# data[].attributes.body
The elders claim that the Selako tribe was originally from Kalimantan, Indonesia, where their forefathers left their homeland in 1875 and started establishing Kampung Pueh in Sematan. This community rose to prominence as the Selako tribe's original settlement.

Initially, the tribe's ancestors moved from Kalimantan to Kampung Pueh in search of new paddy-planting fields. The threat posed by Borneo headhunters also contributed to their decision to move. The clan opted to relocate permanently to Kampung Pueh for their own safety.

# data[].attributes.body
Table of content
1. Bajau traditional dances
2. Selako/Salako traditional dances
3. Banjar traditional dances
4. Bidayuh traditional dances
5. Dayak traditional dances

# data[].attributes.body
One of Borneo's indigenous peoples are the Dayak, Dyak, or Dayuh. It is an umbrella word covering more than 200 riverine and hill-dwelling ethnic groups, mostly in Borneo's central and southern interior. Each group has its own dialect, customs, laws, territory, and culture, yet there are some easily recognisable commonalities among them all. The Austronesian family of languages includes Dayak languages. The Dayak were animists (Kaharingan and Folk Hindus), but during the 19th century, large numbers of them have converted to Christianity and Islam as a result of the expansion of Abrahamic religions.

# data[].attributes.body
The Bajau have historically been nautical nomads who rely on gathering shellfish from the ocean floor to survive. There are roughly one million Bajau people that inhabit the southern Philippines, Indonesia, and Malaysia.The term "Sea Gypsies" or "Sea Nomads" has also been applied to unrelated ethnic groups with similar traditional lifestyles, such as the Moken of the Burmese-Thai Mergui Archipelago and the Orang Laut of southeast Sumatra and the Riau Islands of Indonesia.

# data[].attributes.body
1. Gantar Dance

2. Hudoq Dance

3. Kancet Ledo Dance

4. Kancet Papatai Dance

5. Kancet Lasan Dance

# data[].attributes.body
The dance known as Tari Gantar was created in East Kalimantan. Both Dayak Tunjung and Dayak Benuaq have this dance as a part of their traditional history. This movement is frequently referred to as the rice-planting dance. This is so because the dance's motions resemble someone planting rice. Tari Gantar is a joyful dance. Dances that depict the bond between young people in the Tribe Benuaq and Dayak Tanjung are frequently performed at several traditional rituals.

The Dayak myths of Kutai Barat, Kalimantan Timur are strongly related to Tari Gantar. The stories of this expanding mencerirakan the lives of the Gods in the Land of Gods or Nayu (the nation at the summit of the sky), who gave the nation the name Oteng Doi. The Oling Iron Oling Bayatn family of storms, which exist, is where this dance first appeared.

# data[].attributes.body
This dance denotes happiness and generosity. The Dayak tribe welcomes visitors to East Kalimantan, whether they are tourists, businesspeople, or distinguished visitors. Even so, it is urged that the guests join in on the dancing.

Rice-planting people are portrayed in the gantar dance. Making a hole in the ground with a wooden wand's fist. While grains and seeds found in bamboo represent nooks and crannies. Both the Dayak tribe Benuaq and the Dayak tribe Tunjung are familiar with the dance. Three types of gantar dance can be distinguished: gantar Rayatn, gantar Busai, and gantar Senak or gantar Kusak.

Ulap Doyo, a Dayak native wearing a costume made of the fibre Doyo, is a dancer.

# data[].attributes.body
The Dayak ethnic group of East Kalimantan province, Indonesia, performs the masked dance Hudoq as part of the Erau harvest thanksgiving ceremony. It is said that Mahakam Ulu Regency is where the Hudoq culture and performance first emerged among the Dayak people of East Kalimantan region.

Hudoqs are thirteen crop-destroying pests, including rats, boars, leopards, and crows, according to the traditional beliefs of the Bahau, Busang, Modang, Ao'heng, and Penihing people. Dancers portraying the Hudoqs in the festival wear pest-themed masks and jackets made of pinang (areca palm) or banana tree bark.

# data[].attributes.attachment_link.title
Tarian Hudoq/Hudoq Dance | Dayak Bahau Hudog Kal-Tim Borneo Traditional Dance
The hudoq dance on the video above is performed by dayak modang, 
one of ethnics from East Kalimantan,... | By Cerita Dayak | Facebook

# data[].attributes.attachment_link.description
2 views, 43 likes, 1 loves, 3 comments, 14 shares, Facebook Watch Videos from Cerita Dayak: Dayak Bahau Hudog Kal-Tim Borneo Traditional Dance
The hudoq dance on the video above is performed by dayak...

# data[].attributes.body
Igal-Igal

Daling-Daling (Pangalay or Mengalai)

# data[].attributes.body
When Dayak people seek to free up agricultural land, they typically conduct the Hudoq dance. This dance is one of the phases of the Dayak community's laliq ugal ritual. When the chief decides to clear the land and when the offering of eight eggs to the ancestors is complete, this dance will be done.

Hudoq dancers don green-colored clothing in addition to a mask that depicts the characters of destruction, protection, and the ancestor. This clothing is constructed to resemble leaves that are fastened to the dancer's torso. This green shirt actually represents the leaves, which will stay green as long as the tribe chief clears land for farming.

Hudoq dance serves as entertainment for those clearing land in addition to having a mystical component because it is connected to ancestral spirits.

# data[].attributes.body
Wek Jongan

# data[].attributes.body
In East Borneo, the Dayak tribe specifically the Dayak Kenyah Tribe, of East Kalimantan, performs this dance. The dance, which employs a gong's properties, is frequently referred to as a "gong dance." Gong dance is an expression of a gentle woman dancing over a gong.

The woman danced so delicately to the movement that was being played while maintaining perfect equilibrium. Beaded clothing with a velvet waistband is quite attractive.The Dayak community is proud of its art-type culture, Kancet Ledo dance.

# data[].attributes.attachment_link.title
TARI GONG Dayak Enggang KALIMANTAN Indonesian Dance [HD]

# data[].attributes.body
A girl performs this lovely dance while using a gong to emphasise the movements. In addition to being accompanied by the gongs, this dance is distinctive in that the Kancet Ledo dancers also perform while on the gongs.

The Gong Dance tells of the beauty of a female dancing on a gong and the contest between the girl and two Dayak youths. This dance is accompanied by the gong as well as the Sampe, a native Dayak musical instrument.

The Kancet Ledo dance, which represents a woman's tenderness, is a dance that is rich in significance. Dance motions delicately convey the brilliance, tenderness, and beauty of ladies.

Gong Dance's moves capture a girl's sensitivity through her gentle body movements and moving hands. Compared to other dances from East Kalimantan, this one has fewer motions, and the majority of those moves are repeated. The tenderness with which the dancer moves and dances, however, is what stands out in this dance.

# data[].attributes.body
The war dance is a another term for this dance. Every dance the Dayak tribe produced has a unique narrative. The Dayak Kenyah hero, who is at battle with the enemy, is the subject of this war dance, too. This dance has incredibly nimble, spirit-filled, and vibrant movement. The Papatai Kancet dance is performed in traditional Dayak Kenyah attire. Along with his shield, armour, and a mandau (a type of machete), he was carrying equipment.

Dancers occasionally cry out after their incredibly quick, nimble, and energetic dancing movements. Sak Paku songs and the Sapeh, an Indonesian lute, are the only musical accompaniment for Kancet Papatai.

# data[].attributes.body
The Banjar or Banjarese are an indigenous ethnic group that originated in the Banjar districts of southeastern Kalimantan hemisphere of Indonesia, namely Banjarmasin, Banjarbaru, Banjar Regency, etc. Today, Banjarese diaspora can also be found in nearby Banjar regions, such as Kotabaru Regency, the southernmost parts of East Kalimantan, and the southeast parts of Central Kalimantan, as well as in several provinces across Indonesia. The Banjarese diaspora is also present in Indonesia's neighbours Brunei, Malaysia (particularly in Sabah and Perak), and Singapore.

# data[].attributes.attachment_link.title
Tari Perang Dayak Kenyah Lepoq Jalan (Dayak Kenyah Borneo War Dance)

# data[].attributes.body
The dancers are dressed in traditional Dayak Kenyah attire for this performance, which is completed by Mandai, a shield, and armour, all of which are items used in traditional warfare. Furthermore, Sampe traditional music, including the tune Sak Paku, is played after this dance.

Every time the Kancet Papatai Dance is performed, a lady who displays two distinct dance styles often joins the man (or Ajai) onstage.

1. The Kancet Ledo dance, performed by a single lady, represents "the gentleness of a girl as a piece of rice being gently blown by the wind." A woman wearing a traditional Dayak Kenyah outfit and clutching a string of hornbill tail feathers in each hand performs this dance. The Kancet Ledo is also known as a Gong Dance since it is frequently accompanied by a gong.

2. The Dayak Kenyah praised the hornbill as a symbol of greatness and valour, and the Kancet Lasan dance depicts the hornbill's daily activities. Several women typically participate in the Kancet Lasan dance. Without gongs and feathers, they use the same movements and poses as the Kancet Ledo dance. They also frequently adopt poses that demonstrate their humility, such as crouching or sitting with their knees touching the ground. This dance emphasises the movements of hornbills more when they are flying and perched in trees.

# data[].attributes.body
This Kacet Lasan dance depicts the life of a hornbill bird, just as other dance styles. Hornbills are revered creatures among the Dayak people. To honour the hornbills, the Dayak tribe's inhabitants devised Kacet Lasan dance. All of this serves as a testament to majesty and bravery. The Dayak Kenyah tribe performs this dance by itself. This bird mimics the flight and perching motions of hornbills.

# data[].attributes.attachment_link.title
TARIAN DAYAK KENYAH DATAH BILANG (KANCET LASAN)

# data[].attributes.body
The hornbill was revered by the Dayak Kenyah as a representation of greatness and bravery, and the Kancet Lasan dance shows the hornbill going about its everyday business. The Kancet Lasan dance often features a number of female participants. They employ the same gestures and stances as the Kancet Ledo dance but without the gongs and feathers. Additionally, they commonly strike stances that convey humility, like crouching or sitting with their knees on the ground. In this dance, the movements of hornbills that are flying and perched in trees are highlighted more.

# data[].attributes.body
1. https://steemit.com/art/@allaboutarts/5-most-popular-dayak-tribe-dance

2. https://beadgrup.com/news/tari-gantar/

3. http://myindonesiann.blogspot.com/2017/10/gantar-dance-traditional-dances-from-east-kalimantan.html

4. https://aroenjava.wordpress.com/2014/03/04/gantar-dance/

5. https://www.wikiwand.com/en/Kancet_Papatai

6. https://www.indonesia-tourism.com/blog/kancet-papatai-dayak-traditional-war-dance/

7. https://beadgrup.com/news/the-origin-and-history-of-kancet-ledo-dance/

8. https://english.uny.ac.id/article/preserving-kancet-ledo-dance-through-rosemery-robot

9. https://www.indonesia-tourism.com/blog/kancet-ledo-another-east-kalimantan-traditional-dance/

10. https://helloindonesia.id/en/asking-the-ancestors-through-the-hudoq-dance/

11. https://ms-my.facebook.com/BorneoOracle/photos/tahukah-andatarian-hudoq-merupakan-sebahagian-daripada-warisan-tradisi-etnik-day/3966542086725979/

12. https://wwf.panda.org/knowledge_hub/where_we_work/borneo_forests/?335790/Hudoq-the-ancestral-dance-from-Mahakam-Ulu

# data[].attributes.body
The Bidayuh people live in the southwest of Sarawak, especially parts of Serian, Kuching and in the west of Kalimantan. The name Bidayuh means 'inhabitants of land'. They are believed to come from the Penrissen mountains of Sarawak based on the theory of the migration of the first people on the island of Borneo (Deep Skull) found in Sarawak, Malaysia. They consist of five ethnic groups namely:

1. Selakau/Lara (Daerah Lundu)

2. Jagoi/Singai (Daerah Bau)

3. Biatah (Daerah Kecil Padawan)

4. Bukar/Sadong (Daerah Serian)

5. Kuching Tengah / Bidayuh Baru / Bidayuh Moden (An area between Padawan and Bau)

# data[].attributes.body
1. Tarian Tolak Bala

2. Tarian Rejang Beuh

3. Tarian Langi Julang

# data[].attributes.body
After the harvest season, the Bidayuh ethnic group performs the dance known as Tolak Bala to ward off bad luck and drive off evil spirits. This dance also seeks a more abundant harvest of food the next year.

The dancers bring a tray, anjung (a replica boat), and kelapa taya (a coconut shell with a candle on it) as tools to place food offerings for the ghosts of their ancestors. While a candle is used to light the way while the ritual is being performed, coconut water is utilised to treat illnesses.

This dance performance represents the taya and anjung being brought to the river to release the sick spirit and drive the evil spirit out to sea.

# data[].attributes.body
A shaman and two other warriors are in charge of the dance. The warriors will each have a jerok (spear) and a pinangin (shield), while the shaman will have his ceremonial sword with him.

The dance is performed for a variety of reasons, but its primary goal is to express gratitude to Tampa (god) for providing them with a healthy harvest and excellent health. Additionally, it is done to appease muat mindu (evil spirits) that could endanger or disturb the hamlet and its residents. In addition, it is done to aid in the return of lost souls of humans and paid.

This dance was traditionally done after a new chief was elected in order to ensure his success as a leader. Additionally, it was to express gratitude to Tampa and request a blessing.

# data[].attributes.body
The myth of the Bidayuh hero Madu Sawan is the source of Rejang Beuh. To engage in combat with a fabled bird known as the Tingkilang Ramang, which translates to a kind of Eagle Spirit, the King of the Pleiadas is supposed to have called upon Madu Sawan. The victor of the conflict would be entitled to marry the king's daughter, Dara Buda, the king stated.

However, Madu Sawan and Tingkilang Ramang were not only superb combatants but also talented dancers. They smoothly moved around each other as the duel started, using a variety of gestures and techniques. They were accompanied by the gongs and drums, which beat slowly and steadily. They would swoop their arms down swiftly as they got closer to one another, as though diving down to battle. Madu Sawan won and was given permission to wed Dara Buda.

# data[].attributes.attachment_link.title
Tarian Bidayuh Sarawak yang mempersona, Rejang Beuh

# data[].attributes.body
Although you might see both men and women dancing the Rejang Beuh, the movement of the men is where the dance really shines. As they danced smoothly around the platform, they would hold their arms out and extended their hands.

Like an eagle flapping its wings, their arms would rise and fall. The male dancers face each other and take fast steps forward while swooping their arms downward, mimicking Madu Sawan's fight's quick diving action.

The men dancers wore their traditional attire throughout the performance, and they wore tiny bells around their ankles like bangles. To the slow, monotonous beat of the gongs and drums, they dance while sporting a necklace made of wild boar tusks.

# data[].attributes.body
Baksa Kembang

# data[].attributes.body
To thank the gods for blessing people with good health and a bountiful harvest, the langi julang dance is performed at the end of the harvest festival. The eagle-warrior fight dance is done after the harvest season. Outstretched hands are held in a manner that resembles an eagle flapping its wings while flying. The warrior emerges as the victor when the eagle eventually passes out. Men who want a female partner engage in it.

In the past, Langi Julang was also performed at the ceremony to install a new chief. This is done to thank God and to bless him so that he can do his duties effectively for the good of his people. The dance is also performed to greet notable visitors to the community.

# data[].attributes.attachment_link.description
Tarian Etnik Bidayuh 'Langi Julang' yang berasal dari suku Bidayuh Bukar-Sadong yg ditarikan oleh penari dari SK Long Busang dan dianguerahkan Johan Etnik Terbaik Peringkat Negeri Sarawak 2012 Kategori Sekolah Rendah.

# data[].attributes.body
1. https://sites.google.com/a/student.mmu.edu.my/sarawak1151105210/traditional-dance

2. https://sharmabelle.wordpress.com/the-gawai-festival/introduction/bidayuh-dance/

3. https://dayakculturalfoundation.org.my/past-events-programs/bidayuh-traditional-dance/

4. https://sharmabelle.wordpress.com/the-gawai-festival/introduction/bidayuh-dance/

5. https://www.sarawakfocus.com/blog/world-of-arts-2/rejang-beuh-warriors-taking-to-the-skies-24

6. https://www.borneotalk.com/allure-mysticism-folklore-in-the-dances-of-sarawak/

# data[].attributes.body
One of the traditional Banjar dances from South Kalimantan, Indonesia, is called Baksa Kembang. It is performed as a welcome dance (Tari Selamat datang) for visitors. Female dancers typically perform this dance, although the number of dancers must be odd.

Initially, Baksa Kembang was a dance that was only performed in a regal setting to greet distinguished visitors or members of the royal family. But as things changed, the Sultanate of Banjar started to allow the general public to watch this dance performance, which made the Baksa kembang popular in the community and one of the regional cultures in South Kalimantan.

# data[].attributes.body
Igal-igal is a well-known traditional dance in the Semporna District, particularly among the Bajau and Tausug or Suluk ethnic groups. The Bajaus are referred to as a "sea gipsy" group, whereas the Tausug/Suluk people are regarded as "current people," where "tau" stands for "people" and "sug" for "sea current". Due to the two ethnic groups' geographic proximity to the sea, this dance is well-known among them.

It is sometimes referred to as the "Sea Eagle Dance" or Tarian Helang Laut. The English word "eagle" is where the word "igal" itself comes from. Along with aspects of blowing wind and breaking waves, the dance moves similarly like an eagle in flight.

Groups, couples, or solo performers can all perform igal-igal. Two singers who are spontaneously competing in a quatrain performance typically perform this dance to traditional music. Kulintangan, gong, and tambur are the most common musical instruments.

# data[].attributes.body
The Wek Jongan Dance is focused on revelation and miracles. It is a Selako or Lara ethnic Bidayuh dance that is performed in West Kalimantan, Indonesia, as well as the Sematan Lundu District of Sarawak.

This dance portrays the tale of Jongan, a young woman who is mourning the loss of her mother. Legend has it that Jongan's father passed away due to an untreatable illness. Because she frequently visited her husband's cemetery and felt so depressed and lonely, Jongan's mother eventually became unwell and passed away. Jongan was left an orphan as a result, and he lived in agony and isolation.

Jongan fell and fainted one day while visiting his mother's cemetery. Jongan imagined his mother singing and dancing to comfort him in such a moment. After waking up, Jongan was overjoyed and went back to the hamlet to teach the residents how to sing and dance, eventually leading to the creation of the Wek Jongan dance.

# data[].attributes.attachment_link.title
Tari Baksa Kembang dari Banjarmasin Kalimantan Selatan

# data[].attributes.body
Baksa Kembang dancers wear a scarf (selendang) when performing so that they appear classy and endearing. One distinguishing feature of the Baksa Kembang dance costume is the gajah gemuling, or headdress, which is a crown embellished with two tiny bogam flowers and woven young coconut leaves, also known as halilipan.

The dance's moves resemble those of pretty teenage girls having fun in a flower garden. They selected some flowers, formed them into Bougainvillaea (Bogam) blossoms, and carried them while dancing elegantly and exquisitely. A variety of roses, jasmine, magnolia alba (kantil), and cananga odorata (ylang blossoms) are among the bogam flowers carried by the dancers throughout the performance. Visitors who arrive after the dance will be given this bogan flower.

# data[].attributes.attachment_link.title
Tarian Wek Jongan kaum Dayak Selako, Malam Gawai Raya 2022.

# data[].attributes.body
1. https://www.indonesia-tourism.com/blog/baksa-kembang-dance/

2. https://www.flickr.com/photos/111256030@N03/11648786055

3. https://jurnal.unimed.ac.id/2012/index.php/gesture/article/view/891

# data[].attributes.attachment_link.title
IGAL-IGAL (Panggung Seni Tradisional 2019)

# data[].attributes.body
This dance is presented each year as part of the Regatta Lepa (boat) Festival or Pesta Sambulayang (Sambulayang Festival). The Bajau community displays their sambulayang lepa (boat), which is adorned with carvings and vibrant sails, during this celebration.

Igal serves as a conduit that links the bond between the Bajau Laut and their ancestors, which highlights its significance in Bajau Laut rituals. This is evident at the magpaii-baha'u ceremony, an annual three-day new rice ritual that symbolises the spirits of the ancestors returning to their descendants; and at the magpaigal-jin ceremony, where the Bajau Laut perform public dances on a quarterly basis during the full moon in order to amuse the village's ancestors and the many spirits believed to reside nearby.

# data[].attributes.body
The Phillipines are where Malaysians first encountered daling-daling, which is thought to have originated in Spain. From the Suluk ethnic group in eastern Sabah, comes this traditional dance. The ethnic Bajau group also enjoys its appeal.

This dance always includes quatrains with the male and female dancers "selling and buying of quatrain" (reciting quatrain and reciprocating). This dance includes the following lines of quatrains:

My lover, my lover oh my lover, my lover

Till infinite you are curving

Curving to the elbow

If waving you are sprinkling

Like teardrops scattering

Known as the "My Love, My Love" dance, daling-daling is a popular courtship dance. Young folks in Jolo, Sulu, like it a lot. Since they can participate in the show by singing along with the dancers, the audience also enjoys this dance. There are as many repetitions of the one-sixteenth measure music as are required.

The dancers wear traditional Joloano attire and wield an open fan in each hand with their thumb, fourth, and little fingers on the top side and on the opposite side with their second and third fingers.
Dancers are paired up and positioned about six feet apart, both looking forward, with the female on the right side, as the music plays and everyone sings.

# data[].attributes.body
1. https://pemetaanbudaya.jkkn.gov.my/en/category/culture/646

# data[].attributes.attachment_link.title
Tarian Daling-Daling  👍 ( Local Sabahan Dance )

# data[].attributes.body
This dance is performed in pairs with no time restriction. The female dancer's spiralling and drooping movements of her hands, feet, and body give this dance its singularity. The flow of the dancer's fingers, which are adorned with janggai (long, fake nails that curve to the rear made of silver or a mix of gold and copper metals), adds to its allure.

Taghanak (stomping the feet at the conclusion of each verse), kinjung-kinjung (pointing at the partner's face while the partner's head follows the direction pointed), and sangbay (teasing) are the dance gestures. The gabbang and violin, as well as solo or group singing, are used to accompany this dance during engagement, wedding, and circumcision ceremonies as well as festival events.

# data[].attributes.body
1. https://pemetaanbudaya.jkkn.gov.my/en/culture/dis/357

2. https://primer.com.ph/study/2015/05/06/bunga-arts-link-igal-dancing-for-different-cultures/#:~:text=Also%20known%20as%20the%20dance,such%20as%20Malaysia%20and%20Cambodia.

3. https://www.dancepinoy.com/2009/04/daling-daling.html

# data[].attributes.attachment_caption
Salutations. My name is Nor Afif. I hope you enjoy this Padlet on the traditional dances of 5 Malaysian Ethnicities. Have an awesome day 😁

# data[].attributes.body
In this Portfolio we'll be exploring the traditional dances of five unique Malaysian ethnics. You might be surprised by how incredible they are. Enjoy the read😁