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-  Murut are an indigenous ethnic group living in northern island regions of Borneo.
-  Murut people are one of the groups that have the highest population in the northern island of Borneo.
-  They speak Murut language which is a Austronesian language.
-  Many of them converted to Christianity and also Islam.

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Murut, least numerous of the indigenous ethnic groups of Indonesian Borneo, living mostly in the hilly southwestern uplands of northeastern Malaysia and speaking a distinctive Austronesian language also called Murut. Of Proto-Malay stock, their prehistoric ancestors migrated from Asia. The Murut were historically headhunters living in longhouse settlements on hilltops for defense; they were gradually displaced into the interior by immigrant settlers. The Murut Rebellion in 1915 was a protest against British colonial indifference. After the large influx of Japanese in 1921-31, the Murut lost many members to a form of malaria against which they had no resistance. They numbered about 34,300 in 1980. Practicing slash-and-burn agriculture, they cultivate dry rice, corn (maize), and sweet potatoes. The nuclear family is the main kin group. Many Murut have entered the labour market to raise the traditional dowry for their daughters. Their traditional religion includes some elements of totemism.

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Murut, least numerous of the indigenous ethnic groups of Indonesian Borneo, living mostly in the hilly southwestern uplands of northeastern Malaysia and speaking a distinctive Austronesian language also called Murut. Of Proto-Malay stock, their prehistoric ancestors migrated from Asia. The Murut

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Magunatip dance is also known as the Bamboo dance. The Magunatip dance is a traditional dance performed by community of Murut tribe. This dance involves performers stepping into and jumping out of two or four fast clapping bamboo poles.  A war dance battle is prior formed by the male dancers. The music tempo and the clapping speed of bamboo will become faster and faster. The dance would also be accompanied by the sound of gongs. As the Murut people are animistic, the clapping of bamboos and sound of gongs will keep the spirits away, they believed. This is why Magunatip becomes a healing dance for them.

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Magunatip, more well-known as "Bamboo Dance", is considered as one of the most popular traditional dances in Sabah. The name "Magunatip" is derived from the word "apit", which means "to press between two surfaces." In the dance, dancers need good timing and agility to put their feet between the clapping bamboo poles, without being trapped.

To create more fun, the music tempo and the clapping speed of the bamboo will become faster and faster and FASTER (so is the your heart beating), so the audiences will be super-impressed by the exciting ending. In the past, Magunatip was a warrior dance to welcome the return of Murut headhunters. Today bamboo dance is commonly performed in cultural functions and celebrations for entertainment and socializing purposes.

Based on what I have seen in the past, there are two primary types of bamboo poles arrangement for Magunatip, namely, parallel and cross styles (tell me if you know the exact term). You can see the Bamboo Dance video clips in these pages:
1) Bamboo Dance (Cross Style): Taken in Pesta Kaamatan 2006 *new
2) Magunatip by kids: Performed by cute little school kids from SK Sembulan and SRK Stella Manis. Their presentation got overwhelming good responses from the local press and community.
3) Bamboo Dance Tutorial: Beginner level. Great guide for overseas students who want to organise a cool performance in Cultural Night of their colleges.
4) Advanced Magunatip: By professional dancers from Monsopiad Village. Only try it if you want broken bones.
5) Crazy Bamboo Dance: The speed is so EXTREME that you worry about the dancer.
6) Bamboo Dance (Parallel Style): Taken in Pesta Kaamatan 2005
7) Bamboo Dance - Ultimate Level: Do bamboo dance blindfolded!!!

The dance looks so easy and graceful, doesn't it?

Usually the dancers are pleased to invite the audience to try. But when we do it, it ends up like below:

Everyone dances like a jumping chicken, most end up either their feet or shoes caught by the bamboo. You can laugh laugh at the side, but when you really try it yourself, you will know it requires a lot of practice. Click Here to see the video of what happens if you make the wrong move. Can be painful...

Other ethnic groups such as Dusun Tambunan and Kwijau Dusun also got bamboo dance. Below is the bamboo dance picture of Rungus people from Kudat.

Hope you find that bamboo dance is fun. If you manage to organise a Magunatip performance by using the information here, please post the link here to your photos online (if any).

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Magunatip the Murut headhunter dance | MySabah.com

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Magunatip, more well-known as "Bamboo Dance", is considered as one of the most popular traditional dances in Sabah. The name "Magunatip" is derived from the word "apit", which means "to press between two surfaces." In the dance, dancers need good timing and agility to put their feet between the clapping bamboo poles, without being trapped.

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-  Sikh people is group of people who follows the Sikhism in Malaysia. Sikhism is a religion.
-  Sikh community in Malaysia is one of the largest in Southeast Asia.
-  Perak has the largest amount of Sikh temple or Gurdwara.
-  Sikh community are mostly found in Perak.

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There are over 100 Malaysian Sikh temples, or Gurdwara Sahib, with around 40 in Perak state alone where a large proportion of the Sikh population resides.

Approximately 100,000 Sikhs live in Malaysia. Many Sikhs were brought over to Malaya from India during the British colonial period to serve as policemen, soldiers and security guards.

Subsequent generations have prospered and thanks to an emphasis on education, strong family bonds and communal support, Sikhs are now found in all walks of life and in many senior professional positions throughout Malaysia.

Here's a selection of six out of the 100 plus Gurdwara Sahib:
1. Gurdwara Sahib, Johor Bahru
Sikhs settled in the state of Johor in the late nineteenth century, mostly employed in the Police force or as part of the Johor Sultan's company of guards.

The present site was gazetted as temple reserve land in 1921 upon which the Sikhs constructed their first Gurdwara.

This temple was not used during the Second World War as the Sikhs from Johor Bahru and Singapore were forced to flee to nearby towns.

In 1957 the second Gurdwara building was constructed at a cost of about RM45,000. This was a two storey concrete building.

By the 1980s, it became necessary to construct a new larger Gurdwara Sahib building to cater for the growing Sikh population. The present Gurdwara Sahib was opened in 1992.
2. Gurdwara Sahib, Kuala Pilah
This temple carries the date 1937 above its entrance. Like many other Sikh temples in Malaysia, it was set up mainly for the use of Sikh policemen and their families, of which there were some 19 recorded in Kuala Pilah during the 1930s.
3. Gurdwara Sahib, Kuching
This beautiful Sikh temple was opened in 1982. Sikhs were introduced into Kuching during the colonial era when most served in traditional occupations such as policemen, watchmen or prison wardens.
4. Gurdwara Sahib, Labuan
Sikhs have been living in Labuan since the 1860s. Many were originally employed in the coal mines and the police force.

Later generations have been successful in various fields and the extravagant appearance of the Gurdwara evidences the prosperity of the Sikh community in Labuan.
5. Gurdwara Sahib, Pusing
In Perak, the Sikhs mainly worked as tin mine security guards, general labourers and bullock cart drivers.

Judging by the prosperous appearance of this temple, the younger generation have moved on to better paying occupations.
6. Gurdwara Sahib, Rawang
This temple is located next to the railway station. Its address "Rawang Tin Fields" indicates what the economic activity in this area previously was.

The original temple was set up in 1938 but the current expanded and upgraded building dates from the 1970s.
This article first appeared in Malaysia Traveller.

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There are over 100 Malaysian Sikh temples, or Gurdwara Sahib, with around 40 in Perak state alone where a large proportion of the Sikh population resides. Approximately 100,000 Sikhs live in Malaysia. Many Sikhs were brought over to Malaya from India during the British colonial period to serve as policemen, soldiers and security guards.

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-  Kenyah. indigenous people of Sarawak and Indonesian Borneo, grouped together with Kayans under Bahau.
- Can be found living near river headwaters along the lower and upper reaches of the Baram.
- Communicate using Kenyah language.
-  Christian is the main religion of Kenyah people after practising animism that is called ‘Adat Pu’un’.

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Kenyah, indigenous people of Sarawak and Indonesian Borneo, grouped with the Kayan or under the general name Bahau. In the late 20th century the Kenyah were reported to number 23,000. They live near river headwaters, in close association with the Kayan, with whose culture they have much in common though the languages differ. Traditional Kenyah economy is based on the cultivation of dry rice in jungle clearings. The forest is cut and burned, and the rice is planted among the ashes. The village often consists of only one communal house up to 400 yards long, built on piles, with a row of family rooms at the back and a wide covered veranda that serves as a general working space and village street. Chieftainship is elective, though there is a strong bias in favour of a capable son of the old chief. They were headhunters traditionally.

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Kenyah, indigenous people of Sarawak and Indonesian Borneo, grouped with the Kayan or under the general name Bahau. In the late 20th century the Kenyah were reported to number 23,000. They live near river headwaters, in close association with the Kayan, with whose culture they have much in common

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-  The Semai ethnic group that belongs to Senoi group.
-  This ethnic group is found living Peninsula of Southest Asia. In the video it stated that in Cameron Highland district, there is no other ethnic groups except Semai people.
-  The language used to speak is Semai language.
-  Majority of them are Christians, still stick to their beliefs. Others are animists.

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Sewang dance is a traditional artistic performance performed by the Semai Tribe community. The dance is performed by males and females dancers. A male would be the leader in the middle of a big circle. The dancers will move while singing that are intertwining by the leader. The dancers hold two clasps of leaves and other leaves. Sewang dance is accompanied by traditional musical instrument. The musical instrument is called the Bamboo Cetong.

SOURCE :
"The Sewang Dance" written by JKKN Pemetaan Budaya.

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Sewang is believed to have existed since 100 years ago. Originally not a dance but a healing ceremony to heal the sick as practiced by the Orang Asli community. Now Sewang has been adapted as a dance performance, normally performed at custom ceremonies of the Orang Asli themselves and also at other celebration events.This arts form combines the elements of music, song and dance. The dance tells of appeasing the ancestors' spirits and also linked to the opening up of an area to be made into an agricultural area. This dance is accompanied by the 'centong' musical instrument made of bamboo and wood. In this performance with ritual essence the dancers hold two clasps of leaves as props and other leaves as well as wild flowers as decoration. The dancers move in a big circle while singing that are intertwined by the singing of a soloist in the middle of the circle.

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Sewang is believed to have existed since 100 years ago. Originally not a dance but a healing ceremony to heal the sick as practiced by the Orang Asli community. Now Sewang has been adapted as a dance performance, normally performed at custom ceremonies of the Orang Asli themselves and also at other celebration events.This arts form combines the elements of music, song and dance.

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1) Celebrating the harvest festival called the Nengulang Celebration.

2) Spiritual beliefs such as opening the taboo of death.

3) Gatherings such as weddings and receptions.

4) Medical purposes to treat diseases and remove toxins from pesticides or infected 'spirit'

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Live Performance of Malaysian Tribal Dance

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Live Performance of Malaysian Tribal Dance

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Source :
Manaweblife from YouTube.

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Malaysian Tribal Dance, Sewang, On Stage !

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News Articles : Learning about Orang Asli culture.

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News Articles : Learning about Orang Asli culture.

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The highlights of the article :
-  Director of the PWBM programme said that the concern and definition of love must be for everyone including underprivileged families such as Orang Asli.
-  The reason for the programme is to spread awareness to the public about Orang Asli.
- Orang Asli community is something we should be proud of.

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T HOSE who want to find out more about the daily life of the indigenous people in the Raub district can visit the Orang Asli Women Love Day 2006 that is on until Tuesday at Berjaya Times Square in Kuala Lumpur.

Organised by Persatuan Wanita Berilmu Malaysia (PWBM) and The Thingz, the event will feature the social and cultural aspects of orang asli who live in 26 settlements in Batu Talam, Dong, Gali, Sega, Hulu Dong, Semantan Hulu and Teras.

Visitors can see photographs of the people from the settlements and enquire about the community at the booths to be set up in front of Borders at Level 1, East Wing, of the shopping mall.

Orang asli handicraft made by the community will also be on sale.

The highlight will be a traditional sewang dance performance by a group of 15 orang asli dancers from the Satak settlement on Feb 11 from 12.30pm to 1.30pm.

PWBM programme director Susan Loo said the definition of love should not be confined to lovers but expanded to the care and concern for families and underprivileged people like the orang asli.

"There is not much exposure on the orang asli culture. The objective is to share with our community the expression of love from the orang asli and to raise public awareness on the community," she said during a recent interview.

She said it would be interesting for the group of orang asli dancers to come to Kuala Lumpur.

"Their visit will help promote the orang asli culture which we need to respect and feel proud of," she said.

Loo said PWBM had undertaken the Healthy Orang Asli Community Through Smart Partnership programme in which the association had five strategies like building healthy policies, forming partnerships with the private sector and government agencies and developing the orang asli's skills to tackle orang asli issues.

"Our funds come from stakeholders who support us in terms of resources. For example, the Finnish Embassy provides solar electrification for the orang asli settlement in Raub, so there is no cash in our hands and we just focus on providing informal education in the settlement," she said.

According to PWBM's statistics, 3,264 orang asli are living mostly in the interior, mostly on the outskirts of the Raub town centre.

PWBM was set up in 2004 by a group of professional women to help women who have missed out on education opportunities during their childhood while The Thingz is a newly-established company which provides advice on collective interior design.

For more information, call Justin at 012-345 0100.

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Those who want to find out more about the daily life of the indigenous people in the Raub district can visit the Orang Asli Women Love Day 2006 that is on until Tuesday at Berjaya Times Square in Kuala Lumpur.

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Source :
Lesley Jerry from YouTube.

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Indigenous tribes - Orang Asli Sewang Dance

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Highlights from the journal article :
-  The empowerment of Orang Asli women can be seen from the facets of the expertise they already have that can be developed into tourism goods. It can also help to

improve their source of income.
-  Sewang dance is the cultural heritage of Orang Asli.
-  Sewang dance is performed during all the events they have.
-  Orang Asli women can promote and invite tourists.
-  It can also performed to preserve the cultural heritage.

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Ban, C. H. (2006, February 8). Learning about orang asli culture. The Star Online. Retrieved from https://www.thestar.com.my/news/community/2006/02/09/learning-about-orang-asli-culture

Chan, C. S. C., & Saidon, Z. L. (2017). Advocating Contemporary Traditional Indigenous Semai Music through an Exploration of Youth Interest. International Journal of Academic Research in Business and Social Sciences, 7(7), 440–446. Retrieved from https://doi.org/10.6007/ijarbss/v7-i7/3114

Indigenous tribes - Orang Asli Sewang Dance. (2010, November 13). [Video]. YouTube.  Retrieved from https://www.youtube.com/watch?v=SDjY4tASZfE

Jabataan Kebudayaan & Kesenian Negara (n.d).   Pemetaan Budaya | THE SEWANG DANCE. Retrieved from https://pemetaanbudaya.my/en/culture/dis/80

Loke, E. (2012, March 2). Loads of fun and entertaiment at orang asli’s harvest festival. The Star Online. Retrieved from https://www.thestar.com.my/news/community/2012/03/03/loads-of-fun-and-entertaiment-at-orang-aslis-harvest-festival

Malaysian Tribal Dance, Sewang, On Stage ! (2018, August 16). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=C4xMC4oWFq0

Tarian Sewang JKKN WPKL (PST JKKN 2016). (2017, February 9). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=sCXNtZcE11E&feature=youtu.be

The Semai People. (2019, June 9). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=_DRaCOUSDnM

Yahaya, F. H., & Yahaya, L. S. (2014). The Empowerment of Orang Asli Women in the Tourism Industry in Lenggong, Perak. SHS Web of Conferences, 12, 01072. Retrieved from https://doi.org/10.1051/shsconf/20141201072

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Bhangra dance is a lively folk dance of the Sikh community. In a typical performance, several dancers executed vigorous kicks, leaps, and bends of the body to the accompaniment of short songs called boliyan and, most significantly, to the beat of a dhol (double-headed drum). Boliyan is short set lyrics to describe stories of Punjab. Now, Bhangra dance blends from Western music to make it more interesting. The dance was associated primarily with the spring harvest fesfival, Vaisakhi and it is from the major products of the harvest which called ‘bhang’.

SOURCE :
" History of Bhangra" by Learn Bhangra

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With such an immense amount of evolution in such a short amount of time, controversy has frequently sparked in the Bhangra circuit. There are some who believe the boundaries of the dance have been pushed too far and push for dancers to return the dance to its more traditional roots.

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1) Dance celebration during harvest festival called Vaisakhi.

2) Source of entertainment such as wedding and parties.

3) As it evolves, Bhangra dance has been the source of exercises.

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KL Street Jam - Bhangra Dance, Malaysia.

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Live Performance of Bhangra Dance during Deepavali.

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Live Performance of Bhangra Dance during Deepavali.

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Source :
Marcus Morgan from YouTube.

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Deepavali dancers (Malaysian Bhangra Group)

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News Articles : Jive to Traditional Beats

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News Articles : Jive to Traditional Beats

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Key points of the article :
- Aerobic exercises with fusion of traditional dances is a fun way to start exercising.
-  It will also help on strenghtening bond between families.
-  Bhangra dance that has been combined with aerobic exercises because Bhangra traditional dance blends well with exercises.
-  Traditional steps that require the usage of legs and hand movements are used.
-  Bhangra beat is a very fun to dance and it gives out positive hormones.
-  Bhangra dance can help trainers to sleep well at night.
- Doing BhangraJam has many benefits to people.

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Jive to traditional beats | New Straits Times

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Dancing a fusion of traditional dances and aerobic exercises is a fun way to start exercising writes Nadia Badarudin.

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-  Rungus people are a geoup of indigenous people residing in Kudat district.
-  They usually live in the north of Sabah.
-  The Rungus people are also known as Momogun.
-  Their primary language is Rungus which is a category belongs to the ‘Dusunic’
- Traditionally Rungus people were animists but now most of them are Christians.

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ETHNONYMS: Rungus, Rungus Momogun

Orientation

Identification and Location. The Rungus are a people of northern Borneo who live in the Kudat Division of Sabah, Malaysia. The Rungus identify themselves, their customs, and their dialect group (isoglot) by the autonym Rungus. A number of other self-ascribed Dusunic-speaking ethnic groups live in the Kudat Division, including the Nulu' and the Gonsomon, both of which sometimes are mistakenly identified as Rungus.

Demography. In 1960, the population was estimated to be ten thousand. The population was estimated to be twenty-five thousand in 1990.

Linguistic Affiliation. The Rungus dialect is a member of the Dusunic language family.

History and Cultural Relations

The peoples of Borneo were influenced by the Chinese either directly or by trade through intermediaries. Antique Chinese ceramics are common. Contact with southern Indians is manifested in some linguistic cognates with Sanskrit, the most important being divato', the spirit familiar of the Rungus priestesses. In the sixteenth century Muslim traders spread Islam along the coast of Borneo. Before the arrival of the British in 1881 the Rungus were under the economic influence of the Sultanate of Brunei and the leaders of various coastal Muslim groups, including the Brunei Malay residing along the Kudat coast. These groups occasionally gave honorific titles to Rungus leaders, validating their position in the political hierarchy, and adjudicated disputes that could not be resolved at the local level. Slave raids and plundering by southern Philippine peoples were feared, but headhunting by Dusunic groups in the Kudat area ceased before to the arrival of the British, probably as a result of the influence of the coastal Muslims.

The Chinese were brought in by the British to work on tobacco plantations near the Rungus area. After the demise of those plantations in the early 1900s, the Chinese assumed a variety of agricultural pursuits, including the planting of rice, rubber, and coconuts. Chinese and Sino-Dusun established shops at key points on the edges of Rungus territory. As a result of Chinese plantation interests, sections of traditional Rungus lands became Chinese-controlled. European missionaries entered Sabah after the British; and by the mid-1950s a Basel Mission began to focus on the Dusunic peoples of the Kudat Peninsula. The British administration and the missionaries affected the socioeconomic base of the Dusunic peoples by introducing cash crops. They encouraged the Dusunic peoples to abandon their indigenous settlement pattern of longhouses and establish a pattern of dispersed residence of individual households on newly acquired plots of land. The government ignored the traditional system of land tenure, forcing individuals to obtain government title to those lands.

Settlements

Villages consist of one or more longhouses scattered in hamlets along rivers and streams. A village controlled an area that encompassed a drainage system of one of the small streams and rivers that flow east or west from the spine of the Kudat Peninsula.

Economy

Subsistence. Traditional subsistence was based on the cultivation by domestic families of dry rice, maize, cassava, vegetables, melons, pineapples, taro, and sweet potato. Bananas, papaya, langsat, nangka, mango, and citrus fruits were obtained from planted and cultivated fruit tree groves. Domestic families raised pigs, chickens, and occasionally a water buffalo (kerabau). Pigs and chickens were used for sacrifices and then eaten. Additional protein and fat were obtained by fishing, hunting, and some forest collecting. Fishing was done with throw nets, fish traps, fish scoops, poles, and poisoning. The hunting of wild pigs(tembadau), barking deer, and sambar deer was done with spears and dogs. Spear traps and spring pole traps also were used to capture larger animals. Smaller traps were used to catch monkeys, tree shrews, and squirrels. With the exception of tree shrews, these mammals were eaten, along with mice, snakes, and occasionally gibbons. Forest collecting included nuts, fern tips, the roots of wild yam, the pith of the palms, berries, and birds, which were captured by liming. Fish was obtained by trading swidden produce and fruits in exchange for the catch of the coastal Muslims at weekly markets.

Industrial Arts. Basketry containers traditionally were made by Rungus men. One or two men in each village knew how to use the Malayan forge and made knives and other cutting implements. Women raised cotton, dyed it, and, using a belt loom, wove skirts with several different designs and a variety of clothing with ritually significant patterns, including male jackets, female blouses, and male trousers. Women who were skilled in this weaving achieved a higher ritual status, and weaving skills were closely associated with the role of the priestess and the spirit medium.

Trade. Weekly markets were held at the high point of navigation along the rivers. In those markets the coastal Muslims exchanged fish and items of local manufacture such as head cloths for the agricultural products of the Rungus. Iron for the manufacture of tools was purchased from Chinese shops. Surplus rice was exchanged for gongs, brassware, and jars. Sailing trips to Brunei on coastal Muslim boats to trade rice for gongs and brassware are still recounted.

Division of Labor. Although sex roles are not identical, they are equivalent and behaviorally and ideologically are of equal importance for societal functioning. Male and female roles are thus interlinked and form a whole. It is difficult for an adult man or woman to operate a household without a spouse. Conflict between the sexes is minimal. Husband and wife are expected to mitimbang ("balance each other"). The symmetry and balance of roles also are symbolized in the fact that only one term is used to refer to both husband and wife, savo'.

Men clear and burn the swiddens, and women help clear debris before planting. Both men and women plant, weed, and harvest the swiddens. Men care for and raise dogs and water buffalo; women care for pigs and chickens. In hunting and gathering, men hunt large game with spears, catch fish with traps and nets, and gather honey and orchard fruits. Women gather snails and shellfish, fish with scoops for small fish and prawns, and collect wild roots, nuts, berries, and vegetables.

The domestic activities of men include collecting firewood and making knives, rope, fish traps, and carrying baskets. Women husk the family's rice supplies, carry water, and do weaving, dying, and sewing; they also make rice winnowing baskets and a variety of baskets for general household use. Men market agricultural surpluses and bargain for brassware and gongs. Women sell the valuable ceremonial clothes they weave; a woman who is a spirit medium receives payments for curing illness and righting ritual imbalance. Women are in charge of the ritual aspects of birth and play the primary role in child rearing and nurturing. Men act as midwives and play a secondary role in child rearing and nurturing.

In the ritual sphere ceremonies for the swiddens and for property are the domain of men, while women communicate with the spirit world through their spirit familiars and perform ceremonies for health, to relieve illness in the family, and for the fertility of the village. The political activities of men include participation in the village moot, in which women give advice to their husbands. Headmen are always male.

Land Tenure. Each village traditionally held rights as a corporate jural entity over its territory, the "village reserve." Only members of the village could cut their swiddens in this reserve each year. Individual families held temporary rights over the area of forest they cut for a swidden until the last crops were removed. This system has been termed "circulating usufruct." Rights to fruit trees, however, if not previously divided among the planter's children, could be claimed from both parents. Those rights were not held by a social group, and the descendants never interacted, as the rites were held in severalty.

Kinship

Kin Groups and Descent. Rungus society traditionally was cognatic of the bilateral type, as there were no cognatic descent groups. The kindred was not present. The establishment of a kin tie was not necessary for longhouse or village membership.

Kinship Terminology. Cousin kinship terminology is of the Eskimo type, although in certain situations the Hawaiian type may be used to indicate social solidarity. The terminology for the parents' siblings is lineal.

Marriage and the Family

Marriage. Traditionally, when a son wished to marry, a substantial bride-price was provided for him from the accumulated assets of his domestic family. The bride-price items were held corporately by the bride's family and were used to provide bride-prices for its sons. The bride-price, as well as the other institutions that lead to marriage and the foundation of a new family, is justified by the major value premise that all sexual relations are potentially deleterious for the participants, the rest of society, the domestic animals, the crops, and the countryside unless they occur within a marriage. The amount of the bride-price was determined through extended negotiations and was based on the wealth of the groom's family, the wealth of the bride's family, the beauty and skills of the bride, the desire of the groom's family to consummate the marriage, and how eager the bride's family was for the marriage. Marriage is generally monogamous. Residence after marriage is uxorilocal, with the couple living in the wife's family's longhouse and village. Polygamous marriages involving two wives or, rarely, three occur in cases of wealthy men and when there is an adulterous relationship with the wife's unmarried sister. In cases of polygamous marriages separate longhouse apartments for each wife are preferred.

Domestic Unit. Until the next agricultural season, the newly married pair lives with the bride's family. They then found a new domestic family by building a separate family apartment, ideally attached to the longhouse where the bride's family resides. The family most frequently consists of a husband and his wifethe two foundersand their children. The parents or a widowed parent of one of the founders may join the family once the youngest child is married. The family was the only producing, consuming, and assetaccumulating social unit in Rungus society. It was thus the most important corporate entity in the economic, jural, and ritual realms. Surpluses from the domestic family's swiddens and its livestock production were converted into brassware, gongs, ceramic ware, and female ornaments, including ritual clothing, old beads, earrings, and brass wire coiled around the legs, arms, waist, and sometimes necks of young girls and women. The corporate nature of the family was symbolized in the religious system. A number of sacrifices were made to cure illness in the family or to create an enhanced ritual state between the family and members of the spirit world who are responsible for protecting the family from illness and harm and promoting fertility in the swiddens and fecundity among the family's domestic animals.

Inheritance. Men and women traditionally inherited from both sides of the family, although some items were passed down from mother to daughter and from father to son.

Socialization. Children are highly valued, and socialization is permissive and supportive. Men traditionally were closely involved in the process. Learning was by imitation. There were no formal procedures for socialization.

Sociopolitical Organization

Social Organization. Historically, the major social units were the family, the longhouse, and the village. The longhouse came into existence through the lateral accretion of individual family apartments. No section of the longhouse was jointly made and collectively owned by the constituent members.

This was in essence a condominium. The members of a longhouse were not involved in any joint economic activities. They did take collective, but not corporate, action to protect themselves against pathogenic spirits (rogon). The longhouse was not considered a structural isolate (a ritual entity) in most activities in the ritual realm. It also was not considered a jural isolate in seeking restitution after a ritual delict was committed against its members. The village was the fundamental political unit of Rungus society, but it was not jurally a kin grouping. The village was considered to be both jurally and ritually corporate. However, unlike the family, the village was not an operating social entity. It did not have the capacity to enter into economic relations or accumulate assets, with the exception of the goodwill of the gods. Through jointly organized sacrifices by its members the village could increase the state of ritual goodwill between it, as a corporate entity, and the gods to improve the fertility of its reserve, plants, animals, and inhabitants.

The number of inhabitants of a village varied from forty to four hundred people.

Political Organization. The largest political unit historically was the village, and the village headman was the highest political leader. From time to time an important leader arose and served as a focus for intervillage relations and the resolution of disputes. This role was not inherited. Unresolved disputes were taken to leaders in coastal Muslim villages for resolution. Important coastal Muslim leaders were offered gifts of rice and produce by Rungus individuals to ensure their interest and obtain good luck from them.

Social Control. Disputes were resolved at the village moot, consisting of the male elders. Fines were levied in the form of property, which was paid to the injured party. The amity of kin was another source of social control. One of the most important sources was the role that supernatural beings played in controlling behavior. Gods, spirits, and demigods of the social and physical environment were potentially dangerous. If their rules and social order were transgressed, they became angry and caused illness and death. In the past the guilty party sometimes was determined though trial by ordeal.

Conflict. Conflicts arose over petty theft, intrusion into a family's fields, harvest theft, inappropriate behavior toward women, and especially inappropriate behavior toward another person's spouse. Incest was rare and was punished by the death of the perpetrator.

Religion and Expressive Culture

Religious Beliefs. Celestial gods (osunduw) provided help to humankind through the work of the spirit medium/priestess, the bobolizan. These gods stood in contrast to rogon, who were the embodiment of the social and physical environment and could be harmful to humans. Rogon were found in aspects of the landscape that had distinctive features: a landslide, a large group of boulders, a grove of trees with a spring or wet place, or a banyan tree. They were the most salient osunduw in everyday discourse because they were the most dangerous to human beings. They were capricious and irascible and caused afflictions if they were not properly treated or if their living space was intruded upon. Rogon had families and engaged in the same activities as human beings. Invading the living space of a rogon, for example, by cutting a grove of trees in which a spirit dwelled, could anger the spirit, who would cause illness in the family of the perpetrator. Other rogon also could cause misfortune and infertility. These afflictions could be removed only through a sacrifice of pigs and chickens to reestablish the state of goodwill. In the past a human sacrifice to remove the afflictions of a whole village occurred occasionally.

Wandering rogon brought epidemic diseases. In addition to these spirits and the rogon who personified the natural world, there were rogon called rusod who mirrored the social organization of the household. After the birth of a child, the child's rusod came into being. These spirits lived in the longhouse apartment along with the family. The rusod were the guardians of the proper cultural order in the household and the protectors of the household members. The rusod could be offended by violating any of the rules that governed the household order. The rusod thus not only would cease to protect members of the family, allowing other rogon to make a household member ill, but also would cause a member to become ill until they were propitiated by ceremonies and sacrifices. Rice spirits (odu-odu) mirrored the social order of the family, reflected its social and jural substantiation, and provided good harvests if they were treated well and sacrificed to. There were celestial counterparts of the individual spirits that lived in the lower level of the upper world who provided protection when an individual was in danger. An individual had three to seven souls. There is one main soul of the body and other souls that reside in the joints. Souls are prone to wondering during a dream and can be captured by rogon, causing illness.

Religious Practitioners. Female spirit mediums/priestesses traditionally provided explanations for illness and determined which spirits needed propitiation. The full explanation of the nature of the rusod counterpart could be obtained only from the bobolizan in whose hands lay the placation of the rusod and their care and feeding. In the trance performances of the bobolizan and the ritual texts she sang over sacrifices, the rusod was defined and described. The celestial counterparts of living or deceased individuals could become spirit familiars of a practicing bobolizan, especially in the case of efficacious bobolizan or individuals of renown.

The term luma'ag refers to any spirit familiar, god, rogon, or celestial counterpart that communicates with a spirit medium. This term also was used frequently to refer to the celestial counterpart of a living individual, male or female. However, only bobolizan obtained replies from their celestial counterpart when they were called upon in a trance. It was through the help of luma'ag that a bobolizan in a trance diagnosed illnesses and obtained information on the proper sacrifice to achieve cures, which involved the performance of hymns to the gods and spirits over sacrifices of pigs and chickens. The primary luma'ag of a bobolizan was usually her own celestial counterpart, although sometimes it could be that of her mother or teacher. Males performed the agricultural ceremonies that ensured a good harvest, and these rituals involved the sacrifice of chickens to the rice spirits and the rogon who represented agricultural pests.

Ceremonies. Traditional ceremonies involved sacrifices of pigs and chickens at marriage to dispel any ritual heat of the union. Ceremonies involving sacrifices were held to cure illness and to renew the fecundity of the household and the village. These ceremonies were managed by the bobolizan, who indicated the recipient of the sacrifices and the number of pigs and/or chickens to be given. These bobolizan recited and sung ritual texts consisting of couplets.

Arts. The primary art form was in the use of the language and texts accompanying ceremonies.

Medicine. Skilled males traditionally assisted in births. Knowledge of medicines made from forest plants was used by both males and females.

Death and Afterlife. Traditionally a corpse was buried with no secondary treatment. The souls of the dead tended to remain near the household and village longing for their kin until the final ceremony. A series of ceremonies involving pig sacrifice were held to dispel the malevolence of the souls of recently dead, who try to get the souls of loved ones to follow them, and to remove the restrictions on the behavior of the surviving spouse. When enough supplies had been accumulated, a final ceremony was held a year or two after death to send the main soul of the body to Mount Kinabalu, where it dwelled with other souls in a mirror image of the Rungus world, but with fewer cares and troubles. The souls of the joints visited the living world but dwelled near Mount Kinabalu.

For other cultures in Malaysia, see List of Cultures by Country in Volume 10 and under specific culture names in Volume 5, East and Southeast Asia.

Bibliography

Appell, G. N. (1966). "Residence and Ties of Kinship in a Cognatic Society: The Rungus Dusun of Sabah, Malaysia," Southwestern Journal of Anthropology 22: 280-301.

(1988). "Emergent Structuralism: The Design of an Inquiry System to Delineate the Production and Reduction of Social Forms." In Choice and Morality in Anthropological Perspective: Essays in Honor of Professor Derek Freeman, edited by G. N. Appell and T. N. Madan. 43-60. Buffalo: State University of New York Press.

(1997). "The History of Research on Traditional Land Tenure and Tree Ownership in Borneo," Borneo Research Bulletin 28: 82-98.

, and Laura W. R. Appell (1993). "To Converse with the Gods: The Rungus BobolizanSpirit Medium and Priestess." In The Seen and the Unseen: Shamanism, Mediumship and Possession in Borneo, edited by Robert Winzeler. Borneo Research Council Monograph Series, Volume 2: 3-53. Williamsburg: Borneo Research Council.

Appell, Laura W. R. (1991). "Sex Role Symmetry among the Rungus of Sabah." In Female and Male in Borneo: Contributions and Challenges to Gender Studies, edited by Vinson H. Sutlive, Jr. Borneo Research Council Monograph Series, Volume 1: 1-56. Williamsburg: Borneo Research Council.

Staal, Reverend Father J. (1926). "The Dusun Language," Anthropos 21: 938-951.

GEORGE N. APPELL

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Encyclopedia of World Cultures Supplement

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Rungus Dusun
ETHNONYMS: Rungus, Rungus Momogun Source for information on Rungus Dusun: Encyclopedia of World Cultures Supplement dictionary.

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Mongigol Sumandai Dance is a dance of the Rungus community in Kudat and Pitas. It is actually two separate dances which are Monggigol, performed by male dancers and Sumundai by female dancers. Moving only their wrists and the steps are slow and gentle. The dance is also accompanied by the beating of gongs, which have long been an important part of Rungus culture. Other than that, Musical instruments used are sandangau, somponukul, soludon, pompo, tontog and tawag-tawag. Rungus people were animists and this dance is performed to express gratitude to to the spirit for the blessing of their paddy fields.

SOURCE :
Monggigol Sumundai by JKKN Pemetaan Budaya

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Mongigol Sumandai Dance is a dance of the Rungus community in Kudat and Pitas. Mongigol Dance is performed by male dancers while Sumandai Dance is performed by female dancers. These traditional dances are performed simultaneously during events, in which the dancers danced as couples. These dances are performed to express gratitude to bambarayon who has preserved the paddy spirit every year, to prevent misfortunes, at feasts and when moving to a new longhouse. Musical instruments used are sandangau, somponukul, soludon, pompo, tontog and tawag-tawag.

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Mongigol Sumandai Dance is a dance of the Rungus community in Kudat and Pitas. Mongigol Dance is performed by male dancers while Sumandai Dance is performed by female dancers. These traditional dances are performed simultaneously during events, in which the dancers danced as couples.

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1) Express gratitude to Bambarayon who has preserved the paddy spirit.

2) Celebrate occasions such as Kaamatan.

3) Source of entertainment for guests.

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1) In the past, it is performed to welcome the return of Murut headhunters.

2) Healing rituals because they believed that loud noises could ward off evil spirits.

3) Now, Magunatip takes place during special events and ceremonies such as weddings.

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Source :
Haikal Anuar from YouTube.

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Tandak Mengalai ASWARA - Anggalang Mangunatip

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Highlights of the article :
- The event, Kidzathon is to show Malaysia’s diverse culture with young runners and families.

- Magunatip dance was performed and the children were encouraged to join with guidance. This would not just show them what the dance looks like, but they would gain experience too.

- The event gives exposure to people with the performances.

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Source :
RadioRungus from YouTube.

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Tarian Tradisi Rungus - Mongigol & Sumundai

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The Datun Julud is also known as hornbill dance. The dance is performed female dancers. The dancers wear head dress of hornbill feathers. The women hold feather fans which they move gracefully. There are times that the dance are formed one dancer at a time. When one finishes her dance, another woman will take place. Sometimes a male dancer dressed as a warrior to depict the returning of warrior. The dance is accompanied by the music from the sape.

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The Datun Julud or hornbill dance is an Orang Ulu traditional women's dance that is popular among the Kenyah tribe of Sarawak. It was once performed during communal celebrations such as the one to greet returning warriors of a headhunting raid, or during the annual celebration that marks the end of a rice harvest season.

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1.  Traditionally performed to greet returning warriors.

2.  Performed to mark the end of rice harvest season.

3. Datun Julud takes place during celebrations and entertainment.

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Tarian Panjang / Datun Julud / Hivan Joh

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Source :
Avett Daybad from YouTube.

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Highlights of the article :
-  A group of people were formed to  maintain the Kenyah dance.
-  Lode Kulong, the branch chairman felt the need for the group to exhibit the traditions and culture.
-  Every performance the group will perform three dances which are Kancet Lasan, Datun Julud and Liling.
- These dances are performed to educate the youth and for them to experience.

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Keeping Kenyah culture intact _ The Star

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NEWS ARTICLE : Teo Pledges Preservation of Rungus Culture

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NEWS ARTICLE : Teo Pledges Preservation of Rungus Culture

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The highlights of the Article :
-  Datuk Teo Chee Keong promised to preserve the culture amd language of Rungus.
-  Teo wished the Rungus community to also treasure their own culture to attract tourists.
-  There cultural wealth that can help on the economy.
-  Contests on traditional sports and activities were held.
- Harvest festival to maintain the culture of Rungus so it would not be forgotten.

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KOTA KINABALU: Tanjung Kapor assemblyman Datuk Teo Chee Kang has pledged to do all he can for the preservation of the Rungus culture and language.

This is because the Rungus culture and language are attractions on their own right, especially for foreign visitors to Sabah, he said.

Teo when officiating the Tanjung Kapor Pesta Kaamatan recently also urged the Rungus community to treasure and preserve their rich cultural heritage which is a strong attraction to foreign as well as domestic tourists.

"The Rungus are skillful and delicate people who make top quality handicrafts. If well capitalised, their cultural wealth can be translated into economic benefit," he said.

The Tanjung Kapor assemblyman's office has organised the Harvest Festival celebration for three consecutive years since 2010.

Held at Kampung Labuan Sama, it attracted about 1,000 people from all Rungus villages in Kudat.

As in other harvest festival celebrations, the highlight was the Unduk Ngadau pageant, and this year, Natasha Mosli from Kampung Andap Bangau beat nine other contestants and was crowned the constituency's harvest queen.

The first and second runners-up were Recca Mirro Chung from Kampung Masangkung and Florina Jamal from Kampung Merbau respectively.

All the winners took home cash prizes and trophies. Other traditional sports and activities were held on that day including the traditional Rungus dance (mengigol and sumundai) competition which was won by Kampung Tombirog.

The team from Kampung Suangpai and Kampung Sri Nangka Mulai 1 were won second and third places respectively.

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Teo pledges preservation of Rungus culture - Borneo Post Online

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KOTA KINABALU: Tanjung Kapor assemblyman Datuk Teo Chee Kang has pledged to do all he can for the preservation of the Rungus culture and language. This is because the Rungus culture and language are attractions on their own right, especially for foreign visitors to Sabah, he said.

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Malaysian Bhangra Group (MBG) performing for Pakistan Expo (PEXPO)

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Malaysian Bhangra Group (MBG) performing for Pakistan Expo (PEXPO)

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Source :
Sunil Chuah from YouTube.

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Malaysian Bhangra Group (MBG) performing for PEXPO

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Article : Bhangra, More Than Just a Dance.

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Article : Bhangra, More Than Just a Dance.

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Key points from the article :
-  Bhangra has grown over the years, not only in form, but also in

the way it has reached out to diverse cultures and brought people together.
-  It acts as a stress buster said by one of the dancers.
- Bhangra dance can bring different communities together.

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By RedDot Bhangra | SINGAPORE

From its start in the late 1940's as a traditional dance form to celebrate the harvests of spring, bhangra has evolved over the years, not just in style, but also in the way it has reached out to different communities, and brought people together.

While traditional bhangra is still performed to live instruments such as the dhol, modern bhangra today tends to favour a blend of internationally-influenced music. The 1990's saw a rise in bhangra competitions, mostly in North America, followed by the UK then Australia, with the scene in Southeast Asia picking up soon after.

A typical competition routine comprises of a team of eight to sixteen members, and they will be judged on their team's creativity, style and synchronisation, as well as energy and enthusiasm. Teams practice for months before each competition but as Gurminder Jandu, who dances with Ranjhe in Sydney, Australia, says, it's all worth it.

"The most fulfilling thing about bhangra is the eight minutes that you have on stage with your team. After six to seven months and numerous hours of learning the choreography, making formations, fixing little mistakes and doing run-through after run-through, those eight minutes you have on stage is the best feeling. All that hard work that we put in is always worth it," he said.

While competitive dancing can be demanding and taxing, for some, like 25 year-old Jaswinder Singh Saini who is from Mumbai and dances with Bhangra Till Last Breath, it also works as a stress buster.

"I forget all my problems when I'm doing bhangra! The most fulfilling thing for me is when bhangra helps someone to achieve their dreams," he said.

Diana Zaharaa Binti Che Dawud Adli, a student from Malaysia, agrees.

"Bhangra has been taking me places! My team and I have participated in bhangra competitions in Malaysia, Australia, and later this month, we will be going to Singapore! I love how bhangra gives us the opportunity to meet new people who are similarly passionate in doing what they love," she said. Diana dances with Silver State Bhangra Crew in Ipoh, Malaysia.

While the first seeds of bhangra were planted in Punjab, India, this energetic dance form has gained popularity with people of all ages across all communities in recent years.

Singaporean dancer Toh Bao En, who is part of Shere Punjab, shares: "People often come up to me and ask, 'You're Chinese but you can dance bhangra too?'. I like to think that in some small way I am breaking down borders and helping build bridges between communities.

"In performances, and when we perform in home for the underprivileged, I love it when the audience starts smiling, clapping or even dancing along. Their happiness feeds the energy of my dancing."

On 23 June 2018, six teams, including those of the above dancers', will meet in Singapore for the RedDot Bhangra Competition 2018, treating the audience to a series of choreographed high-energy dance sets.
[This article is contributed by RedDot Bhangra, a volunteer-run group dedicated to providing a platform for youth to engage with their roots and heritage through the main dance form of Punjabi culture. The multi-racial group also aims to foster understanding and harmony among diverse groups in Singapore through sharing the joy of Bhangra]
Go here for more information on RedDot Bhangra Competition 2018
[ASIA SAMACHAR is an online newspaper for Sikhs in Southeast Asia and surrounding countries. We have a Facebook page, do give it a LIKE. Follow us on Twitter. Visit our website: www.asiasamachar.com]
Malaysian bhangra artist Mandev releases debut single 'Dil Tere' ( Asia Samachar, 19 Dec 2017)

Singapore week-long bhangra celebration kicks-off ( Asia Samachar, 22 July 2016)

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By RedDot Bhangra | SINGAPORE From its start in the late 1940's as a traditional dance form to celebrate the harvests of spring, bhangra has evolved over the years, not just in style, but also in the way it has reached out to different communities, and brought people together.

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Badarudin, N. (2018, October 9). Jive to traditional beats. NST Online. Retrieved from https://www.nst.com.my/lifestyle/heal/2018/10/419295/jive-traditional-beats

Deepavali dancers (Malaysian Bhangra Group). (2011, October 26). [Video]. YouTube.  Retrieved from https://www.youtube.com/watch?v=PsTA8FW73eY

History. (n.d.). Learn Bhangra. Retrieved from https://learnbhangra.com/history

Malaysian Bhangra Group (MBG) performing for PEXPO. (2016, March 3). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=NTmMUF6dGmk

S. (2019, June 25). Cultural dances of Malaysia. StarProperty. Retrieved from https://www.starproperty.my/news/home-living-and-lifestyle/cultural-dances-of-malaysia/112886

Samachar, A. (2018, June 4). Bhangra, More Than Just a Dance Form. Asia Samachar. Retrieved from https://asiasamachar.com/2018/06/04/bhangra-more-than-just-a-dance-form/

Traveller, M. (2019, December 26). 6 majestic Malaysian Gurdwaras. Free Malaysia Today. Retrieved from https://www.freemalaysiatoday.com/category/leisure/2019/12/27/6-majestic-malaysian-gurdwaras/

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Live Perfromance of Mongigol Sumundai during Pesta Kaamatan.

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Live Perfromance of Mongigol Sumundai during Pesta Kaamatan.

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Source :
Ady Sinty from YouTube.

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Mongigol Sumundai - Tarian Tradisi Rungus

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Choreographing Borneo: Dances of Sabah & Sarawak. (2019, June 7). Borneo Eco Tours | Blog. Retrieved from https://www.borneoecotours.com/blog/choreographing-borneo-dances-of-sabah-sarawak/

E. (2012, May 24). Teo pledges preservation of Rungus culture. Borneo Post Online. Retrieved from http://www.theborneopost.com/2012/05/25/teo-pledges-preservation-of-rungus-culture/

Jabataan Kebudayaan & Kesenian Negara (n.d). Pemetaan Budaya | Mongigol Sumundai. Retrieved from https://pemetaanbudaya.my/en/culture/dis/371

Mongigol Sumundai - Tarian Tradisi Rungus. (2019, June 16). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=d0CUc9FmJr4&t=244s

Sumundai Mongigol. (2013, August 28). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=3lGc9xY7x-Y

T. (2020, October 13). Get to know these Sabahan ethnic groups. TheHive.Asia. Retrieved from http://www.thehive.asia/2020/10/get-to-know-these-sabahan-ethnic-groups.html

Tarian Tradisi Rungus - Mongigol & Sumundai. (2010, October 31). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=JqVnBlLRcnI

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Source :
olombon from YouTube.

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Highlights of the article :
-  Magunatip is not just an age-old tradition but also has a role in healing rituals.
-  They had their own religious beliefs in the olden time. Magunatip can only be performed during ritual ceremonies and unable to perform on ordinary days.
- Ritual ceremonies have their own acts.

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M. (2018, November 19). Enriching children with cultural treats. MalayMail News Article. Retrieved from http://epaper.mmail.com.my/2018/11/20/enriching-children-with-cultural-treats/

Magunatip Dance. (2010, May 22). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=KQ0oYLnfGRc

MAGUNATIP - The Murut Warrior Dance. (2019, October 11). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=Ga-45jLzE4c

MySabah.com. (2015, May 6). Magunatip the Murut headhunter dance. Retrieved from https://www.mysabah.com/wordpress/murut-bamboo-dance-magunatip/

On, L. K., Magi, S., Hussin, S., Shafii, A. S. H., & Bakhir, N. M. (2018). The Healing Ritual Context of the Magunatip Dance of the Murut in Sabah, Malaysia. Advanced Science Letters, 24(7), 4798–4801. Retrieved from https://doi.org/10.1166/asl.2018.11203

Tandak Mengalai ASWARA - Anggalang Mangunatip. (2018, September 10). [Video]. YouTube.  Retrieved from https://www.youtube.com/watch?v=bEZObtsV0rk

The Editors of Encyclopaedia Britannica. (n.d.). Murut | people. Encyclopedia Britannica. Retrieved from https://www.britannica.com/topic/Murut

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Accompanied by the 'sape'.
Source :
Bosnan News from YouTube.

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Datun Julud Dance by Leto Kenyah. (2020, July 27). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=v_7HVvM2wAQ

M. (2012b, January 13). Datun Julud. The Star Online. Retrieved from https://www.thestar.com.my/travel/malaysia/2012/01/13/datun-julud/

Orang Ulu “Datun Julud” Dance. (2019, July 7). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=KiWUHSS4F_g

Story and photos PHILIP HII. (2010, August 20). Keeping Kenyah culture intact. The Star Online. Retrieved from https://www.thestar.com.my/news/community/2010/08/21/keeping-kenyah-culture-intact

Tarian Panjang / Datun Julud / Hivan Joh. (2016, October 30). [Video]. YouTube. Retrieved from https://www.youtube.com/watch?v=lBFj87WZ43Y

The Editors of Encyclopaedia Britannica. (n.d.-a). Kenyah | people. Encyclopedia Britannica. Retrieved from https://www.britannica.com/topic/Kenyah

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Malaysia is known for being a multiracial country. Malaysians hold differing cultural orientations, norms and values according to their ethnicity. While there is very little cultural homogeneity between the various ethnicity in Malaysia, their divergent values converge under the nation of Malaysia. This convergence can be considered as contributing to the unique face of Malaysian identity. I was required to create an ePortfolio by compiling materials on different Malaysian ethnic groups. I will be looking on various dances formed by different communities in Malaysia.