagai sektor ekonomi negara. Salah satu sektor berkenaan ialah industri media, seni dan hiburan. Penularan pandemik COVID-19 dan pelaksanaan PKP didapati memberikan kesan yang mendalam terutamanya terhadap penggiat seni (profesional dan tidak formal) di negeri Sabah. Asas permasalahan kajian ini didasarkan pada dua isu, iaitu (i) bagaimanakah tahap dan ciri-ciri resilien penggiat seni (profesional dan tidak formal) sepanjang PKP (termasuk PKPB, PKPP dan PKPD) yang berlangsung? dan (ii) bagaimanakah mereka mengadaptasi pendekatan persembahan (seni tari, seni teater dan seni muzik) dari normal biasa bersifat fizikal ke normal baharu, iaitu ‘pentas’ digital dan cabaran yang terpaksa dihadapi dalam tempoh PKP, PKPB, PKPP, PKPD dan pasca COVID-19 nanti? Oleh itu, objektif kajian ini adalah (i) mengenal pasti tahap dan ciri-ciri resilien (daya tahan) penggiat seni sepanjang tempoh PKP termasuk PKPB, PKPP dan PKPD yang dikaji di negeri Sabah (ii) meneliti kepelbagaian strategi adaptasi yang dilakukan oleh pengiat seni persembahan dalam tempoh PKP (termasuk PKPB, PKPD dan PKPP) dalam konteks perubahan daripada amalan normal biasa kepada amalan normal baharu yang dilakukan oleh penggiat seni persembahan di negeri ini (iii) mencadangkan strategi semerta, jangka pendek, jangka sederhana dan jangka panjang yang boleh dilaksanakan dalam memperkasa penggiat seni persembahan dengan mengambil kira perubahan kepada amalan normal baharu dan budaya aplikasi digital pasca COVID-19. Kajian ini menggunakan pendekatan kuantitatif yang disokong oleh kaedah kualitatif. Kaedah kuantitatif melibatkan temu bual penggiat seni tari menggunakan borang soal selidik. Kajian fundamental ini dijangka dapat menyumbang dalam penyediaan pelan pengurusan risiko dan krisis penularan pandemik dan pembuatan polisis berkaitan dengan bidang seni tari. The COVID-19 pandemic in Malaysia which was first detected at the end of January 2020 has forced the government to implement the Movement Control Order (MCO) which was subsequently extended to conditional Movement Control Order (CMCO) and followed by the Recovery Movement Control Order (RMCO) starting 18 March 2020. Not only that, but the Enhanced Movement Control Order (EMCO) in some areas was also implemented. Considering that the experience of MCO is the first time for most residents and its long duration until it is found to have an impact on various sectors of the country’s economy. One of these sectors is the media, arts and entertainment industries. The COVID-19 pandemic and the implementation of the MCO have had a profound effectespecially on arts players (professional and informal) in Sabah. The basis of the problem is based on two issues, namely (i) how is the level and characteristics of resilience of art players (professional and informal) during the MCO (including CMCO, RMCO and EMCO) held? and (ii) how do they adapt their  performance approach (dance, theatrical arts and musical arts) from normal physical to new normal, namely the digital ‘stage’ and the challenges faced during the MCO, CMCO, RMCO, EMCO and post-COVID-19 period? Therefore, the objectives of this study are (i) identify the level and characteristicsof resilience (resilience) of art players during the MCO including CMCO, and EMCO studied in Sabah (ii) examine the various adaptation strategies performed by performing arts players during the MCO period (including CMCO, RMCO and EMCO) in the context of changes from normal practices to new normal practices performed by performing arts players in the state (iii) propose a strategy as bright, short-term, medium and long term as feasible in empowering performing arts players taking into account changes to new normal practices and post-COVID-19 digital application culture. The study used a quantitative approach supported by qualitative methods. Quantitative methods involve interviewing dance artists using questionnaires. This fundamental study is expected to contribute to the preparation of risk management plans and pandemic contagion crises and policy making related to the field of dance arts.

Sayau Moginum merupakan tarian suku kaum Dusun Tatana. Suku kaum Dusun Tatana dikatakan berasal dari tanah Mongolia dan Yunan, China pada abad ke-12 dan ke-13 (Wallace, 1983). Dusun Tatana atau lazimnya disebut sebagai ‘Tatana’ juga merupakan salah satu daripada 79 sub etnik Kadazan Dusun di Sabah. Majoriti suku kaum Dusun Tatana menetap di daerah Kuala Penyu yang terletak di bahagian pedalaman negeri Sabah dan menuturkan bahasa Dusun Tatana. Daerah Kuala Penyu terletak di kawasan barat daya negeri Sabah dan menghadap ke arah Laut Cina Selatan di sebelah barat (Joison Romut, Denis J. Sadinag & Flora Iban, 2016). Bagi melengkapkan sebuah tarian, elemen tambahan seperti pakaian, aksesori, muzik, props dan ekspresi wajah harus ada bagi menyampaikan sesuatu persembahan kepada penonton.   Sayau Moginum’ dance is a tribal dance of Dusun Tatana. The arrival of the Dusun Tatana tribes is said to have originated from the lands of Mongolia and Yunan, China in the 12th and 13th centuries (Wallace, 1983). Dusun Tatana or commonly referred to as ‘Tatana’ is also one of the 79 Kadazan Dusun subethnic groups in Sabah. The majority of Dusun Tatana live in the Kuala Penyu district which is located in the interior of Sabah and they speak the language of Dusun Tatana. Kuala Penyu district is located in the southwestern part of Sabah and faces the South China Sea to the west (Joison Romut, Denis J. Sadinag & Flora Iban, 2016). To complete a dance must have additional elements such as clothes, accessories, music, props and facial expressions to convey a presentation to the audience.

Setiap tarian tradisional di dunia ini mempunyai asal usulnya. Artikel ini bertujuan membuat sorotan literatur tentang asal usul tarian-tarian tradisional di luar dan di Sabah. Kajian perpustakaan dan laman sesawang telah dilakukan untuk mengumpul data daripada buku, makalah jurnal, makalah ensiklopedia dan penerbitan lain yang ada hubung kait dengan fokus sorotan literatur ini. Hasil sorotan literatur yang dilakukan mendapati asal usul tarian tradisional di luar Sabah hanya terhad kepada dua jenis asal usul sahaja, iaitu ritual dan pergerakan binatang. Kebanyakan tarian ritual di luar Sabah didapati bertujuan untuk permintaan hujan, kesuburan tanaman, penyembuhan penyakit dan upacara kematian. Selain asal usul tarian tradisional yang berkait dengan ritual, terdapat juga tarian tradisional yang berasal daripada pergerakan binatang seperti pergerakan kera, kijang dan unggas. Bagi asal usul tarian-tarian tradisional di Sabah pula, tarian ritual yang ditemui dalam sorotan literatur ini didapati bertujuan untuk penyembuhan penyakit, pemujaan semangat padi dan semangat mengayau serta menolak bala. Berkaitan pergerakan binatang, terdapat tarian tradisional di Sabah yang diilhami daripada pergerakan burung, khususnya burung layang-layang dan burung helang. Tiada pergerakan binatang lain yang ditemui. Tambahan pula, terdapat asal usul tarian tradisional di Sabah yang berasal daripada permainan tradisional orang tempatan. Asal usul sedemikian tidak ditemui dalam asal usul tarian tradisional di luar Sabah ketika sorotan literatur ini dilakukan. Kesimpulannya, terdapat tiga jenis asal usul tarian-tarian tradisional di Sabah telah ditemui dan dibincangkan dalam sorotan literatur ini, iaitu tarian-tarian tradisional yang berasal daripada ritual, pergerakan binatang dan permainan.   Every traditional dance in the world has its own origin. This literature review aims to review the origin of the traditional dances outside Sabah and in Sabah. The search for books, journal articles, encyclopedia articles and other publications materials as the data of this literature review were done through library research and online search. In the review, it was found that all the dances outside Sabah were originated from either ritual or the movements of animals and birds. Majority of the ritual dances outside Sabah were associated with the purpose of praying for rain, plant fertility, healing for sickness and funeral. Besides ritual dances, the origin of other dances was associated with the movement of animals such as monkey, deer and birds. For the origin of the tradisional dances in Sabah, rituals dances found in this literature review conducted with the purpose of sickness healing, worshiping paddy spirits and spirits of head-hunting as well as repelling misfortune hapennings. Regarding movement of animals, there are traditional dances of Sabah originated from the movement of birds, especially swallow and eagle. None of the dances were originated from the movement of animals. In addition, there are dances in Sabah originated from the traditional games of the local people. Such origin of traditional dances was not found outside Sabah at the time of this literature review was conducted. In conclusion, three types of the origins of the tradisional dances of Sabah were identified and discussed in this literature review, namely ritual, movement of animals and the traditional games.