Bidayuh Dance

Dances of the Bidayuh People During Gawai Dayak

Throughout human history, ritual dance has been used in worship. Messages are derived through the symbolic gestures performed with the various movements of the different parts of the body. Ritual dance is common to the civilization of all people at all times, and they are viewed as primarily functional and generally devoid of artistry. Ritual dance is performed because through these dances, they could communicate ideas and messages that cannot be said in ordinary words. 

In the past, the Bidayuh believed in spirit and the world being populated by both good and evil spirits . According to the traditional Bidayuh beliefs, these spirits are real and if they are disturbed, they can do a lot of harm to the villagers and the environment. They believed that the rhythmic movements of the body, and while in a state of trance, they could possess an excellent medium through which they could get in contact with the good spirit.

Rajang Be’uh (Eagle Dance)

This dance is usually performed after the harvest season as a form of entertainment for guests of the longhouse. The movements of the dancers with outstretched hands imitate the movements of the eagles as they flap their wings in flight.

Rejang beuh in Biatah dialect or langiin Bukar-Sadung or tigal bitagi or sigar bouh in Bau-Jagoi is usually performed by two male dancers. The dance originated when a Bidayuh legendary hero, Madu Sawan was ordered by the King of the Pleiades to fight with the legendary bird of the sky known as Tingkilang Ramang(The Eagle Spirit). This was to ascertain who has the right to take the King’s daughter, Dara Buda for a wife.

Tingkilang Ramang were both accomplished dancers. They started to dance from each end of the verandah, moving gracefully towards each other in various styles and motions, following the slow and steady beating and rhythm of the gongs and drums. Each time when they meet, they swoop down in a quick motion as if they are attacking each other in a fight. During each of these moving encounters, the invisible poisonous snakes and insects will come out from Madu Sawan?s pockets and attack Tingkilang Ramang until he fell down unconscious. Thus, in the duel, Tingkilang Ramang lost and Madu Sawan was declared the rightful husband of Dara Buda.

Tolak Bala

Before the harvesting season, the community performed this dance to ask for blessing for a good harvest and to protect the community from evil spirits.

Totokng

Performed during the harvest festivals to welcome the souls of padi from the hut and paddy stubble in the padi fields to their respective homes. The dance is also performed to welcome distinguished visitors to the village. The musical instruments used in the dance are gongs, drums and the wooden instrument, gulintang.

Langi Julang

Langi Julang is a ritual dance performed at the closing of the harvest festival. The main purpose of the dance is to give thanks to God for bestowing good health and rich harvest. At the same time, it is performed to appease the unfriendly spirits so that they do not harm or disturb the village and the villagers. The dance is also to call back the stray souls of people and padi to return from the padi fields.
In the olden days, Langi Julang is also performed during a ceremony when a new chief is installed. This is to give thanks to God and to give him the blessing so that he will do his job well for the benefit of his people. The dance is also performed to welcome distinguished guests to the village.

The Bidayuh Costume

The traditional Bidayuh costume set for women comprises the short-sleeved or sleeveless blouse, ‘jomuh’ (skirt), and matching accessories such as the ‘selapai’ (sash), ‘pangiah’ (bead necklace), ‘porik’ (copper/ metal belt) and ‘sipiah’ (headgear).

The men wear a ‘tawuop’ or ‘tahup’ (long loin- cloth wrapped around the body with one end hanging down in front and the other at the back), the ” burang sumba” (headgear) and occasionally the “kima” (armlets).

The Bidayuh vest is a sleeveless garment covering the upper body. The sleeveless, waist or hip-length garment, with a front opening and worn over a shirt, blouse, dress, or other cloth for style. Very practical to wear during any function and celebration like Gawai, official meeting or dinner. It is a Bidayuh identity and a must have for a Bidayuh men. Like any fashion, the vest can also be worn by other community for its practicality. The Bidayuh vest comes in black colour cloth with white and red stripe, the colours for Bidayuh community. With yellow added to the stripe, it makes the vest looks more vibrant to anyone who wears it.

The “pangiah” (bead necklace) is made of high quality ceramic beads and pendants that is worn around the neck. Its pendants are either from the tooth of wild animals or artificial tooth that add a modern touch to the necklace. The “pangiah” is a very colourful rows of beads stitched/tied together with strings of nylon or small wires stripe. It is an ideal accessory for Bidayuh women which can be worn during official functions, cultural dinners and also for everyday use. The “pangiah” is one of the Bidayuh’s identities and a must have for Bidayuh ladies.

Introduction to Bidayuh

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BIDAYUH TRADITIONAL DANCE

 

 Bidayuh is the collective name for several indigenous groups found in southern Sarawak, Malaysia and northern West Kalimantan, Indonesia on the island of Borneo that are broadly similar in language and culture. The name Bidayuh means 'inhabitants of land'. Originally from the western part of Borneo, the collective name Land Dayak was first used during the period of Rajah James Brooke, the White Rajah of Sarawak. They constitute one of the main indigenous groups in Sarawak and West Kalimantan and live in towns and villages around Kuching and Samarahan in the Malaysian state of Sarawak while in the Indonesian province of West Kalimantan they are mainly concentrated in the northern Sanggau Regency. In Sarawak, most of Bidayuh population are found within 40 km of the geographical area known as Greater Kuching, within the Kuching and Samarahan Division. They are the second largest Dayak ethnic group in Sarawak after the Iban and one of the major Dayak tribes in West Kalimantan.