Huminodun

Origination

Huminodun originated from the Dusun people, indigenous to Sabah. The Dusun people are one of several Kadazan ethnicities. The Kadazan language encompasses various ethnicities indigenous to the region. So, the term Kadazan is used to include all ethnicities who speak the language or a similar version of the language.

Religion

Although frequently referred to as a legend or narrative of folklore, Huminodun is actually a religious observance in the Kadazan communities of Sabah. As found in cultures around the world, religious beliefs center around the concept of Gods to explain the incredible experiences and elements in the world that they did not understand. Similar to the pantheon of Gods in many ancient cultures and their various creation stories, the Kadazan culture also has its own pantheon of Gods, which is seen in their own creation story. Although the Kadazan culture never reached the heights of similar cultures like the Inca, Egyptian, Yoruba, Greek, or Roman civilizations, they also had a god-creator who was named Kinoingan. Kinoingan would be the equivalent of Inti, Ra, Olodumare, Zeus, and Jupiter.

When Christian missionaries first attempted to evangelize the region, they soon realized that in order to shift the Kadazans to believe in their God, they would have to borrow the name Kinoingan in order to teach them about the Christian God when they translated the Bible into the Kadazan language. In other words, as we see in many examples, indigenous beliefs were taken and Christianized in order to subjugate them into the colonizers’ system to make them easier to control.

Huminodun is thought to have been the founder of Momolianism, the religion of the various Kadazan peoples. Momolianism, as seen with many indigenous religions, worships nature. More specifically, it is one of the numerous religions worldwide that practice animism, the belief that all creatures, places, an inanimate objects have a spiritual essence that gives them agency and free will.

The Story

Kinoingan lived with his wife Suminundu in a heaven called Libabou and also in the world of man called Pomogunanhad. They had one son named Ponompulan and one daughter named Ponompuanand. Although the world of man was free from all sins and was very beautiful, Suminundu created the earth. When Ponompulan started to rebel, he corrupted the minds of mankind and was banished from heaven. He then created his own underworld called Kolungkud. His followers from mankind were then cursed with a famine. In order to end the curse their daughter Ponompuanand offered herself as a sacrifice ordered by her own father. She was then named Huminodun, which means transferred sacrifice. She then said to her father:

My body will give rise to all sorts of edible plants to feed the people. My flesh will give rise to rice, my head—the coconut, my bones—tapioca, my toes—ginger, my teeth—maize and my knees—yams. Our people will never go hungry again.

It was from Huminodun’s sacrifice that Bambazon, the spirit of the rice, had sprung. Following the sacrifice, the people experienced the most bountiful harvest that year. However, Kinoingan was greatly distraught and sorrowful for having lost his only daughter. As a result, he slashed through the paddy fields destroying the plants until the voice of his daughter spoke to him saying, “please stop hurting me further.”

He was then instructed to gather seven of the tallest stalks and tie them together, cut them, and bring them to his home and place each one in a jar. Comforted by the voice of his daughter, he did as instructed. One day, Kinoingan and his wife suddenly heard noises coming from the jars. Upon opening the jars, they saw seven brightly shining maidens, including his daughter. Her light was brighter than the sun. Her resurrection fulfilled her promise when her spirit emerged from the jar. The people commemorate her sacrifice and resurrection for her bravery, strength, grace and beauty in the annual beauty pageant, Unduk Ngadau.

There are a few variations of this story told from different communities, but the overall theme is one of sacrifice and beauty. In another variation, it was Sinakagon a demi-God who sacrificed her. This story began momolianism, an animist-pagan religion. This is also what founded the Bobolians who taught the rites, rituals, and ceremonies, traditions, taboos, as well as the gong-beating art and Sumazau dance.

The legend has inspired music and films.

The Kadazans celebrate the Ka’amatan or harvest festival to pay homage to Bambazon to ensure a bountiful harvest annually. During the ceremony, a maiden is selected who represents immaculate virtues and resplendent beauty (the beauty pageant winner) to reflect those of Huminodun. She is selected to honor Huminodun and is declared an Unduk Ngadau or Zenith of the Sun.

The film that was released in 2024 was produced with very little embellishments to ensure the story remained in close alignment with the way Sabahans tell their own stories with their own voices and in their own language. This was in following the Kadazan Dusun Cultural Association’s version.

Share

References

Ismail, Melissa Suraya (1 June 2022). “Unduk Ngadau, The Beauty Pageant Of The Sabahans”. The Rakyat Post. Archived from the original on 1 June 2022. Retrieved 24 April 2025.

Hong Chieh, Yow (30 May 2024). “What Is Kaamatan and Why Is It Celebrated?”. Explore AirAsia. Archived from the original on 24 April 2025. Retrieved 24 April 2025.

https://www.freemalaysiatoday.com/category/leisure/2024/12/02/sabahan-film-sinakagon-makes-netflix-debut-this-month/

Huminodun - Wikipedia

The Huminodun Story in Sabah | Hello Sabah

The Mystical Origin of the Kadazandusun - Huminodun

Tuesday Tale #37: The Legend of Hominodun – Tuyang

https://www.bharian.com.my/bhplus-old/2015/09/83875/legenda-huminodun

The Legend of Huminodun

Barlocco, Fausto (2011). "A Tale of Two Celebrations: The Pesta Kaamatan as a Site of Struggle between a Minority and the State in Sabah, East Malaysia". Asian Journal of Social Science. 39 (5): 605–626. doi:10.1163/156853111X609266. ISSN 1568-4849.

"The Legend of Huminodun"

Download the musical score

Yoruba

Originating out of southwestern Nigeria and extending into portions of Togo and Benin. The Yoruba homeland consists of a modern population that exceeds 60 million people. You can learn more about this region and the origins of Yorubaland in the video below:

Orishas

Orishas are known as spirits who reflect supreme divinity. Human-like manifestations of God-like creatures. They are known to have lived as human beings on earth and to have lived in the spiritual world. Some are known as humans who have been recognized as deities as a result of their extraordinary feats. Many orishas were brought to the Americas via the Atlantic slave trade and are now expressed in variations of the Yoruba religion such as: Santería, Candomblé, Trinidad Orisha, Umbanda, and Oyotunji, and more.

Those who follow the Orishas, believe that their lives depend on aligning with one’s ori. Ori translates to head, but spiritually speaking, it means to follow the destiny of one’s soul. This inanimate and living life-force is the power that makes things happen. The prayers and greetings follow this affirmation. Orisha followers focus on obtaining Ashe (divine energy from Olodumare, the creator deity, that comes to fruition through Olorun, ruler of the heavens and the sun - more details in the video above) through iwa-pele (gentle and good character). If they adhere to this, they will experience inner peace and satisfaction with life.

Ashe is sometimes associated with Eshu, the messenger Orisha. Ashe represents the link between the Orishas, the ancestors, and the supreme deity. Brazilian capoeira call it "Axé" and it is used frequently in greetings and as a form of praise in various songs. To say that one has axé is a compliment, meaning that they have a fighting spirit as well as a good energy and attitude.

Pantheon

The orisha are grouped by temperaments and colors. Those who are represented by red or black are considered quick tempered, demanding, and aggressive. Those who are represented by white are considered temperate, calm, and gentle. Oral tradition passes on the knowledge of their temperaments and traits. Each orisha is a ruler over the forces of nature and human endeavors and is recognized through numbers, colors, and foods they prefer. Offerings must consider these aspects to ensure that the orisha recognizes their offering and will come to the aid of those who provided the offering. Some people experience meeting the orishas face to face during a wemilere (drumming ceremony). This is done through trance possession via one or more priests.

The world of the Orishas can be seen in the video below. Elegguá is identified as Exu in the collection of Orishas included in the video. Each can be identified at these particular time stamps:
00:00 - Abertura 1:02 - Exu 2:01 - Ogum 2:59 - Oxóssi 3:54 - Omolú 4:52 - Ossain 5:55 - Oxumarê 6:52 - Nanã 8:00 - Oxum 9:24 - Obá 10:54 - Ewá 12:00 - Iansã 13:06 - Logun Edé 14:21 - Iemanjá 15:18 - Xangô 16:21 - Oxoguian 17:20 - Oxalá

Elegguá

Elegguá is the Deity of roads. He is considered one of the most important Orisha in the Yoruban religion and its American diaspora. He is frequently known by many names including Elegguá, Ellegua, Legba, Elegba, Elewa, Exu, or Eshu. He lives behind all doors and everywhere in nature. As the owner of the crossroads, he is the conduit between the physical and spiritual worlds. He is frequently represented in two forms: as a child and as an old man, representing the beginning and ending of life. This symbolizes the opening and closing of various paths in life as well. He originated out of Yorubaland but has given rise to Santería in Cuba and Venezuela. In Brazil and Colombia, he is tied to Candomblé.

Origin Story

Elegguá was a prince, the son of Okuboro, the King of Añagui. One day, as Elegguá was walking among his entourage, his eyes were struck by a bright light. Upon further inspection, he found the fruit of a coconut tree that had three eyes. Then a voice emerged from the coconut saying, “Take care of me and free me from the insects that want to eat me; if you protect me, I will give you health and prosperity.” Pleased, Elegguá took the coconut with him to the palace. When sharing his story with those in the royal court, many people made fun of the boy. Some even went so far as to throw the coconut around the room, taunting him with it. The King’s advisor suggested hiding the coconut from the boy so that he would forget about it. Three days later, the boy fell ill and died.

While mourning the death of the prince, the court and the people suddenly found themselves in a bad situation. They soon realized that the coconut could be the cause. Since it had been abandoned, bugs had consumed the coconut, and its shell was now empty. A fortune teller was called to assist them. The fortune teller told them that they had offended a good genius who had lived in that coconut. Their treatment of the coconut had angered him, and this is why the prince had died.

The king, repentantly venerated the coconut, asking for forgiveness and protection. However, the genius’ eyes were never to shine again. A soothsayer advised them to put eyes, ears, and a mouth on the coconut so that the genius can hear and talk to us. They found snails to embed on the coconut to give the genius eyes. Then they embedded shells for ears so that the genius could hear their prayers. After adding a mouth, the genius spoke once again. Sharing his wisdom to the ignorant people, he then forgave them.

This is why people started to place a saint’s stone behind the door where the coconut was. Elegguá’s origin as an orisha has evolved into this practice of placing a saint’s stone behind the door, so that he can live there and protect the ilé (house). He is the orisha that opens and closes the astral plane allowing happiness or unhappiness of human beings. He is also the doorkeeper of the savannah and the mountain.

Receiving Elegguá

Elegguá is a child, and as such he likes things associated with the play of children. He is a trickster and likes to play jokes on people. He also enjoys kites, balls, and other toys. He has straw hats and a shepherd’s staff, and likes silver coins, whistles, and keys. His colors are red and black, so he dresses in these colors, often in Spanish colonial-style knee-length pants. Although other traditions have him in white and black, which also demonstrates his contradictory nature. He wears a red hat or kerchief, or a straw hat. He dances playfully and wants attention from onlookers. His food preferences include candy, toasted corn, coconuts, smoked hutia meat, smoked fish, and red palm oil. The elder version prefers cigars and aguardiente (strong alcohol) or vino seco (white wine). His offering day is Monday and the third day of the month. His numbers are 3 and 21 (or any multiple of 3). January 6th and June 13th are recognized as Elegguá “saint’s day” in Cuba. A feast is given in his honor. The Catholic religion has syncretized him with the Child Jesus of Atocha, Saint Anthony of Padua, and the Anima Sola (soul in Purgatory).

His role is to stand at the crossroads between the human and the divine. As a child-like messenger between worlds, he has a close relationship with Orunmila, the orisha of divination. Elegguá is the orisha that must be called upon before any other orisha as he is the one who opens the door between worlds and the different roads in our lives. As a powerful orisha, he is one of the Warriors (along with Ogún, Ochosi and Osun). He is mentioned first in any ceremony as his permission is required for any doors to communicate with other Orisha remain closed without it.

Prayer for Eleggua: Echu obá loná tosí gbogbo ona iré o aché

Through a special ceremony, Elegguá is received alone or with other warriors. In the ceremony, a stone is used to represent Elegguá. The stone is prepared (covered with cement) and charged with the orisha’s aché. The stone is shaped into a head and cowrie shells are used for the eyes and mouth. He is then placed into a clay dish behind a door. Elegguá's eleke (beaded necklace) is an alternating pattern of red and black beads. The colors and design represent life and death, war and peace, and the beginning and ending of all things.

Elegguá plays a central role in every decision made in life. He can make things go smoothly or put obstacles in our paths. It is important to maintain a good relationship with him because without him, nothing is possible.

Eshu

Eshu is like Elegguá's shadow or his reflection in the mirror. They are two sides of the same coin, but with separate identities. Eshu is more unpredictable and is not kept in the house. He lives outside of the house, usually in a garden or in a small space near the side of the front door. Eshu’s tricks can be unpleasant or harmful and some non-practitioners have referred to him as the devil, which he is not. He is very powerful and should not be stirred up. He can however, be calmed by food, so people do place a wooden bowl of food scraps outside of the house for him. He works in tandem with Elegguá to keep balance in life. He is not an independent orisha, but rather a part of Elegguá. He is important because without understanding the dark, we can never appreciate the light.

Elegguá’s Roads

Elegguá has 101 roads at his disposal. Each road signifies a different personality of his. Each of these roads are found in different places in nature. He allows roads and doors to open, facilitating destinies and providing fate to change at will. He can also test one’s integrity to find out if they are honest before granting their desires.

One such road is Laroyé Eleguá, a dancer and lover of money. This childlike path is famous for gluttony, maliciousness, and spoiled behavior. He likes sweets as equally as toys, cigars, rum, and brandy. A popular offering is corn balls with honey and guava.

The opposite, Eshu Laroyé is wise and warns of any dangers that come to the house. He is a protector of the house and a wise business advisor. His natural road is found in rivers. He is the guardian of children (especially orphans), beggars, and the homeless.

Below is a video showing a dance for Elegguá.

I hope you enjoyed learning about the Yoruba culture, the orishas, and more specifically about Elegguá. There are many more stories relating to this orisha and his relationship with the other orishas, which can be found at the website links below.

References

Meet Eleguá: characteristics, rites, prayers, qualities and more

Elegua: Who it is, Characteristics, History and More - Oshaeifa.com

Conoce la Historia: Historia de Eleguá

25 Fascinating Facts About the Yoruba Tribe You Didn’t Know - Cultures of West Africa

Yoruba Culture | Origin, History, Beliefs, Religion & More » PIECE — WITHIN NIGERIA

The Orishas
Elegua: Orisha of the Crossroads

Read here

The Mightiest Heart Project

Project Author: Shella R. Zelenz

Storyteller: Kristine Waters

Author of the book: Lynn Cullen

Recommended for Grades 4 - 8

Suggested duration: 1 week or 3-7 hours total (can be more elaborate and longer as desired)

Table of Contents:

Day 1: Introduction of the story. Sketching scenes.

Day 2: Review of the history (at the end of the story). Research clothing and music of the 13th century Welsh peoples.

Day 3: Start writing the script, plan the music, costumes, props and staging

Day 4: Begin practicing re-enactment

Day 5: Presentation

Day 1

Introduction and Scene Sketching

First have the students close their eyes. Turn off the classroom lights and make the room as dark as possible. If it is an option, have them either lay on the floor or place their heads down on their desks so that nothing distracts them from hearing the wonderful reading of this story by Kristine Waters. The story is 10 minutes long, which includes historical details at the end of the story. You can opt to save the historical details for another class period if you choose. Today's primary focus is to hear the story and to have their minds visualize what the story looked like to them when they were listening to it.

After completing the story, turn the lights back on. Have the students take out sketch paper and whatever art materials are available to do drawings (colored pencils, markers, etc.). Then ask the students to draw what they hear in the story. Draw one picture or draw many. Have them re-listen to the story as many times as you like so that they really get a good feel of the characters, the scenery, and the period the story takes place. Have them share their drawings and explain to the class what it is that they envisioned and why. This should take up an entire class period.

Day 2

History Review and Research

Have them bring their drawings from the previous class. Then have them spend the class period either online or in the library researching the type of clothing, architecture and music that was prominent during this time period. Remind them this is the Medieval Period and that they are looking for Welsh specific information during this period as there are quite a variety of influences during this time period in different locations of the world.

You could ask them the following questions:

Where are the Welsh?

What type of music did they listen to?

What type of clothing did they wear?

What did Llewellyn's castle look like (he is a real figure in history)?

What did his dog look like?

What type of art was common in this period?

How did they spend their days?

Were the people poor or rich during this King's time period?

You could have the students then review their drawings from the previous day and determine if their own interpretation was reflective of the historical versions. This is not to necessarily correct them. This is a great way for them to see the historical realities of the time, and yet simultaneously look at how creative their own imaginations were. The re-enactment that they create can be true to history, or it can be made into a variation or pop-culture format, as they see fit. Let them be the ones to determined how they want to replicate this story in their own words and artistic expression. Let them know that stories throughout history are re-told numerous times and in different forms (Romeo and Juliet is a prime example).

Day 3

Planning

Have the class determine who will be writing the script, who will be creating the staging and planning the music. It is best to allow them to elect people for each role so that they can vote and accept or deny their nomination. This allows them full ownership over the creative process and brings out their leadership skills. Additionally, have them vote for the characters in the play/re-enactment of the story.

Each group will break off and discuss their strategies, visions and planning.

Those writing the script will definitely need one person to write it down while they all contribute ideas to the script. Have a copy of the story available for them to listen to or read to refer to. The visual learners will prefer the original story in hand, but it is helpful for the auditory learners to hear it read to them in conjunction with holding the book in hand. Have them create a script from the story. They can vary the vocabulary as they see fit. The primary goal is that they understand the entire purpose of the story, the characters involved, and how to ensure that the script they write conveys the plot and the moral of the story. This helps them to ensure full understanding of the lesson taught and the value of teaching this value in story form.

Those who are researching music, may want to collaborate with the script writers to know when music will be needed and from there, they can select music that they have researched which fits the scene best. Ensure they have the equipment they need in order to play the music at the time of the performance. They can use Spotify to research 13th century Welsh or Medieval music. Other options include YouTube and library searches if your school includes a music library.

Those who are planning costumes and stage design/props will want to spend time drawing/creating the scenery they wish to include in the story. It would be helpful for them to discuss their ideas with the script writers to ensure that their props align with the manner in which the story is being told and that the props are relevant and not a distraction from the plot. All props and music should enhance the story, not detract from it.

Assist the students as questions occur and help them to be self-sufficient in the creation of their great masterpiece!

Day 4

Rehearsal

This entire class period will be for their use to apply all of their previous day's work. Allow them to nominate a director, the actors, and stage managers. From there, stand back and assist them as requested. It is of primary importance that you do not interfere any more than absolutely necessary so that their creative juices and leadership skills blossom. There will be difficulties. This is normal in any theatrical production rehearsal. They will learn more by being given the space to solve these skills than if everything is micromanaged for them. They may need more than one day to rehearse. Give them as much time as you can to truly create their production. Some deadline pressure may help, but absolutely respect their efforts and just remind them of the time constraints. This too is something that is faced in the real world of theater (and any other business). Remind them not to sacrifice quality. If they must take their work home to perfect it, encourage this.

Day 5

Performance

This is the day they have all prepared for. Allow them to set up their stage, prepare their props and costumes, set up their music so that it is prepped for use during the performance. Set up any recording equipment desired and assign a camera person to record the performance. This recording will help them to review their own product and help them to learn from their mistakes and accomplishments! You could even opt to invite another class to watch the performance, perform in front of the school or a parent's night event. You could offer them a dress rehearsal run through prior to recording or inviting the audience in if time permits. This will help them to ensure that everything will run as smoothly as possible for the actual performance. Wish them the best of luck and smile. It will be a great accomplishment for them and great learning will have occurred, including the following key areas:

13th Century/Medieval literature history (Welsh)

13th Century/Medieval Music history

13th Century/Medieval architecture and textiles

Writing

Planning skills

Organizing skills

Strategizing skills

Leadership skills

Management skills

Taking orders/following orders

Teamwork

Video recording

Internet research

Library research

Reading comprehension

Teaching through storytelling

During the late 18th century, Mahsuri Binti Pandak Mayah, a beautiful young woman, soon found herself the target of scandal and false accusations. Similar to many tales around the world, jealousy was at the heart of it all.

The second child of Phuket Malay Pandak Mayah, and Cik Alang who married around 1798, and born in 1810, Mahsuri was known as one of the most beautiful women on the island. She was also well-known for her kind heart.

During an annual festival, she caught the attention of the village chief, Datuk Seri Perkerma Jaya. Based on information he received about her, he mar…

Read more

Origins of the Name

Not exclusive to Ukraine, the name derives from all of the various Slavic languages an…

Read more

“You girl, tell your father to marry me, and I’ll soak you in milk and butter.”

Cerceruska giggled and decided to tell her father what the widow had told her.

“That would be wonderful!” he said. So, he decided to marry the widow after the many years of constant cajoling she had done to him. They were wed with haste.

The girls were happily doing their chores at the request of their stepmother, but no matter what they did, she scolded them. Her temper was no longer friendly and she beat them more than s…

Read more

Kallikantzaros - Greece

The Greek story tells of goblins that dwell underground until the twelve days of Christmas. The twelve days of Christmas begin on December 25th and last until January 6th. During this period, the goblins come out to cause trouble. What do they do the rest of the year? W…

Read more

Hou Yi and the Ten Suns

In the earth’s early days, and when China was ruled by Emperor Yao (帝堯), the sky was littered with ten suns that alternated their illumination of the planet. The Jade Emperor (玉皇) (heavenly grandfather) had told the suns that they could only play in the sky one at a time. Otherwise, their play might destroy the earth. The suns were very young children and were not very good at doing as they were told, so one day, they decided that playing together would be more fun than playing alone.

As all ten suns appeared in the sky, the earth’s temperature became unbearably hot. Chaos ensued as a result. Crops shriveled and people fainted as the earth burned. This provided the monsters a great opportunity. When they saw what was happening, they came out from the shadows and began to prey upon humanity.

Hou Yi, a very skilled archer, saw what was happening and went to speak with the Jade Emp…

Read more

The crab picked up the dumpling while showing it to the monkey, he said, “Look what I found!”

The monkey held up his persimmon seed and proclaimed, “I also found something!”

The monkey loved persimmons and had no reason to keep the unedible seed. He looked at it as if it were a stone. This also made him jealous of the crab’s discovery. Thinking he was clever, he offered to exchange his seed with the crab’s rice dumpling. The crab declined as he found no reason why he should give away his edible dumpling for a stone-like seed.

The monkey would not be deterred. He began trying to pursuade the crab by saying things like, “You are unwise as you are …

Read more

Once upon a time, in a land far, far away, there lived an emperor. This emperor had two daughters, and no sons. Once a powerful king, he found himself owing fealty to another emperor after defeat in a great battle. His daughers, ever supportive, tried to cheer their father up after his defeat.

His youngest daughter said, “we can fight back!”

To which the King replied, “We cannot.”

Read more

Read more