Iban culture

The Iban religion involves worshiping and honouring at least four categories of beings, i.e. Bunsu Petara (the supreme god), and his seven deities (the divine people of Tansang Kenyalang), the holy spirits of Orang Panggau Libau and Gelong, the ghost spirits (Bunsu Antu) and the souls of dead ancestors.[4]

The domains of these beings are as follows:[5]

• from the sky (ari langit) which refers to gods living in the sky i.e. Sengalang Burung, Ini Andan, Seragindit, Bunsu Bintang Banyak, Bunsu Bintang Tiga, Bunsu Bintang Tujuh, Bunsu Bulan and Bunsu Guntur.
• from the tree top (ari pucuk kayu}}) which refers to omen birds i.e. Ketupung, Beragai, Bejampung, Pangkas, Embuas, Papau and Nendak
• from the land (ari tanah) which refers to augury animals, snakes, reptiles and insects i.e. Simpulang Gana, Selempandai, Seragindah and People of Panggau Libau and Gelung Batu Nakung
• from the water (ari ai) which refers to fishes and water creatures i.e. Seragindi, Bunsu Ikan, Bunsu Tekuyung, Bunsu Lelabi, Bunsu Gerama and Bunsu Baya
• from the sea (ari tasek) such as Ribai and his group
• from the forest (ari kampong baong) notably antu grasi (huntsman demons)
• from the tree branch (ari dan pun kayu) i.e. bujang inin (leopard cat)
• from the cave (ari lubang batu) i.e. bujang lembau (remaong tiger)
• from the under world (sebayan) i.e. Raja Niram and his kingdom of the dead

The supreme God is called Bunsu (Kree) Petara, and is sometimes called Raja Entala or even Tuhan Allah Taala (Arabic defines the article al- "the" and ilāh "deity, god" to al-lāh meaning "the [sole] deity, God") in modern times. The Iban calls this supreme god who creates the universe by the three names of Seragindi which makes the water (ngaga ai), Seragindah which makes the land (ngaga tanah) and Seragindit which makes the sky (ngaga langit).

There are seven deities or demi-gods or regents of the Iban who act as the messengers between human beings and God. These deities are the children of Raja Jembu and the grandchildren of Raja Durong who originated from Sumatra.[6] Their names are as follows:

• Sengalang Burong the god of war
• Biku Bunsu Petara (female) the high priest
• Sempulang Gana the god of agriculture along with his father-in-law Semarugah as the god of land
• Selempandai/Selempeta/Selempetoh the god of creation and procreation.
• Menjaya Manang the god of health and shamanism being the first manang bali
• Anda Mara the god of wealth and fortune.
• Ini Andan/Inee (female) the natural-born doctor and the god of justice

In addition to these gods, there are mystical people namely the orang Panggau Libau and Gelong who hailed from Java, with the most notable ones being Keling and Laja with their respective wives, Kumang and Lulong who often help the Iban Dayaks to be successful in life and adventures.

There are splinter groups from the People of Tansang Kenyalang, People of Panggau and Gelong and the Iban Bejie group which are the Nising group who run away to the upper sky, Ribai group to the land across the sea and the antu grasi group who roam the forest (from Telichai and Telichu) respectively.

Other spirits are called bunsu jelu (animal spirits), antu utai tumboh (plant spirits), antu (ghosts) such as antu gerasi (huntsman) and antu menoa (place spirits like hills or mounts). These spirits can be helpful in achieving success in life or malevolent like causing sickness or even madness to humans. Therefore, the Iban in general needs to keep peace and harmony with nature.

The souls of dead ancestors are invoked by the Iban when seeking their blessings. They pay their respects to their souls during Gawai Antu (Festival of the Dead) and when visiting their graves.

Masing in 1981 and Sandin clearly categorise Iban's propitiation and worshiping into three main successive stages of increasing importance, complexity and intensity, i.e. bedara (serving and distributing offerings), gawa (literally working) and gawai (festival).

Bedara (miring) is called bedera mata (unripe rite) if the service is performed inside the family room (bilik) and bedara mansau (ripen rite) if it is held at the family gallery (ruai). IN the upper Rajang, the offering ceremony inside the family room can be performed by women while that at the open gallery must be carried out by men of stature. Other specific miring rituals are called minta ujan (asking for rain), minta panas (asking for sunniness), berunsur (soul cleansing), mudas (omen appreciation), muja menua (praying to the region), pelasi menua (cleansing the territory), genselan menoa (smearing the earth with blood) or nasih tanah (paying land rent). Other bedara or miring ceremonies include makai di ruai/ngayanka asi (dinner at the gallery), sandau ari (mid-day ceremony) and enchaboh arong (head receiving ceremony).

Gawa includes all the medium-sized rites that normally involve one day and one night of ritual incantations by a group of bards such as gawa beintu-intu (self-caring rituals) and gawa tuah (fortune ritual). There are various types of gawa beintu-intu such as imang sukat (Life Measuring Chant), timang bulu (Human Mantle Chant), timang buloh ayu (Soul Bamboo Chant), timang panggang (Jar Board Chant), timang panggau (Wooden Platform Chant) and timang engkuni (House Post Chant). As this category of rites involves mainly timang (chant), it is also normally called nimang (chanting). Gawa Tuah has three stages called nimang ngiga tuah (fortune seeking), nimang namaka tuah (fortune welcoming) and madamka tuah ( fortune termination).

Gawai comprises seven main categories of large festivals which mostly involve long ritual incantation by a group of lemambang bards that can last from several to seven successive days and nights to follow the paddy farming cycle in succession of stages. These categories are namely gawai bumai (farming festivals), gawai amat/asal (real/original festival) or gawai burong (bird festival), gawai tuah (fortune festival), gawai lelabi (River turtle/marriage festival), gawai sakit (Healing festival), gawai antu (festival of the dead) and gawai ngar (dyeing/weaving festival).

Because rice farming is the key life-sustaining activity among Dayaks, the first category of festivals is related to agriculture. Thus, there are many ritual festivals dedicated to this foremost vital activity namely:

1. Gawai Batu (Whetstone Festival),
2. Gawai Benih (Seed Festival),
3. Gawai Ngalihka Tanah (or Manggol) (Soil Ploughing Festival),
4. Gawai Ngemali Umai (Farm-healing Festival),
5. Gawai Matah (Harvest-starting Festival)
6. Gawai Ngambi Sempeli (Taking Secondary Paddy Festival),
7. Gawai Basimpan (Rice-Keeping) Festival and
8. Gawai Tajau (Jar Welcoming Festival).

The Jar festival also invokes Raja Sempulang Gana as the god of agriculture because surplus paddy is used to buy jars and brassware in the past. There is one important rite called mudas for strengthening any omen encountered during farming activity. Several of these festivals have been relegated to simpler or intermediate ceremonies, which mainly involve nimang (incantation) only and are thus no longer prefixed with the word gawai, e.g. nimang benih in the case of Gawai Benih, ngalihka tanah, ngemali umai by a dukun (healer) for minor or intermediate damage of paddy farm instead of a full-scale Gawai Ngemali Umai, matah and ngambi sempeli.

The rice planting stages start from manggol (ritual initial clearing to seek good omen using a birdstick (tambak burong), nebas (clearing undergrowth), nebang (felling trees), ngerangkaika reban (drying out trees), nunu (burning), ngebak and nugal (clearing unburnt trees and dibbling), mantun (weeding), ninjau belayan (surveying the paddy growth), ngitang tali buru (hanging the protective rope), nekok/matah (first harvesting), ngetau (harvesting), {{lang|iba|nungku} (separating rice grains), basimpan (rice keeping) and nanam taya ba jerami/nempalai kasai (cotton planting).

With the coming of rubber and pepper planting, the Ibans have adapted the Gawai Ngemali Umai (Paddy Farm Healing Festival) and Gawai Batu (Whetstone Festival) to hold Gawai Getah (Rubber Festival) to sharpen the tapping knives and Gawai Lada (Pepper Festival) to avoid diseases and pests associated with pepper planting respectively.[7]

The second most important activity among the Iban in the past is headhunting (ngayau) in enemy country. Hence, the war-related festivals is held in honour of the war god, Sengalang Burong (Hawk the Bird) which manifests as the brahminy kite. These festivals are collectively called Gawai Burong (Bird Festival) in the Saribas/Skrang region or Gawai Amat (Proper Festival) in the Mujong region or Gawai Asal (Original Festival) in the Baleh region. Each set of festivals has a number of successive stages to be initiated by a notable man of prowess from time to time and hosted by individual longhouses. It originally honors warriors, but during more peaceful times has evolved into a wellness or fortune seeking ceremony.

The rules regarding headhunting and skull-related rites are as follows:

1. If a warrior got 3 human skulls, he can hold enchaboh arong to cleanse and strengthen his souls against bad elements.
2. If he got more than 3 human skulls, he can hold naku antu pala to parade and praise his trophy heads by the women.
3. If he got 7 human skulls, he can hang a bengkong (a loop made of rattan or randau) to hang and display his trophies over an open bedilang hearth.
4. If he got one bengkong, he can become a raid leader attacking one longhouse at a time.
5. If he got 3 bengkong, he can become a war leader and hold a gawai burung (bird festival) befitting his accomplishments where his human skulls are paraded, chanted for, and respected.
6. If he does not hold a gawai burung, he can hold a gawai kenyalang berani (brave hornbill festival) instead.
7. After praising the hornbill (nimang kenyalang) statue, he can parade and praise it (naku kenyalang) along the longhouse gallery and among the audience.

Accordingly, the rank and status of the warrior will ascend from a bujang berani (brave warrior), tau kayau (raid leader) and tau serang (war general). Alternatively, the war leaders are called raja berani (the brave and rich)

Gawai Burong which is mainly celebrated in the Saribas and Skrang region comprises nine ascending stages as follows:[8]

1. Gawai Kalingkang (munti/payan pole) – pengap until ngiga tanah
2. Gawai Sandong (betung/pinang trunk)- pengap from ngamboh until manggul
3. Gawai Sawi (sawi/rian pole) – pengap from nebang, nunu to ngerara ibun
4. Gawai Salangking – selangking with a bungkong tajau baru – pengap until nyulap
5. Gawai Mulong Merangau (Weeping Palm) or Lemba Bumbun (durian tree trunk cleverly carved like an old sago palm tree after all of its fruits has fallen to the ground – pengap until nugal
6. Gawai Gajah Meram (Brooding Elephant) with Besandau Liau (a strong tree trunk with branches decorated with skulls and isang leaves)- pengap until mantun
7. Gawai Meligai (Upper Palace) (decorated strong wood pole) – pengap until nyembui
8. Gawai Ranyai (Tree of life) or Mudur Ruruh (the pole is made up of a bunch of warriors' spears) – pengap until basimpan
9. Gawai Gerasi Papa (Demon Huntman) – the house where this gawai is held is abandoned because the inhabitants have to transfer to a new house.

The chiefs and elders of the longhouses will convene and decide which stage of the Bird Festival fits the life achievements of each celebrant-to-be.

After a warrior obtains his first three heads, a ritual called 'enchaboh arong' (head feast) is held to honour (naku) and clean the heads by throwing out all the skin, flesh and brain inside by the most senior war leader using a war knife and a rattan to swirl out the brain in a flowing river water. During this ritual, the chief would first take a bit of the brain using the tip of his sword and put it into a lump of glutinous rice and then eat it while reciting a prayer to declare that his spirit presides over the spirit of the head and the victim. This 'eating' symbolizes the master-slave relationship between the victim and the owner of the skull. Upon reaching the longhouse, the wives or mothers would receive the heads obtained by their husbands or sons respectively using a ceremonial plate underneath of which was placed a ritual cloth (pua kumbu) which has been woven by the respective women earlier. The common motive of the ritual cloth is called "lebur api' (the heath of fire). Therefore, the women would weave ceremonial cloths according to the progress of their men. In a way, the weaving of a certain motive would incite the men to obtain heads of their traditional enemy as necessary. A guiltless people shall not be attacked and doing so would result in adverse curse called 'busong' of the perpetrators.

Alternatively, the Iban can choose to celebrate another type of bravery-related rite i.e. a rhinoceros hornbill festival (gawai kenyalang). This festival comprises three stages of chanting i.e. nesting (besarang), egg laying (betelu) and flying (terebai). The Iban believes this festival originated by the heroes of Panggau and Gelong i.e. Keling and Laja when they beautifully handcrafted a hornbill statue for their sweethearts (Kumang and Lulong) respectively which become alive and flew to the doors of their sweethearts' family rooms upon revelation to the audience. The beaks of the hornbill statues must be directed to the country of the enemies so that the hornbills fly there to attack and peck the eyes of the enemies in advance of the incoming attack. Hence, the hornbill festival is held to honour and propitiate the heroes of Panggau and Gelong who are believed to be able to assist in major undertakings like wars, depending on the guardian of the warrior.

In the Baleh region, the Iban there celebrates a slightly different set of Gawai Amat (Proper Festival) as listed by Masing but certainly for similar purposes:[9]

1. Gawai Tresang Mansau (a red bamboo pole receptacle)
2. Gawai Kalingkang (a bamboo pole receptacle with a pan made of bamboo)
3. Gawai Ijok Pumpong (decapitating of gamuti palm ritual)
4. Gawai Tangga Raja (notched-ladder of wealth)
5. Gawai Kayu Raya (tree of wealth ritual)
6. Gawai Kenyalang (hornbill ritual)
7. Gawai Nangga Langit (notched-ladder to the sky)
8. Gawai Tangga Ari (notched-ladder of day) - this festival is a reconstruction of the Iban famous ancestor, Bejie's undertaking of building a notched ladder to the sky to meet God.

The chiefs and elders of the longhouses will convene and decide which degree of the original festival that fits the achievement of each celebrant to be.

There are nine levels of the timang inchantation length with their respective end timing as follows:

1. Ngerara rumah (start of timang to discovery of Lang's absence)
2. Ngua (nursing the trophy head) – Afternoon second day
3. Nyingka (end of forging) – Later afternoon third day
4. Bedua antara (dividing the land) – Afternoon fourth day
5. Nyulap (first rite of planting) – Morning fifth day
6. Ninjau balayan (surveying the padi) – Morning fifth day
7. Nekok (first rite of harvesting) – Afternoon fifth day
8. Nyimpan padi (storing the padi) – Afternoon fifth day
9. Nempalai kasai (planting of cotton) – Morning seventh day

Besides that, there is another list of gawai asal (original gawai) of Iban living the upper Batang Rajang with eight successive stages as per Saleh:[10]

1. Gawai Tresang Mansau (a bamboo receptacle erected under the roof atap downend)
2. Gawai Kalingkang (a woven huge bamboo receptacle erected in the middle of the tanju)
3. Gawai Ijok Pumpong (a woven huge bamboo basket or mat hung using a rattan which will be slashed by a sword)
4. Gawai Sempuyung Mata Ari (a split bamboo cone to receive fresh head skull)
5. Gawai Lemba Bumbun (Lemba split leaves which represent taken enemy's hairs)
6. Gawai Kenyalang (erection of hornbill statues to attack enemies before headhunting raids)
7. Gawai Sandung Liau (a wooden pole with a boat head statue (udu prau)
8. Gawai Mapal Tunggul (Decapitating tree stump with erected three poles in series in the tanju)

For all three groups of war-related festival above, as the stage of the celebration ascends the list, the level of the timang incantation also increases, following the paddy farming stages with the first stage normally ends up to ngua (nursing) level after which gods will presents gifts in the forms of charms or medicines which help or eases the life building activities of the festival host and fellow celebrants.

Seeking health, wealth, fame and prosperity is another important activity of the Iban. Therefore, the third category of festivals is fortune-related festivals which include Gawai Pangkong Tiang (House Main Post Striking Festival) or Gawai Tuah with three successive stages (Luck Seeking, Luck Welcoming and Luck Growing). Some Iban people call Gawai Pangkong Tiang as Gawai Niat (Intention Festival) or Gawai Diri (Rising up Festival).

Furthermore, the Iban love to bear and raise many children to continue their descendancy (peturun), as a means to acquire more land and wealth and perhaps to multiply in numbers as a natural defence against enemy tribes. So comes the fourth category of festival which is procreation-related i.e. Gawai Lelabi (River Turtle Festival) that is held for announcing readiness of daughters for marriage and to call for suitable suitors. The wedding ceremony is itself called Melah Pinang (Areca beetle nut splitting) which is celebrated with much fanfare and ritual. Here the God invoked is Selampandai for fertility and procreation purposes to bear many children. In addition, if an Iban married couple could not bear any child after some years of marriage, they can decide to adopt via a Gawai Bairu-Iru (Adoption Festival) to declare that they have adopted someone which shall have the same rights as their own born child. Furthermore, Gawai Batimbang (Manutrition Festival) can be held to free ulun slaves (war captives) or serfs (debtors) and/or to adopt them as children or siblings or relatives of their masters.

The Iban pay great attention to their health and well-being to have a long life (gayu). So the fifth category of festivals is health-related festivals which are Gawai Sakit (Sickness Festival), Gawai Betawai (Name Changing Festival), Besugi Sakit (Healing by Keling) and Barenong Sakit (Healing by Menjaya). Before employing these healing festivals, there are various types of pelian (healing ceremony) by a manang (traditional healer), pucau (short prayers) and begama (touching) by a dukun (medicinal healer) to be tried first. A candidate will become a manang (shaman) after an official ceremony called Gawai Babangun (Manang-Officiating Festival).

The sixth category of festivals by the Iban is related to death which is called the Spirit festival for the dead (Gawai Antu) or Gawai Rugan (Dead Soul Altar Festival) or Gawai Sungkop (Tomb Festival) in the Saribas/Skrang region or Gawai Ngelumbong (Entombment Festival) in the Baleh region. This festival is used to be held once every 10 to 30 years per longhouse. This festival is the last honouring event in a series of morturial rites from nyengai antu/rabat (death vigil), nganjong antu (burial), baserara bungai (soul separation) and ngetas ulit (mourning termination). During this festival, the dead souls or spirits are invited to attend.

A warrior is appointed to drink the ai garong (believed to be the lipid liquid from the dead body) as symbolized using tuak kept in a short bamboo cylinder placed inside a beautifully woven basket called garong hung on the erected ranyai tree. Another junior warriors may drink the ai jalong (put in several ceremonial cups) which is chanted for the whole night.

The chanting is to narrate the invitation and coming of souls from the land of the dead (sebayan) led by their king by the name of Raja Niram. Among the entourage are the Iban famous warriors in the region who have died. So, the ai jalong drinking ceremony is performed in memory of the famous warriors. Before drinking the two sacred wines, the chanting bard will ask the warriors of their praisenames which they declare to the audience, which indicate the achievements of the warriors and are often followed by war cries and standing ovations. Only warriors who ever obtain enemy heads are permitted to drink both sacred wines. A sacred hut is made for each dead and erected over their grave on the following day.

While the Iban man strives to be a successful in headhunting and wealth acquisition, the Iban women aims to be skillful in weaving which is considered women's own warpath because weaving needs guiding spirits (albeit female) like those for headhunting. For women involved in weaving, their ritual festival is called Gawai Ngar (Cotton-Dyeing Festival). This can perhaps be considered the seventh category of festivals among the Iban. Pua Kumbu, the Iban traditional hand-woven cloth and custom, is used for both conventional and ceremonial uses in many occasions. There are various types of buah (motives or patterns) of pua kumbu which can be for ritual purposes or normal uses. A motive called "Lebor Api" (Melting Fire) is used to ceremously receive freshly-taken heads. Both female and male Iban will be graded according to their own personal accomplishments in their lifetime during the rite of ngambi entabalu (widow/widower fee taking).

There is an emerging category of life-building gawai called dream festivals such as Gawai Lesong (Rice Mortar Festival) and Gawai Tangga (Notched Ladder Festival) and some newly innovated variants of the gawai proper as a result of dream by a person or several individuals. These are popular among the Iban in the upper Rajang region. It appears that the Iban people in this region distinguishes gawai asal (original/customary/traditional festival) from gawai mimpi (dream festival).

The original festival consists of the nine successive and ascending stages of major celebrations as listed by Dr. Robert Menua of Tun Jugah Foundation during an individual Iban man life as if he ascends the longhouse notched ladder rungs. This category of original festival can be celebrated by any Iban if it is deemed fit to do so as he ages during his lifetime, even without any dream.

The Iban will hold a dream festival when told to do so in a dream which will instruct the type and sometimes even the procedure of the festival to be held and thus it is fittingly coined as dream festival. Some variants of the gawai lesong (mortar festival) and gawai tangga (ladder festival) were inspired by dreams as mentioned in Dr. James Masing's PhD thesis so these can actually be considered as dream festival. However, these are called gawai amat (proper/real festival) as the full, elaborate and complex procedure of an Iban festival is strictly followed and implemented during its celebration. A good example to accompany this explanation is the hornbill festival which was held not only as an original festival but also as a dream festival with variations in its procedure of celebration.

Several types of Iban festivals originate from its own epic stories like the hornbill festival from the story of Keling and Laja of Panggau making a hornbill statue for their resptive maidens Kumang and Lulong whom they courted for their famous wives from Gelong while the Gawai Kayu Raya (Massive Tree Festival) also originates from Keling's adventure to fetch the massive tree from overseas that can bear many types of nutritional fruits as if it is a ranyai (tree of life).

For simplicity and cost savings, some of the gawai have been relegated into the medium category of propitiation called gawa such as Gawai Tuah into Nimang Tuah, Gawai Benih into Nimang Benih and Gawa Beintu-intu into their respective nimang category wherein the key activity is the timang inchantation by the bards. Gawai Matah can be relegated into a minor rite simply called matah. The first dibbling (nugal) session is normally preceded by a miring offering ceremony of medium size with kibong padi (paddy's net) is erected with three flags. The paddy's net is erected by splitting a bamboo trunk into four pieces along its length with their tips inserted into the ground soil. Underneath the paddy's net, all the paddy seeds in baskets or gunny sacks are kept before being distributed by a line of ladies into dibbled holes by a line men in front.

With headhunting banned and with the advance of Christianity, only some lower ranking ritual festivals are often celebrated by the Iban today such as Sandau Ari (Mid-Day Rite), Gawai Kalingkang (Bamboo Receptacle Festival), Gawai Batu (Whetstone Festival), Gawai Tuah (Fortune Festival) and Gawai Antu (Festival for the Dead Relatives) which can be celebrated without the timang jalong (ceremonial cup chanting) which reduces its size and cost.

It is common that all those festivals are to be celebrated after the rice harvesting completion which is normally by the end of May during which rice is plenty for holding feasts along with poultry like pigs, chickens, fish from rivers and jungle meats like deer etc. Therefore, it is fitting to call this festive season among Dayak collectively as the Gawai Dayak festival which is celebrated every year on 1 June, at the end of the harvest season, to worship the Lord Sempulang Gana and other gods. On this day, the Iban get together to celebrate, often visiting each other.

There are three categories of long cylindrical drum music according to their purpose of play i.e. ritual, entertainment and shamanic.

One important and frequently played long cylindrical drum music performed by the Ibans is called gendang rayah. It is played only for religious festivals with the following instruments:[21]

• The music from a first bendai gong is called pampat
• The music from a second bendai gong is called kaul
• The music from a third bendai gong is called kura
• As the three bendai gongs sound together, then a first tawak gong is beaten and is added to by the beating of another tawak gong to make the music.

The music is played using the katebong drums by one or up to eleven drummers performing at the same time. These drums are long and their cylinders are made from strong wood, such as tapang or mengeris and one of their ends are covered with a piece of animal skin such as that of a monkey and mousedeer or the skin of a monitor lizard. The major types of drum music are known as follows:[22]

• Gendang Bebandong
• Gendang Lanjan
• Gendang Enjun Batang
• Gendang Tama Pechal
• Gendang Pampat
• Gendang Tama Lubang
• Gendang Tinggang Batang
• Singkam Nggam

All these types are played by drummers on the open air verandas during the celebration of the Gawai Burong festival.[23] The Singkam Nggam music is accompanied by the quick beating of a beliong adze. After each of these types has been played, the drummers beat another music called sambi sanjan, which is followed by still another called tempap tambak pechal. To end the orchestral performance, the music of gendang bebandong is again beaten.

The ordinary types of music beaten by drummers for pleasure are as follows:[24]

• Gendang Dumbang
• Gendang Ngang
• Gendang Ringka
• Gendang Enjun Batang
• Kechendai Inggap Diatap
• Gendang Kanto

When a Gawai Manang or bebangun festival is held for a layman to be consecrated as a manang (shaman), the following music must be beaten on the ketebong drums at the open veranda (tanju) of the longhouse of the initiate:[25]

• Gendang Dudok
• Gendang Rueh
• Gendang Kelakendai
• Gendang Tari
• Gendang Naik
• Gendang Po Umboi
• Gendang Sembayan
• Gendang Layar
• Gendang Bebandong
• Gendang Nyereman

Gendang Bebandong also must be beaten when a manang dies and is beaten again when his coffin is lowered from the open air verandah (tanju) to the ground below on its way to the cemetery for burial.

One Iban writer briefly describes the rhythms of taboh music played the Iban's brass band orchestra[26] which translates as "The number of musicians to play taboh music is four ie one playing the bebendai (small gong) which is beaten first of all to determine the rhythm of the taboh, responded to by the gendang or dedumbak drum, followed by the tawak (big gong) and finalized by the engkerumong set."

To the laymen's ears, the rhythms of taboh music for ngajat dance is only two i.e. fast or slow but actually it has four types namely Ayun Lundai (slow swing), Ai Anyut (flowing water), Sinu Ngenang (sad remembrance) and Tanjak Ai (against the water flow).[27] The first three taboh types are slow to accompany the ajat semain (group dance), ajat iring (accompanying dance) and ajat kelulu (comedial dance). The fourth rhythm of taboh is fast which is suitable for the ajat bebunoh (killing dance).

Other rhythms of taboh music are tinggang punggung for ngambi indu (taking the bride for wedding) and taboh rayah (rayah music) for ngerandang and ngelalau jalai (pathway clearing and fencing dance).

• Ngajat ngalu temuai (welcoming dance) by a group of females
• Ngajat indu (female dance)
• Ngajat pua kumbu (a female dance with a woven blanket which is most likely woven by herself)
• Ngajat lelaki (male dance)
• Ngajat lesung (rice mortar dance)
• Ngajat pinggai ngau kerubong strum (dance with one rice ceramic plate held on each palm while tapping the plates with an empty bullet shell inserted into the middle fingers of both hands)
• Ngajat bujang berani ngena terabai ngau ilang (warrior dance with full costume, a shield and sword)
• Ngajat bebunoh (hand combat dance normally between two male dancers)
• Ngajat nanka kuta (fort defence dance)
• Ngajat semain laki ngau indu (dance by a group of men and ladies)
• Ngajat niti papan (dance by a group of men and ladies on a raised up wooden plank)
• Ngajat atas tawak (dance on top of gongs by ladies with gentlemen in the background)
• Ngajat ngalu pengabang (dance by a man with several ladies behind who lead the procession of guests during festivals)

These types of dance can be performed either on an open space or around the pun ranyai which is the tree of life

• Ngajat panggau libau as a group of men with a sword and isang leaves.
• Ngerandang jalai (pathway-clearing), ngelalau jalai (pathway fencing)
• Berayah pupu buah rumah (longhouse contribution collection)
• Berayah ngelilingi pun sabang ngau tiang chandi gawai (dancing around the festival ritual pole)
• Naku antu pala (welcoming human heads)
• Naku pentik kenyalang (welcoming hornbill statue)

• Ngajat kera (monkey dance)
• Ngajat muar kesa(stinging Ants' nest collection)
• Ngajat matak wi (rattan pulling dance)
• Ngajat nyumpit (blowpiping dance)
• Ngajat bekayuh (paddling dance)
• Ngajat mabuk (drunk dance)
• Ngajat bunyan baka lari maya ngasu (running scared dance e.g. scared of animals while hunting)[29]
• Ngajat ngelusu berapi, beribunka anak ngau nutok (lazy woman dance)
• Ngajat pama (frog dance)
• Ngajat gerasi tunsang (upside down huntsman dance)
• Ngajat tempurung nyor (coconut shell dance)
• Ngajat turun tupai (squirrel going down dance)
• Ngajat jelu bukai (other animal mimicking dance)

• Bekuntau (self-defence dance)
• Bepenca (martial art dance)
• Main kerichap
• Main chekak

According to one Iban writer,[30] when a warrior performs the ajat bebunoh dance with the music of a gendang panjai orchestra, he does it as if he is fighting against an enemy. With occasional shouts he raises his shield with one arm and swings his ilang knife with his other arm as he moves towards the enemy. While he moves forward he is careful with the steps of his feet to guard them from being cut by his foe. The tempo of his action is very fast with his knife and shield gleaming up and down as he dances.

The man dance has various unique moves such as minta ampun (apologising to guests first), showing skills of playing with the sword and the shield, biting the sword in the mouth for affirming his strength, balancing the sword over his shoulder while still dancing, engkajat (fast foot movement to distract the attention of the enemy), running forward with the sword pointed towards the enemy and shouting war cries to strike the enemy and finally the glory of holding the enemy's freshly chopped head. The enemy head may be symbolised by a coconut which is hung beforehand on the tree of life and the ending move is apologising to the guests again.

The performance of ajat semain is done in slower tempo and with graceful movements. The dancer softens his body, arms and hands as he swings forward and backward. When he bends his body the swinging of his hands is very soft. The performance of the ngajat nanggong lesong dance is more or less like the ajat semain dance. Only when the dancer bites and raises the heavy wooden mortar (lesong) with his teeth and place it again carefully on the floor, does he use extraordinary skill.

When the dancers take the floor to dance, the musicians beat two dumbak drums, a bendai gong, a set of seven small gongs (engkerumong) and a large tawak gong. The music for the performance of ajat bebunoh dance is quicker in tempo than the music for the ajat semain and ajat nanggong lesong dances, as in the dance itself.

The entertaining leka main includes:

• pantun
• jawang
• sanggai
• ramban
• entelah (riddle)
• ensera (plain story)
• kana (sung story)
• pelandai ara
• pelandai karong
• wak anat mit (lullaby).

The customary leka main comprises:

• jaku ansah (instroductory/invitational speech)
• jaku geliga (rule and fine speech)
• tanya indu (asking the lady for marriage)
• muka kuta (ceremonial stockade opening)
• muka kujuk (food coverage opening)
• jaku karong (speech with hidden meanings)
• jaku dalam (deep speech)
• jaku sempama (exemplary speech)
• jaku silup (speech with inter-twined meanings)
• sugi semain
• renong semain
• renong ngayap (courting) etc.

The invocation leka main consists of:

• sampi (prayer)
• biau (cleansing)
• denjang (blessing)
• renong sabong
• renong kayau
• timang (chanting by a group of lemambang bards)[33]
• pengap (chanting by a group of lemambang bards) [34]
• pelian [35]
• sugi sakit[36]
• renong sakit
• sabak bebuah or sungkop or rugan (dirge) [37]

These invocatory inchantations must be accompanied with piring (ritual offerings) to appease the gods invoked during the festival. The inchantation can last the whole night of the festival and the next morning a pig is sacrificed for divination of its liver which is interpreted to forecast the luck, fortune, health and success of the feast host and his family in the future.