Bobby demonstrating ways to fold the fabric while observing the the do’s and dont’s when making siga.
Casual hobby turns into passion for preserving the traditional art of Kadazandusun headgear making.
WHAT began as a casual hobby driven by curiosity for Mohd Idzhar Fadlullah A Hairy Abdullah has evolved into a long-time passion for preserving the traditional art of Kadazandusun headgear making.
Fondly known as Bobby Idzhar, the 39-year-old enthusiast’s journey into the world of traditional headgear, locally known as siga, began with a spellbinding encounter at a vibrant harvest festival years ago.
“Although I had seen them on numerous occasions before, it was on that particular day that the distinct patterns and styles of siga, or sigal in some ethnicities, from diverse tribes captured my attention.
“I was fascinated by them, and it sparked a deep interest in this traditional art form,” says the 39-year-old Kadazandusun from Sunsuron, Tambunan.
Highlighting the immense cultural significance of siga within the Kadazandusun and various tribes in Sabah, he emphasises how its unique styles and patterns, specific to each tribe, play a pivotal role in distinguishing and integrating cultural elements into traditional costumes.
Usually worn by males during special occasions such as weddings, harvest festivals, and rituals, the siga is a crucial accessory to complete the traditional attire of the Kadazan Penampang, Kadazan Papar, Dusun Lotud, Dusun Tindal, Dusun Tobilung, and others.
Bobby sharing basic introduction and the many types of textile used to make siga.
To date, Bobby has 25 siga pieces in his collection.
He has crafted siga for the crown prince of Kedah, the Mentri Besar of Selangor, the Chief Minister, the Deputy Chief Minister, the Huguan Siou (Kadazandusun paramount leader), and VVIPs, including from Singapore and Qatar.
For the senior executive in operations system engineering, the siga is more than a mere headpiece.
It stands as a vital component that contributes significantly to the richness and importance of cultural heritage.
However, preserving the tradition of making siga comes with challenges.
“Maintaining the tradition is tough because not many young people are interested.
“I remember going to many kampung to seek out the elders just to learn from them, and eventually, I had to learn myself and keep practising until today.
“Moreover, resources are also limited due to high demand, not to mention that siga is quite expensive since it is handmade,” Bobby remarks.
The handmade nature of siga, whether woven or embroidered, adds to the challenge, making them both time-consuming and costly.
Bobby also notes the complexity of crafting siga, where each ethnic group’s unique style and pattern demands a high level of expertise in the delicate art of folding.
Humble in his pursuit of knowledge, he admits, “I am still learning and welcome ideas for improvement from respected individuals who share the same passion.
“Different ethnic groups use specific fabrics; for instance, the Rungus people create kain pis, their embroidered fabric, while others utilise woven materials.
“I have conducted thorough research to ensure the authenticity of each folded style,” he says.
Bobby also underscores the importance of observing specific guidelines when creating siga, highlighting the do’s and don’ts outlined by ancient Kadazandusun beliefs.
Some of Bobby’s siga collection.
He emphasises the need for adherence to these guidelines, as they are rooted in a deep respect for the spirits believed to reside in the properties associated with traditional artefacts.
Beyond crafting siga for personal collection and customers, Bobby recognises the importance of passing on his acquired skills.
He actively imparts knowledge gained from elders to those eager to learn, offering siga-making workshops and basic introductions to individuals, groups, and even corporate entities seeking unique team-building activities.
Looking forward, Bobby envisions a broader impact from his efforts.
He plans to open a mini gallery to showcase traditional headgear, including those from Sarawak and Kalimantan.
“I hope to see more young people wearing siga.
“This is important because young people have the opportunity to preserve this culture.
“Additionally, I hope to increase awareness and recognition of distinct folded siga styles from each tribe.”
This, he believes, will not only preserve cultural heritage but also positively impact the local economy by supporting small businesses and entrepreneurs involved in woven fabric enterprises.
As the folds of time continue, so does Bobby’s commitment to keeping the art of the siga alive, ensuring its vibrant patterns endure for generations to come.
