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PENAMPANG: The musical theatre production “The Last Tantagas – Keeper of the Sacred Texts”, showcased at the Sabah National Department for Culture and Arts Complex (JKKN) and organised by programme chairperson Judeth John Baptist and her team, paid tribute to the sacred traditions of the Suang Lotud ethnic group in Tuaran.

Once regarded as healers, the “Tantagas” performed rituals of thanksgiving and healing. Today, only four remain: Odun Badin, Odun Ribud, Odun Lumanjar and Odun Gading.

“Tantagas” is equivalent to “Bobohizan” in Kadazan, referring to priestesses or ritual leaders. Meanwhile, “Odun” is a title derived from the word “Odu”, meaning grandmother or an elderly person.

The performance, attended by wife of the Chief Minister, Datin Julia Salag, was deeply emotional and highlighted the fading legacy of the “Tantagas”.

With no younger generation willing to continue the practice, the priestesses allowed it to fade naturally. However, Judeth John Baptist’s initiative to transform the tradition into musical theatre ensured that the legacy continues through art and performance.

Originating in Tuaran among the Suang Lotud tribe, the practice was once widely observed within the community. Today, through music, movement and storytelling, the production reminded younger generations of the importance of preserving cultural heritage, even as modernity reshapes traditions. 

KDCA Women’s Council chairperson Datuk Joanna Kitingan praised the show for its professional execution and its role in raising awareness of Sabah’s cultural legacy.

“It provokes me deeply; it triggers my mind. I just hope this theatre will bring great awareness to the present generation, or else it will be totally forgotten forever,” she said.

One of the audience members, 90-year-old former “Tantagas” Bulihah Apong, known as Odun Libara, was visibly moved as she watched her once-practised art reimagined on stage.

She was accompanied by her 74-year-old sister, Umah, who described the performance as truly one of a kind — spectacular, emotional and a powerful transformation of cultural tradition into a modern setting.

“My sister is over 90 years old now, but she is still able to walk, although with some difficulty. Because of this musical theatre, she wanted to see for herself what had become of what was once their livelihood in the past.

“She was a ‘Tantagas’ in 1973 and stopped practising in 2023, mainly due to health reasons and because the younger generation was not interested in continuing the practice,” Umah said of her sister, Odun Libara.