# Sumazau

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Malaysian traditional dance

Sumazau dance Four dancers dancing the Sumazau in pairs accompanied by a traditional musical ensemble at the Monsopiad Heritage Village in Kuai Kandazon Village, Penampang District of Sabah. Native name Sumazau Etymology Sazau (dance) in the Kadazan language Genre Traditional, folk Instrument(s) Gongs, drum, occasionally metallophone Inventor Kadazan people[1][2] Origin Sabah, Malaysia[3][4]

Sumazau Part of a series on Dance-drama of Southeast Asia Topography of Southeast Asia. Burma Peacock dance Yama Zatdaw Cambodia Royal Ballet of Cambodia Khmer Shadow Theatre Lakhon Mohory Lakhon Khol Lakhon Pol Srey Yike Indonesia Arja Bajidor Kahot Baksa kembang Bambangan Cakil Bangsawan Baris Barong Bedhaya Cakalele Cendrawasih Condong Didong Gambuh Gambyong Gandrung Gendang Beleq Gending Sriwijaya Hudoq Indang Jaipong Janger Joged Joget Jurit ampil kridha warastra Kabasaran Kancet Papatai Kebagh Kebyar Duduk Kecak Ketoprak Komedie Stamboel Kuda Lumping Legong Lengger Lengger lanang Lenong Lilin Ludruk Makyong Melinting Merak Oleg Ondel-ondel Pajoge Panyembrama Payung Pendet Piring Poco-poco Ramayana Ballet Randai Rejang Reog Rodat Ronggeng Saman Sandiwara Sanghyang Sigale Gale Singo Ulung Sisingaan Srimpi Tandok Tanggai Tebe Toneel Topeng Topeng Banjar Topeng Betawi Topeng Cirebon Topeng Ireng Tor-tor Wayang Wong Yapong Zapin Zapin Api Laos Classical dance and theatre Malaysia Adai-adai Asyik Balai Bangsawan Boria Branyo Ceracap Inai Cinta Sayang Dabus Daling-daling Dikir Barat Dondang Sayang Inai Indang Jikey Joget Joget Gamelan Kuda Kepang Labi-labi Mak Inang Mek Mulung Mak yong Menora Ngajat Payung Piring Rambong Randai Rodat Saba Sewang Sumazau Ulek Mayang Zapin Philippines Binasuan Cariñosa Itik-itik Jota Kuntaw Maglalatik Pandanggo Pangalay Sagayan Singkil Subli Tinikling Singapore Dikir Barat Singapura Thailand Lakhon Khon Fon Hun krabok Lakhon Nai Lakhon Chatri Lakhon Nok Likay Manora Ma yong Mor lam Ram wong Ram Thai Rabam Kingkara Vietnam Nhã nhạc v t e

The ***Sumazau*** is a traditional [dance](/source/Dance) performed by the [Kadazan](/source/Kadazan_people) from [Penampang](/source/Penampang_District) and [Papar](/source/Papar_District) districts, and by the [Dusun](/source/Dusun_people) (where it is known as *sumayau*)[5] as well as the [Murut](/source/Murut_people) (with alternate version)[6] from adjacent areas in the [western coast](/source/West_Coast_Division) and [interior](/source/Interior_Division) of [Sabah](/source/Sabah), Malaysia throughout the *[Kaamatan](/source/Kaamatan)* festival.[3][4][7] The dance involves male and female pairs who are dressed in [traditional clothing](/source/Folk_costume).[8] The rhythm of the dance is set by the beat of hanging [gongs](/source/Gong). It is performed by raising both arms to shoulder height and flapping them.[8][9]

Both the Malaysian [federal](/source/Government_of_Malaysia) and Sabah [state](/source/Government_of_Sabah) governments have declared the dance, its music, and traditional clothing as a [national heritage](/source/Cultural_heritage) which includes the ritual processes and tools that are classified as the [Kadazan](/source/Kadazan_people) tangible and [intangible cultural heritage](/source/Intangible_cultural_heritage).[1][10][11]

## Clothing

The clothing ensemble most associated with the *sumazau* is called the *sinombiaka* or *baju sumazau* in [Malay language](/source/Malay_language),[12] which refers to traditional clothing made out of black cloth and gold braid. For women, it is accessorised with the *tangkong* (three rows of small brass rings attached to [rattan](/source/Rattan)) and *himpogot*, a belt of [British trade dollar](/source/British_North_Borneo_dollar) coins that were issued from 1895 to 1937.[3] Men wear *sigar*, a colourful headcloth woven by the [Iranun people](/source/Iranun_people) which is obtained via trade with the [Sama-Bajau](/source/Sama-Bajau) and named *podong/tanjak* by the latter.[13]

## Movements

The *sumazau* begins with the first movement where dancers shift their weight from foot to foot while keeping their knees bent and arms swinging on their sides in time to the music.[14] When a male dancer cues the other dancers, they switch to another position where the arms are outstretched and their feet are on tiptoes.[15] Men move their arms in a gentle rolling motion while women motion their arms with their elbows bent downwards and raise their [heels](/source/Heel) slightly.[14] This move imitates the departure of a [bird](/source/Bird),[4] specifically an eagle, which would have been visible from [paddy fields](/source/Paddy_field).[2][7][9]

## Music

The term *sumazau* can also refer to the music associated with the dance, known in [Malay](/source/Malay_language) as *rentak sumazau* (*sumazau* rhythm).[16] Otherwise, it is also called *magagong* (to hit a gong), the nominalised form *pagagungan* or *magagong sumazau*.[17][18]

### Instruments

The dance is usually accompanied by a *sompogogungan*, a set of six to seven hanging gongs, and a *gandang*.[14][19] The *sumazau* ensemble may include a *[kulintangan](/source/Kulintang)*.[20]

#### *Sompogogungan*

*Sompogogungan* that was used during a seven-day *magang* ceremony

In Gunsing (also spelled Guunsing) village of [Penampang District](/source/Penampang_District), the gongs are named as such, left to right from the players' viewpoint:

- *Sanang* (*canang* in Malay) 1. *Sasalakan* 1. *Naanangong* 1. *Hahambatan*

- Other 1. *Hotungong* 1. *Tontoongan* 1. *Tatavag*

Each gong name denotes the musical part that it plays.[21]

The gongs are classified into two types. *Sanang* gongs are small with thick brass walls, a single knob on a flat surface and a rim bent downwards. On the other hand, the remaining three gongs (called *tawag* among [interior](/source/Interior_Division) Sabah Kadazan-Dusuns)[22] are heavy, made of brass or bronze, have deep rims, and the front surface is raised near the centre with larger knobs.[23]

#### *Gandang*

The *gandang* is a drum carved from a single piece of wood, with two heads made from either [cowhide](/source/Cowhide) or [goatskin](/source/Goatskin_(material)).[24] The heads are bound with cane hoops. Into the hoops, wooden tuning pegs are inserted.

#### *Kulintangan*

A true *kulintangan* (as opposed to a metallophone set)

*Kulintangan* in the context of *sumazau* music may refer to a gong-chime of eight or nine small knobbed gongs or a small metallophone of nine keys (named as such since its tuning and music follows that of the former).[25] One is more likely to find the metallophone in a *sumazau* ensemble.

### Instrument positions

From the instrument players' viewpoint, the *gandang* is placed left of the *sompogogungan* while the *kulintangan* is placed in front of the *sompogogungan*, sometimes with the player's back facing the audience.

### Playing the instruments

*Sumazau* music consists of a rhythmic pattern of interlocking parts.[14] This starts with the *gandang*, followed by the *sompogogungan*, beginning with the *sasalakan* down to the *tatavag.* The *kulintangan* provides melodic ornamentation over the texture of the drum and gongs.[14]

The *sompogogungan* is struck with sticks covered with beeswax or rubber while the *kulintangan* is hit with two wooden beaters. The *gandang* is placed in an approximately vertical position and hit on one head with a stick covered in [beeswax](/source/Beeswax) or a hard piece of [coconut](/source/Coconut) frond stem.[26]

No separate pieces exist for the music. Instead, the same rhythmic pattern is repeated continuously until the dance sequence ends.

## Functions

The *sumazau* plays both ceremonial and celebratory roles. The *sumazau* is performed at certain stages in traditional ritual such as the *magang* after headhunting and for spirits inhabiting a *bangkavan* (collection of skulls), and the *moginum* ceremony.[27][28] It is also performed during *Kaamatan* in honour of the traditional rice spirit, besides wedding celebrations, the 40th night of a deceased person's passing and other major social gatherings.[29]

## Related dances

Among the various Kadazan-Dusun sub-groups, there are dances similar to the *sumazau* such as *magarang* for the Liwan Dusun of [Tambunan District](/source/Tambunan_District),[30][31] *sumayau* for the Lotud Dusun of [Tuaran District](/source/Tuaran_District),[32] *mongigol* for the Tindal Dusun of [Kota Belud District](/source/Kota_Belud_District), *mongigol sumundai* for the Rungus of [Kota Marudu District](/source/Kota_Marudu_District),[33] and both *mongigol* and *mangalai* for the Tinagas Dusun of [Ranau](/source/Ranau_District), [Telupid](/source/Telupid_District), [Beluran](/source/Beluran_District), and Kota Marudu districts.[34] *Sumazau* is sometimes also used to refer to the *sazau* dance of the Kadazan in [Papar District](/source/Papar_District).[35]

## In the 21st century

### Dancers clothing modification to suits particular religious standards

Since there are Kadazan-Dusuns who have [converted to Islam](/source/Islam_in_Malaysia), the *sumazau* clothing for Muslim females has been modified to suits in accordance with [Islamic standards of modesty](/source/Islamic_clothing).[12]

### Mainstream society

During the visit by delegates of 23rd Conference of Speakers and Presiding officers of Commonwealth (CSPOC), *sumazau* was performed by the [Sabah Cultural Board](/source/Sabah_Tourism_Board) performers during the welcoming reception with some of the guests dance together.[36]

During the [COVID-19 pandemic](/source/COVID-19_pandemic_in_Malaysia), a video depicting a medical assistant officer, Norbert Andilah dancing the *sumazau* in a [personal protective equipment](/source/Personal_protective_equipment) (PPE suit) in an effort to combat boredom and depression among quarantined patients via SOP-compliant exercise sessions went viral.[37]

In September 2023, during the [royal visit](/source/Royal_visit) of the 16th [Queen consort](/source/Queen_of_Malaysia) of Malaysia, [Tunku Azizah Aminah Maimunah Iskandariah](/source/Tunku_Azizah_Aminah_Maimunah_Iskandariah) as part of the "*Kembara Kenali Borneo*" to [Ranau District](/source/Ranau_District), the Queen dance *sumazau* together with [Kundasang](/source/Kundasang) locals.[38]

### International performances

In 2019, the [Royal Commonwealth Society](/source/Royal_Commonwealth_Society) under the patron of Queen [Elizabeth II](/source/Elizabeth_II) invited dancers from the "Sabahan Abroad UK" to perform Sabahan traditional dances of *sumazau* as well as *[daling-daling](/source/Pangalay)* and *magunatip* at the [Westminster Abbey](/source/Westminster_Abbey) in [London](/source/London) for Commonwealth Family Day.[39]

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1. ^ [***a***](#cite_ref-FOOTNOTEPek_SanHussinLake_TeeMd_Nor2010154–155_1-0) [***b***](#cite_ref-FOOTNOTEPek_SanHussinLake_TeeMd_Nor2010154–155_1-1) [Pek San et al. 2010](#CITEREFPek_SanHussinLake_TeeMd_Nor2010), pp. 154–155.

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1. **[^](#cite_ref-FOOTNOTESociety1969363_17-0)** [Society 1969](#CITEREFSociety1969), p. 363.

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### Bibliography

- Sabah Society (1982). [*Journal - Sabah Society*](https://books.google.com/books?id=iGLjAAAAMAAJ&q=murut+sumazau). Sabah Society.

- Society, Sabah (1969). [*Sabah Society Journal*](https://books.google.com/books?id=gwsWAQAAMAAJ&q=magagong+sumazau). Sabah Society.

- Matusky, Patricia (1985). ["An Introduction to the Major Instruments and Forms of Traditional Malay Music"](https://www.jstor.org/stable/833774). *Asian Music*. **16** (2): 121–182. [doi](/source/Doi_(identifier)):[10.2307/833774](https://doi.org/10.2307%2F833774). [JSTOR](/source/JSTOR_(identifier)) [833774](https://www.jstor.org/stable/833774).

- Samat, Talib (1986). [*Menjelajah Negeri Sabah*](https://books.google.com/books?id=kKYLAAAAIAAJ&q=magagong+sumazau) [*Exploring the State of Sabah*] (in Malay). Institute of Language and Literature, Ministry of Education, Malaysia.

- Kib, Mat Zin Mat (2003). [*Kristian di Sabah, 1881-1994*](https://books.google.com/books?id=lcTYAAAAMAAJ&q=sumazau+dusun+sumayau) [*Christian in Sabah, 1881-1994*] (in Malay). Penerbit Universiti Kebangsaan Malaysia. [ISBN](/source/ISBN_(identifier)) [978-967-942-636-6](https://en.wikipedia.org/wiki/Special:BookSources/978-967-942-636-6).

- Thiessen, Tamara (2008). [*Bradt Travel Guide - Borneo*](https://books.google.com/books?id=g9sj_FMSMu8C&q=gandang%2520cowhide%2520goat%2520skin%2520sumazau&pg=PA29). Bradt Travel Guides. [ISBN](/source/ISBN_(identifier)) [978-1-84162-252-1](https://en.wikipedia.org/wiki/Special:BookSources/978-1-84162-252-1).

- Hussin, Hanafi (2006). ["PERKAKASAN RITUAL PENGUBATAN: PALUAN GANDANG DAN TARI SUMAZAU DALAM RITUAL MONOGIT OLEH KADAZAN PENAMPANG DI SABAH"](https://jati.um.edu.my/index.php/jati/article/view/5874/3595) [PERFORMING ARTS AS HEALING RITUAL TOOLS: DRUM BEATING AND SUMAZAU DANCE IN MONOGIT RITUAL OF PENAMPANG KADAZAN OF SABAH]. *JATI: Journal of Southeast Asian Studies* (in Malay). **11**: 1–19. [Archived](https://web.archive.org/web/20250510035604/https://jati.um.edu.my/index.php/jati/article/view/5874/3595) from the original on 10 May 2025 – via University of Malaya.

- Pek San, Tay; Hussin, Hanafi; Lake Tee, Khaw; Md Nor, Mohd Anis; Bulan, Ramy (2010). ["PROTECTING THE TRADITIONAL CULTURAL EXPRESSIONS OF INDIGENOUS PEOPLES: A CASE STUDY OF THE KADAZANDUSUN PENAMPANG COMMUNITY IN SABAH, MALAYSIA"](https://sare.um.edu.my/index.php/BRJ/article/download/9827/6939/19754) (PDF). *Borneo Research Journal*. **4**: 147–168. [Archived](https://web.archive.org/web/20250509124813/https://sare.um.edu.my/index.php/BRJ/article/download/9827/6939/19754) from the original on 9 May 2025 – via SARE: Southeast Asian Review of English.

- Md Nor, Mohd Anis; Matusky, Patricia; Sooi Beng, Tan; Pugh-Kitingan, Jacqueline; Hood, Made; Zannie Hamza, Hafzan (2015). ["Interculturalism and the Mobility of the Performing Arts Sound, Movement, Place-Choremusicology of Humanly Organized Expression \[New Research: Revitalizing and Conserving Traditions\] — \[Section: FROM RITUAL OBJECT TO MUSICAL INSTRUMENT: THE SOUND AND PLACE OF THE DRUM AND DRUMMING IN RITUAL AND NON-RITUAL CONTEXTS AMONG DUSUNIC SOCIETIES OF SABAH\]"](http://www.ictmusic.org/sites/default/files/documents/study%20groups/publications/PASEA%20Proceedings03_upload.pdf) (PDF). *Proceedings of the 3rd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia, Institut Seni Indonesia*. [Archived](https://web.archive.org/web/20250510043331/http://www.ictmusic.org/sites/default/files/documents/study%20groups/publications/PASEA%20Proceedings03_upload.pdf) (PDF) from the original on 10 May 2025 – via International Council for Traditions of Music and Dance.

- Kok On, Low; Ningsih, Sri (2013). ["Pandangan Dunia dan Konteks Upacara dalam Sumazau Penampang, Sazau Papar dan Sumazau Paina Membakut"](http://journalarticle.ukm.my/8275/1/6241-15537-1-PB.pdf) [World View and Ritual Context in Sumazau Penampang, Sazau Papar and Sumazau Paina Membakut] (PDF). *Akademika* (in Malay). **83** (2 & 3): 47–59. [Archived](https://web.archive.org/web/20250509064039/http://journalarticle.ukm.my/8275/1/6241-15537-1-PB.pdf) (PDF) from the original on 9 May 2025 – via Universiti Kebangsaan Malaysia Article Repository.

- Hussin, Hanafi; John Baptist, Judeth (2015). ["DEATH AND RITES AMONG THE KADAZAN PENAMPANG OF SABAH, BORNEO, MALAYSIA"](http://mjs.um.edu.my/index.php/BRJ/article/download/16711/9877/33265) (PDF). *Borneo Research Journal*. **9**: 95–113. [Archived](https://web.archive.org/web/20250510012518/http://mjs.um.edu.my/index.php/BRJ/article/download/16711/9877/33265) from the original on 10 May 2025.

- Rompado, Ina Humayra (2016). [*TARIAN TRADISIONAL SUKU KAUM DUSUN TINAGAS DI SABAH*](https://ir.unimas.my/id/eprint/35057/5/Ina.pdf) [*TRADITIONAL DANCE OF THE TINAGAS DUSUN ETHNIC IN SABAH*] (PDF). *Bachelor of Applied Arts with Honours (Arts Management)* (Thesis) (in Malay). pp. 1–112. [Archived](https://web.archive.org/web/20250509062513/https://ir.unimas.my/id/eprint/35057/5/Ina.pdf) (PDF) from the original on 9 May 2025 – via Universiti Malaysia Sarawak.

- Hussin, Hanafi; John Baptist, Judeth; Pugh-Kitingan, Jacqueline (2018). ["Enriching the Soundscape and Dancescape of Sabah Through Sumazau"](https://jati.um.edu.my/article/download/15318/9313) (PDF). *JATI: Journal of Southeast Asian Studies*. **23** (2): 181–204. [doi](/source/Doi_(identifier)):[10.22452/jati.vol23no2.9](https://doi.org/10.22452%2Fjati.vol23no2.9). [Archived](https://web.archive.org/web/20250509025304/https://jati.um.edu.my/article/download/15318/9313) from the original on 9 May 2025.

- Binsan, Beelvianna (2018). [*PENGAPLIKASIAN TARIAN SUMAZAU SEBAGAI SIMBOL EKSPRESI DIRI*](https://ir.unimas.my/id/eprint/29068/1/PENGAPLIKASIAN%20TARIAN%20SUMAZAU%2024pgs.pdf) [*APPLICATION OF SUMAZAU DANCE AS A SYMBOL OF SELF-EXPRESSION*] (PDF). *Bachelor of Applied Arts with Honours (Fine Arts)* (Thesis) (in Malay). pp. 1–24. [Archived](https://web.archive.org/web/20250509062513/https://ir.unimas.my/id/eprint/35057/5/Ina.pdf) (PDF) from the original on 9 May 2025 – via Universiti Malaysia Sarawak.

- Gimbad, Elizabeth (2020). ["Cultivating Rice and Identity: An Ethnography of the Dusun People in Sabah, Malaysia"](https://researchers.westernsydney.edu.au/files/94857166/uws_56688.pdf) (PDF). *Western Sydney University*: 1–116.

- Sharif Adam, Sharifah Darmia (2020). ["Pengaruh Budaya dalam Keharmonian Etnik di Sabah"](https://conference.uis.edu.my/pasak5/images/eprosidingpasak2020/007_ID014_Pengaruh_Budaya_Dalam_Keharmonian_Etnik_Di_Sabah.pdf) [Cultural Influence in Sabah Ethnic Harmony] (PDF). *Universiti Malaysia Sabah* (in Malay). **5**: 65. [ISBN](/source/ISBN_(identifier)) [978-967-2122-78-4](https://en.wikipedia.org/wiki/Special:BookSources/978-967-2122-78-4). [Archived](https://web.archive.org/web/20250508232650/https://conference.uis.edu.my/pasak5/images/eprosidingpasak2020/007_ID014_Pengaruh_Budaya_Dalam_Keharmonian_Etnik_Di_Sabah.pdf) (PDF) from the original on 8 May 2025 – via 5th International Conference on Social Sciences and Humanities (PASAK 5 2020), Selangor Islamic University.

- Hasbollah Hajimin, Mohd Nur Hidayat; Marinsah, Syamsul Azizul; Mokhtar, Saifulazry; Pullong, Azmin (2022). ["MIGRASI AGAMAWAN DAN IMPAKNYA TERHADAP ADAT DAN BUDAYA MASYARAKAT ISLAM DI SABAH"](https://www.jised.com/PDF/JISED-2022-47-09-48.pdf) [RELIGIOUS MIGRATION AND ITS IMPACT ON THE CUSTOMS AND CULTURE OF THE MUSLIM COMMUNITY IN SABAH] (PDF). *Journal of Islamic, Social, Economics and Development* (in Malay). **7** (47): 350–363. [eISSN](/source/EISSN_(identifier)) [0128-1755](https://search.worldcat.org/issn/0128-1755). [Archived](https://web.archive.org/web/20250509074245/https://www.jised.com/PDF/JISED-2022-47-09-48.pdf) (PDF) from the original on 9 May 2025.

- Inoluting, Vivilin (2022). [*KAJIAN TERHADAP TARIAN MONGIGOL SUMUNDAI DALAM ETNIK KAUM RUNGUS DI KOTA MARUDU, SABAH*](http://discol.umk.edu.my/id/eprint/3662/1/VIVILIN%20INOLUTING%20C18A0446.pdf) [*A STUDY ON THE MONGIGOL SUMUNDAI DANCE AMONG THE RUNGUS ETHNIC IN KOTA MARUDU, SABAH*] (PDF). *Bachelor of Arts in Heritage Studies with Honours, Faculty of Creative Technology and Heritage* (Thesis) (in Malay). pp. 1–66. [Archived](https://web.archive.org/web/20250509063339/http://discol.umk.edu.my/id/eprint/3662/1/VIVILIN%20INOLUTING%20C18A0446.pdf) (PDF) from the original on 9 May 2025 – via Universiti Malaysia Kelantan.

- Elcy Sulong, Stellia (2024). [*KAJIAN TEKNIK PEMBUATAN ALAT MUZIK SUNDATANG DALAM KALANGAN ETNIK DUSUN DI KOTA KINABALU, SABAH*](http://discol.umk.edu.my/id/eprint/14247/1/Stellia%20Elcy%20Sulong.pdf) [*A STUDY ON THE TECHNIQUE OF MAKING SUNDATANG MUSICAL INSTRUMENTS AMONG THE ETHNIC DUSUN PEOPLE IN KOTA KINABALU, SABAH*] (PDF). *Faculty of Creative Technology and Heritage* (Thesis) (in Malay). pp. 1–87. [Archived](https://web.archive.org/web/20250509070033/http://discol.umk.edu.my/id/eprint/14247/1/Stellia%20Elcy%20Sulong.pdf) (PDF) from the original on 9 May 2025 – via Universiti Malaysia Kelantan.

## Further reading

- Matusky, Patricia; Beng, Tan Sooi (28 April 2017). [*The Music of Malaysia: The Classical, Folk and Syncretic Traditions*](https://books.google.com/books?id=q3bCDgAAQBAJ&q=himpogot%252C%2520a%2520belt%2520of%252019th%2520century%2520Chinese%2520dollars%2520sumazau&pg=PT197). Routledge. [ISBN](/source/ISBN_(identifier)) [978-1-351-83964-8](https://en.wikipedia.org/wiki/Special:BookSources/978-1-351-83964-8).

- Miller, Terry E.; Williams, Sean (25 September 2017). [*The Garland Encyclopedia of World Music: Volume 4: Southeast Asia*](https://books.google.com/books?id=Fh03DwAAQBAJ&q=magagung%2520sumazau&pg=PT1386). Routledge. [ISBN](/source/ISBN_(identifier)) [978-1-351-54420-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-351-54420-7).

- [November, Nancy](/source/Nancy_November) (25 August 2020). [*Performing History: Approaches to History Across Musicology*](https://books.google.com/books?id=DXf1DwAAQBAJ&dq=sumazau&pg=PT73). Academic Studies Press. [ISBN](/source/ISBN_(identifier)) [978-1-64469-446-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-64469-446-6).

## External links

- Media related to [Sumazau](https://commons.wikimedia.org/wiki/Category:Sumazau) at Wikimedia Commons

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Adapted from the Wikipedia article [Sumazau](https://en.wikipedia.org/wiki/Sumazau) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Sumazau?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.