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The findings describe the sinipak as distinctive in black-dominant design with red dastar and embroidered motifs, and explain how changes in materials, embroidery size, and pattern complexity have evolved over time.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/template/","Template",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/template/paper-templates/","Paper 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COSTUME OF THE DUSUN TINDAL WOMEN FOLK OF SABAH  \nNoria ak Tugang  \nUniversiti Malaysia Sarawak  \nSalbiah Kindoyop  \nUniversiti Malaysia Sarawak  \nJunior Kimwah  \nUniversiti Malaysia Sarawak  \nNurul Aisyah Othman  \nUniversiti Malaysia Sabah  \nCorresponding Author  \n[tnoria@unimas.my](tnoria@unimas.my)  \nThe sinipak traditional costumery is a centuriesold heritage inherited by the Dusun Tindal ethnic community located mainly in the flatlands of Kampung Bangkahak, Kampung Tempasuk and Kampung Piasau in the Kota Belud district of Sabah, Malaysia. The designs and accessories exhibited in the sinipak costume of the Dusun Tindal womenfolk are representative of natural materials and elements integrated with human creativity, and are traditionally perceived as symbols of wealth and social status within the community. Findings of this study were derived from fieldwork data and analysis of the design concepts of the sinipak female costumery.  \nKeywords: Dusun Tindal, design, sinipak, costume, and accessories  \n1. INTRODUCTION  \nAn ethnic group or community could be identified through the culture that the people in that grouping practise such as their traditional costumes, dances, and language or dialect spoken. For the Dusun Tindal, their traditional costumery is one of the most distinctive and unique attributes of their heritage. These ornate costumes, rich in traditional adornment and steeped in cultural significance, are commonly donned during festivities and important events such as weddings, welcoming of visitors, and other social events.  \nThe Dusun Tindal ethnic has two types of traditional costumes known as sinipak andrinagang. These two types of costumes were recorded by I. H. N Evans in year 1953 and John White in 1893. Recorded images of both traditional costumes in the form of photographs proved their existence in the history of Dusun Tindal ethnic. Changes in costume designs can also be seen from time to time until today. The sinipak costumes are worn by Dusun Tindal ethnic who lived in flat area while the rinagang  \ncostumes are worn by Dusun Tindal ethnic lived on the hillside.  \nThe focus of this study is the sinipak costumes, which have a design dominated in black colour and decorated with red dastar [Table 1 (i)] . According to informant 1 (Pahau, personal communication, Feb 4, 2016) due to the time transition, these costumes are decorated by attractive accessories and beads embroidery to make them more attractive [Table 1 (ii)] . Among the transformation are the changes in the size of the embroidery dastar fabric, the geometric motifs were embroidered with smaller size and more attractive. Today's costume design is more complex with the use of more comfortable fabrics and the addition of the embroidery motifs to thesinipak costume [Table 1 (iii)] .  \n2. BACKGROUND  \nThe traditional costumery of the Dusun Tindal consists of the sinipak, rinagang and sinuranga. All three are black in colour and would usually be embellished with colourful embroidery patterns, motifs or decorations. The sinipak itself has male and female versions; this study examines specifically the sinipak for womenfolk in terms of its functions and accompanying accessories.  \n3. METHODOLOGY  \nPhotography is used in practice-based research or other research situations or environments for the acquisition of visual data, storage or management of visual  \ninformation, analysis of visual data, and the presentation of research findings. Visualisation requires drawing in all forms (for instance objective, analytical, or expressive), diagrams, concept maps or mind maps, flow charts, storyboards, matrices, and network displays by employing colour, tone line, plane, shape, scale, symbol, and so on. The use of metaphors and analogy could also stimulate or assist this visualisation process. The interview method is useful as it presents a key pathway in seeking the particular opinions of others about identified research topics. A purposeful conversation is ","cbCaidrlpu7UC0t8","https://ap.wps.com/l/cbCaidrlpu7UC0t8","pdf",744855,10,"English","# Introduction\n## Background\n# Methodology\n# Discussion of Findings\n## Sinipak costumery","[{\"question\":\"What makes the Dusun Tindal sinipak costume distinctive?\",\"answer\":\"The sinipak is known for intricate embroidery that forms motifs and patterns, reflecting elements of nature, culture, and traditional life.\"},{\"question\":\"What research method is used to study the sinipak costume?\",\"answer\":\"Photography is used for acquiring and analyzing visual data, and interviews are conducted using a purposeful conversation focused on the study objectives.\"},{\"question\":\"How does the sinipak costume design change over time?\",\"answer\":\"Design changes include shifts in embroidery size and the complexity of motifs, along with the use of more comfortable fabrics and added embroidery motifs in newer costume designs.\"}]","SINIPAK COSTUME OF THE DUSUN TINDAL WOMEN FOLK OF SABAH - Research focus | PDF"]