• The Rajang Be'uh or in English translates to "Eagle Dance" is usually performed after the harvest season as a form of entertainment for the guests of the longhouse.
• Rejang Be'uh in the Biatah dialect or Langiin Bukar-Sadung or tigal bitagi or sigar bouh in Bau-Jagoi is usually performed by two male dancers.

Their (the dancers) with outstretched hands imitate the movements of the eagles as they flap during flight. Starting from each end of the verandah, graceful movements towards each other and in various style and motion whilst following the steady and slow beats and rhythm of the gongs and drums. When meeting eye to eye, both swoop down in crisp and swift motion as if they are attacking each other in a fight. Whilst that, invisible poisonous snakes in insects came out from Madu Sawan's pockets and attacked Tingkilang Rawang until he fell unconscious.

•  It (the dance) is also to call back upon the stray souls of the people and padi to return from the padi fields.
• Langi Julang is also performed when a new chief is installed and hopes that this dance would give thanks to God and give him the blessing for him to do his job well for the well being of his people.
• Also performed to welcome respected guests to the village itself. 

It is a dance that is believed to have been performed by warriors on their return from battle. Nowadays, it is now performed to celebrate the most important harvest festival; Gawai Dayak, to welcome honored guests to the longhouses and more.

• Male dancers wear headgear that is made from tail feathers of the hornbill (but now, they use artificial feathers in order to preserve and protect the birds).
• Holding a long sword in one hand and an ornately decorated shield in the other.
• Laid around his neck are necklaces made out of beads and cowrie shells and wore a ceremonial cawat, or loincloth.
• Slow movements, as if stalking the enemy and interspersed with dramatic prances as if he is leaping forward to attack.
• Accompanied music from tribal music instruments, percussions; the enkeromong, bendai, canang and dumbak or ketebong. Musicians may be male or female.

On the other hand, the female dancers have elaborate headdress, chains, beads, an a "dress" that reaches below their knees with such intricate weavings. It is traditionally only performed by male dancers but nowadays no more.

• More aggressive and tells that a man is going to war, or even a bird flying; as a sign of respect to the Iban's God of War, Singalang Burong.

• Soft, graceful movements with very accurate or precise body turns.

•  it involves a mortar also it requires strength, bravery and skill of the dancer to make sure they can lift the mortar using their teeth during the performance
• The Ngajat Indu' is the interlude to the Ngajat Lesong dance.

This dance depicts the men fighting each other because they want to take a woman's heart to be their rightful wife. Fighting by lifting a mortar that weighs up to 20 kilograms using only their teeth. The winner is decided based on the ability and their endurance to lift the heavy mortar until no one could match with the strongest one.

• It could be from everyday activities of the tribe such as cooking, bathing, farming and more. 
• The movements could also be inspired by dreams from work or by nature.

According to the history; more like oral history that has passed down from the elders of Murut, Magunatip started as a prank. After the paddy pounding activity, the farmers would place poles on the floor and rest after a hard day of labour. Then, somebody would use the poles to clip the foot whoever passes by and to avoid it, the victims of that would swiftly lift up their foot. That cheeky act turned into a fun game of stepping in and out of the clapping poles in rhythm then evolves into the Magunatip accompanied by music.

• Bride wealth ceremonies (tinauh)
• Weddings
• Harvest festivals

• Performed in rituals (healing, pleasing spirits) to ward off evil.
• Perfomed during the Mansayau ritual; celebrating the return of headhunters from raids and battles.

Apart from animals and humans, the Murut also believe that spirits also live in other things in the world; mountains, caves, jungles, underground. Evil spirits is the epitomy of misfortune, disaster, and illness.

The term Bhangra originally designated a particular dance performed Sikh and Muslim men in the farming districts of the Punjab region of South Asia. Springing from the land of five rivers, it abundantly reflects the vigor, the vitality, the leaven of exuberance, and the hilarity permeated among the rural folk by the promise of a bumper crop. The Bhangra season starts with the wheat sowing and then every full moon attracts teams of the young men in every village who dance for hours in open fields.

• Several dancers executed vigorous kicks, leaps, and bends of the body to the accompaniment of short songs called boliyan and, to the bead of a dhol (double-headed drum).
• Striking with the heavy beater on one end and with a lighter stick on the other, the dhol imbued the music with a syncopated; which means accents on the weak beats.