Latest news with #Sape
Borneo Post
13-06-2025
- Entertainment
- Borneo Post
Orang Ulu heritage shines at 2025 Datun Julut, sape competition in Miri
Liwan strumming a Sape to mark the start of the competition, witnessed by others present. MIRI (June 13): The rich cultural heritage of the Orang Ulu community was on full display last night during the 2025 Datun Julut and Traditional Sape Competition. Held at the Federation of Orang Ulu Associations Sarawak Malaysia (Forum) Cultural Centre, the event was part of the two-day Gawai Tradition Carnival. Sarawak Deputy Minister of Utility and Telecommunications, Datuk Liwan Lagang in his officiating address, underscored the importance of preserving traditional art forms such as the Datun Julut dance and the melodious sounds of the Sape, which he described as vital symbols of the Orang Ulu identity and legacy. 'These are not just artistic performances. Datun Julut is a symbolic dance of gratitude, with graceful movements adorned in bird feathers, accompanied by the Sape, a soulful voice of tradition that stirs our spiritual being,' he said. He emphasised that the preservation of such cultural expressions is a shared responsibility, particularly for the younger generation, who will inherit both the land and its traditions. 'The beauty of Orang Ulu culture reflects the uniqueness of Sarawak, with its rich ethnic diversity and deeply rooted traditions. These must be safeguarded with deep respect, lest they fade with time,' he added. Liwan also highlighted that celebrations like Gawai are more than festive occasions. 'They serve as bridges of unity, bringing people of all backgrounds together through mutual appreciation of culture. 'Through this competition, we ignite the spirit of Segulai Sejalai – walking together in unity,' he said. The event saw participation from 20 groups competing in both the Datun Julut and Traditional Sape categories. In the Datun Julut category, team Julut Abung Apau Julan emerged as the champion, followed by Telang Usan Mada Lasan as first runner-up and Liwang Edang in third place. In the Traditional Sape competition, the duo of Garry Sandom Raymond and Aaron Alan Robert claimed the top prize. The sibling pair Robin Jalong Lusat and Yosua Lenjau Lusat secured second place, while Batu Emang and Logan Suli finished third. Also present at the event were the carnival's joint chairmen, Deputy Minister in the Sarawak Premier's Department (Labour, Immigration, and Project Monitoring), Datuk Gerawat Gala; Telang Usan assemblyman Dennis Ngau, and Baram MP Dato Anyi Ngau. Datun Julut miri Orang Ulu sape
Borneo Post
26-04-2025
- Entertainment
- Borneo Post
Miri to host two-day Dayak Cultural Carnival this June to celebrate unity, tradition
Dennis beats the gong to mark the launching of the Miri Divisional Gawai 2025 Karaoke Competition. MIRI (April 26): Miri is set to come alive this June with a two-day Dayak Cultural Carnival led by the Orang Ulu community, celebrating the rich traditions and talents of the Dayak people. Scheduled for either June 13 or 14, the carnival will feature a state-level Dayak Beauty Pageant (for both women and men), a Sape group competition, and traditional games such as a blowpipe contest. Organising chairman and Telang Usan assemblyman Dato Dennis Ngau said preparations are progressing smoothly, with the final programme to be confirmed after a meeting on April 27. 'The community's strong support is very encouraging, and hopefully the prizes will help attract more participants,' he said during the launch of the 19th Miri Division Gawai Dayak Celebration's Dayak Songs Karaoke Contest 2025 at Boulevard Shopping Mall here today. The karaoke competition saw 16 participants competing for the champion title. Both the champion and runner-up will perform during the finals of the Miri Divisional Gawai Kumang, Keligit, Dayung Sangon, and Keling Contest on May 25. In his speech, Dennis praised the evolution of Gawai Dayak celebrations in Miri, noting how they have grown from simple dinners into full-fledged festivals featuring activities such as blood donation drives and children's art competitions. He also called on all communities to continue fostering unity and harmony. 'No matter our background, unity must come first,' he said. As part of his commitment to supporting local talent, Dennis pledged RM10,000 towards the Dayak Karaoke Contest. Dayak Cultural Carnival Dennis Ngau miri
Yahoo
07-02-2025
- Politics
- Yahoo
Congo's stylish sapeur movement goes beyond fashion
In the two Congos, there's a cultural movement by the Society of Ambience-Makers and Elegant People (Sape), known as 'sapeurs', who blend fashion, culture and social resistance. Though it was rooted primarily in the Democratic Republic of Congo (DRC) and the Republic of Congo, the movement is now spreading worldwide, through Congolese migration. As a researcher, I have studied Sape in its cultural, social and symbolic dimensions. Sape is far more than a fashion trend. Here are five key things to know about this movement. Sape emerged during the colonial era, first in Brazzaville and later in Leopoldville (now Kinshasa), when young Congolese began adopting and reinterpreting the clothing style of colonisers. This movement was not merely about fashion. It served as a way for people to express their self-worth and respectability in a context where it had been denied or diminished. Over time, it also became a subtle, yet powerful, form of resistance against colonial domination. This process continued after independence. It became a symbol of resistance to dictatorship, particularly under the regime of President Mobutu Sese Seko of Zaire (now DR Congo). He advocated for the rejection of western clothing in favour of traditional attire, but Sape persisted as a counter-cultural statement. The movement expanded to Europe with Congolese migration, in the 1970s and 1980s, where sapeurs reinterpreted European fashion — often incorporating vibrant colours and eccentric details — turning style into a tool of subversion. From the outset, it drew on diverse influences, including European culture, but transformed them to create a distinctly Congolese style. By adopting the clothes of the colonialists, young Congolese appropriated symbols of power and social status, while hijacking them to assert their own identity. Sape thus became a means of uplifting the value of Congolese culture under imposed cultural domination. Sape is often compared to 19th-century European dandyism – a 19th-century fashion trend that emerged in England for men who aspired to refinement and elegance. Sapeurs, with their designer clothes, bold colours and preoccupation with sartorial elegance, embody a modern, African version of this tradition. For them, Sape is more than just a way of dressing. It is a philosophy based on several fundamental principles: an expression of identity, the quest for excellence or refinement and cultural and social resistance. 'Sapology' imposes strict rules. These include respecting the colour trilogy – which stipulates that no outfit should feature more than three different colors (to ensure harmony and avoid discordant colour combinations), maintain rigorous clothing hygiene, and commit to constant elegance. For sapeurs, appearance is a powerful way to make an impression and stand out in an environment often defined by hardship. Elegance in dress isn't just about wearing expensive clothes, it also extends to behaviour. Sapeurs have a particular attitude – they use sophisticated language and refined gestures, and maintain an attitude of courtesy and respect. Some of their public posturing echoes that of European dandies, like a specific gait, often slightly stooped with crisscrossing steps, used to highlight the details of their attire, such as clothing seams, shoes and socks. Their way of moving and speaking is just as important as the clothes they wear. This performative aspect makes Sape a true living spectacle. At gatherings of sapeurs, participants compete in elegance and creativity, strutting as if on a runway. This transforms the streets where they gather into an open stage where everyone can express themselves and showcase their style. The Sape movement isn't confined to the streets of Brazzaville and Kinshasa. It has evolved into a global phenomenon, spreading first within the Congolese diaspora in Paris. It then expanded to other European cities where these migrants reside, such as Brussels. The movement has even reached American cities, like New York and Montreal. For Congolese living in western countries, Sape is a way of reconnecting with their roots and asserting their identity, in often challenging circumstances. It enables these members of the diaspora to create a positive identity at a time when discrimination and social precariousness are commonplace. In Europe's major cities, Sape serves as a way to resist social invisibility. Congolese migrants, often pushed to the margins of society, use Sape to make themselves visible, drawing attention to their presence and asserting their place by wearing flamboyant costumes. Sape is therefore a form of social protest, a way of defying the expectations of the host society. A key factor in the success and global recognition of the Sape movement is its strong connection to Congolese popular music. Artists like Papa Wemba and Aurlus Mabélé have played crucial roles in promoting 'the Sape'. They incorporated its aesthetic into their public personas and performances. In France and Belgium, Papa Wemba's concerts became major events for the Congolese community. These concerts provided an opportunity to showcase and celebrate the Sape movement. Congolese popular music has served as a vehicle for spreading the Sape ideals, popularising this lifestyle as a symbol of success. Within the world of Congolese popular music, Sape has risen to the status of a religion – Kitendi, the 'religion of fabric'. This religion has its pope, high priests, priests, priestesses, and countless devoted followers. Papa Wemba, often referred to as the 'King of Sape', was a charismatic figure who masterfully combined music and fashion to craft a powerful cultural identity. Every outfit he wore was meticulously selected to embody the elegance and prestige of Sape. Read more: By wearing clothes from prestigious brands, Papa Wemba made Sape a symbol of success for many young Congolese. He also contributed to the export of Sape beyond African borders. Sape is marked by an interesting paradox: it combines luxury clothing and a flamboyant lifestyle with often precarious living conditions. For many sapeurs, elegance is a goal that takes precedence over material comfort. Sapeurs invest a large part of their income in designer clothes, sometimes to the detriment of their daily quality of life. This sacrifice is seen as necessary to maintain their status within the sapeur community. For sapeurs, visibility and recognition are paramount. An invisible 'sapeur', they say, ceases to be a 'sapeur'. This highlights the movement's complexity. Sapeurs view themselves as kings without crowns, street aristocrats who use their appearance to challenge conventional ideas of wealth and status. Through Sape, they subvert traditional social hierarchies, emphasising that elegance and personal worth are not solely tied to economic means. Instead, these qualities are defined by one's ability to stand out through style, creativity and charisma. This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Sylvie Ayimpam, Aix-Marseille Université (AMU) Read more: Bold statement, or a product of misogyny? What Bianca Censori's 'naked dress' says about fashion on the red carpet DRC rebels take eastern city of Goma – why it matters and what could happen next Kinshasa's traffic cops run an extortion scheme generating five times more revenue than fines Sylvie Ayimpam does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
