by Cassie Forsythe
FOR nearly four decades, Sabah Fest has been more than just a stage for cultural performances – it has grown into a symbol of how tradition and tourism can move hand in hand.
The 2025 edition, held throughout September with its finale at the Sabah International Convention Centre, brought together performers from across the state’s 32 ethnic communities.
The festival’s role as a vibrant cultural showcase reflects the broader work of the Ministry of Tourism, Culture and Environment (KePKAS), which Minister Datuk Seri Christina Liew said has placed heritage preservation at the centre of its tourism policy.
She added that this commitment has been a central priority under the 12th Malaysia Plan (RMK12) and will continue into RMK13, with a focus on safeguarding traditions while integrating them into Sabah’s economic future.
“By linking cultural assets with tourism, the state government aims to create opportunities in local communities while maintaining the authenticity of what makes Sabah unique.
“Culture and tourism cannot be separated. When we talk about attracting visitors, we are also talking about what defines us as a people.
“Safeguarding this heritage means supporting livelihoods while ensuring traditions continue to thrive,” she said.
Liew added that Sabah Fest demonstrates this approach by working with communities to preserve and present traditions in ways that engage audiences while reinforcing their place in tourism.
She said carrying this work forward means strengthening key cultural institutions such as the Sabah Cultural Board (LKNS) and the Sabah Museum Department, which play complementary roles in protecting Sabah’s tangible and intangible heritage.
Under RMK13, these efforts will expand through structured funding, digitisation projects, and community-led cultural programmes.
For LKNS, this policy direction reinforces its work in supporting performing arts, oral traditions, and community practices.
General Manager Mackey Apison said LKNS views culture as “living knowledge” that must be passed down, providing skills that help younger generations stay connected to their identity and heritage.
This commitment is reflected in Sabah Fest itself, where LKNS curated and coordinated the lineup of cultural performances.
Every lineup was carefully selected through consultation with community groups, cultural associations, and performing arts practitioners to ensure representation from across the state.
“We look at authenticity, diversity, and the ability of a performance to communicate the essence of a community’s identity.
“It’s not only about entertaining the audience… we want to preserve and present traditions in ways that stay true to their roots, while still being engaging,” Apison explained.
He added that while performances may be adapted for a festival setting, LKNS preserves their meaning through close consultation with the communities, balancing cultural integrity with stage production.
Outside the spotlight of festivals, LKNS has steadily taken on a broader role in cultural documentation and education.
Since 2008, the LKNS has worked with ethnic associations across Sabah to record traditions, languages, and rituals.
Publications such as the Inventori Budaya Etnik Sabah and Daftar Kosa Kata Etnik, alongside the Mari Belajar Bahasa Etnik language-learning series, have emerged from these efforts.
Funding under RMK12 allowed LKNS to strengthen this work through the Cultural Mapping Project, which created a statewide database covering oral histories, traditional crafts, and endangered languages.
“We know many (indigenous) languages are at risk of disappearing. Our studies with Universiti Malaysia Sabah (UMS) indicate that some (languages) are already in the yellow zone, meaning the number of speakers is very low.
“That’s why we’ve been publishing vocabulary lists and language guides with the support of 34 ethnic associations. Documentation is urgent,” said Apison.
LKNS has also embraced digitisation to bring cultural education into modern spaces, aligning with the state government’s digital strategy.
The Mari Belajar Bahasa Etnik now reaches younger audiences through social media, while the Cultural Mapping System will serve as an open database accessible to government, researchers, and the public.
Protecting intellectual property has also become a growing part of KePKAS’s cultural mission.
Through LKNS, several ethnic food and craft products have been registered under Geographical Indications (GI) a form of intellectual property that ties goods to their place of origin.
Among the items registered are bosou, rinago, pinakol, penjaram, and bahar.
“Registration ensures that communities keep ownership of their heritage.
“It gives recognition to their products and protects them from being misused,” said Apison.
Training and workshops are another area of investment, aimed at strengthening cultural skills among younger generations.
Dance and music workshops are held in schools, while facilities such as the Murut Cultural Centre in Tenom and the Penampang Cultural Centre are undergoing upgrades with federal and state funding under RMK12 and RMK13.
While LKNS focuses on intangible heritage and community-driven preservation, the Sabah Museum Department complements this by safeguarding tangible heritage and creating interactive spaces for the public.
Director Arif Jasmer Hamid said the museum has adapted its direction to match the new definition of museums set by the International Council of Museums (ICOM) in 2022, which emphasises inclusivity, education, and community participation.
“The museum today is not just a place to display artefacts… we want to create experiences that connect people with heritage, to make it accessible, relevant, and engaging,” he said.
To achieve this, Sabah Museum has expanded outreach programmes that bring culture directly to communities.
These include school visits, cultural carnivals, temporary exhibitions, and signature events.
“It’s about going beyond the walls of the museum and reaching communities
directly,” said Arif.
Technology is also being harnessed to modernise museum galleries.
Plans include virtual reality tours of traditional houses and the creation of the Sabah Museum Repository of Information on Cultural Heritage (SMRICHES) – a digital archive of collections.
“Eventually, we will use AR and VR in galleries so that visitors don’t just see an artefact but experience the story behind it,” Arif explained.
This vision ties into broader developments under RMK13, including the New Sabah State Museum with its modern, interactive concept and the Digital Museum, which offers immersive virtual tourism experiences.
While embracing new technologies and future developments, the Sabah Museum Department also oversees district-level institutions in Kudat, Tenom, and Sandakan, where local heritage is celebrated with community involvement.
For example, the Tun Mustapha Museum in Kudat hosts the annual Semarak Budaya programme, Agnes Keith House in Sandakan celebrates the legacy of its namesake author, while the Tun Sakaran Museum in Semporna organises the Bajau Diaspora seminar.
According to Arif, these district museums receive centralised support in staffing, budgeting, and programming to ensure they remain sustainable and relevant.
Collaboration with schools and universities is also expanding, with joint research on megalithic culture and archaeological sites being carried out with UMS, Universiti Sains Malaysia, and the Institute for Development Studies (IDS).
“Partnerships are crucial. We work with institutions and community groups to expand the role of museums as education hubs, not just exhibition spaces,” Arif said.
On the international front, the Sabah Museum has strengthened its networks through joint exhibitions with the Japan Foundation and the Safari Museum in Kansas, USA, bringing fresh perspectives and expertise into the state’s cultural heritage and cultural development.
KePKAS is building on these efforts to continue connect cultural preservation with tourism under RMK13, keeping Sabah’s heritage a source of pride and locaL opportunity.
Looking ahead, the Ministry’s focus on documentation, digitisation, and community participation is expected to set the tone for the next five years.
Sabah Fest, as the state’s key cultural showcase, will remain a space where these policies are translated into practice.
