Draft:Ngajat

• Comment: Unfortunately, this page already exists at Ngajat. You are free to update that page with information as long as you adhere to Wikipedia guidelines. CNMall41 (talk) 01:44, 15 April 2024 (UTC)

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On the article that follows, the Ngajat dance will be discussed in different aspects. From its origin, to the performers of the dance and the technique that was being used and is still being used, to the dressing or rather the costumes worn by the performers of this dance and so on so forth. This will be done by referencing other works from authors who have contributed in the research of the dance.

HISTORY

The Ngajat dance is popular among the Iban people in Sarawak,Malaysia.It is popular in certain regions of Indonesia as well. It is not known when the dance came up but it is strongly believed to be associated with the Iban ethnic group since the 16th century. According to an oral interview conducted, the Iban people dreamed of moving to a land where they could grow their produce, hunt and make habitat. They came across the footprints of a common hill mayna. The footsteps seemed to resemble a dance thus where they got their movements from. As they danced they looked up to the mountains and saw a great Argus. It flapped its wings as if it was a human hand. They also adopted its movements.

COSTUMES

The female dancers dubbed 'kumang' wear clothes such as headdress, hook high on the chest, cloth tied at the waist, chains, beads and a dress that reaches below the knees with intricate weaving. The male dancers wear large feathers as part of their headgear, hold an ornate and long shield in their hand with chains, beads and a loincloth called the ‘cawat’.

OCCASION OF PERFORMANCE

This dance is believed to have been performed by warriors on their return from battles. This dance is usually

performed in festive such as the Gawai Dayak and matrimony.

TYPES OF NGAJAT DANCES, THEIR PURPOSE AND OCCASSIONS THEY ARE PERFORMED.

Ngajat Pua Kumbu: Usually performed by the women. The pua kumbu is a ceremonial cloth made out of cotton, adorned with colourful traditional patterns.This dance is usually performed during Gawai Kelingkang ,celebrated to prepare or mark the success of the notorious Ngayau  a parade of warriors carrying the head of an enemy approaching the house would be greeted by dancers. The head heroine of the Kelingkang would then put the ‘nutmeg’ in the comb. With a shout of victory and the sound of a bat, the Pua kumbu dancers lead the procession towards the ‘tanju’ swinging a crocodile that contains the enemy’s head in the back while calling for protection from the captive spirit. Before the parade of maidens reaches the stage of the ceremony, a pig will be offered to the ancestors. The pua kumbu dancers will then continue to swing the enemy’s head, followed by the warrior. After seven rounds, the head will be hung on a tree. Today, the enemy’s head is replaced with a coconut as a symbol.

Ngajat Mai Antu Pala: it is a welcome dance during Gawai day before the War and after the harvest season. In the old days the dance was performed after their return from the war. Dancers stand on the circle and jump accompanied by the music.

Ngajat Lesung: illustrates the manifestation of power and masculinity in Iban males.The dance highlights a warrior showcasing his strength by lifting a wooden rice mortar weight around 20 kilograms, with his teeth during a dance, and concludes with the meticulous placement of the mortar on the floor, culminating in a swift heel touch on the stage.

Ngajat Ngalu Temuai: Presented for the purpose of welcoming special guests. Usually this dance is performed during the opening of an official ceremony attended by many honored guests and the public. The dance is performed while accompanying guests to the leader of the longhouse. This dance is a welcome for guests who come to the long house during Gawai or during other festivals.

Ngajat Bebunuh: The dance is presented by the young men of the community, this dance is a replication of what men do when confronted by enemies or as they engage in daily activities such as hunting.

MUSICAL INSTRUMENTS USED IN THE DANCE

During Ngajat dance, the musical instruments used are big gong, small gong, drums, sapeh, and engkromong.  Gong and engkromong are the idiophone type of instrument.  Drums are membranophone types of instruments while sapeh is a chordophone type of instrument. A gong is an African, East and South East Asian musical instrument which the form of a flat circular metal disc hammered with rubber wrapped wood at one end and produces a buzzing sound.  Gong exists in two specific forms, namely knobbed gong type and flat gong type.  The word gong is derived from the Malay/Indonesian word.  It is based on echo word system inspired through sound imitation produced by the instrument. The gong is made up from basic resources such as tin, copper and iron.  It also has in a variety of shapes and sizes that looks different with each other.

Among the Dayak society, especially the Iban people, the big gong is known as tetawak. The combination of these instruments creates a powerful and dynamic soundscape that perfectly complements the energy and excitement of the ngajat dance. Bebendai - A medium-sized gong that provides a higher-pitched counterpoint to the tawak.

SIGNIFICANCE OF THE NGAJAT DANCE

Celebration: Primarily, ngajat is performed during festive occasions, especially the massive harvest festival Gawai Day. It signifies merriment, thanksgiving for a bountiful harvest, and a joyous community gathering. Welcome: The dance serves as a way to welcome esteemed guests to longhouses (traditional Iban communal dwellings) during festivities or other celebrations. It expresses hospitality and honors the visitors. Warrior Tradition: Historically, ngajat was believed to be performed by warriors returning from battles. The movements could represent a journey to war or the flight of a hornbill bird (associated with the Iban war god). Gender Roles: Ngajat reflects traditional gender roles. Men's dances often showcase power and aggression, while women's movements embody grace and precision. Spiritual Connection: In some rituals, ngajat is believed to appease spirits and seek blessings from their god for a fruitful harvest or to calm the spirits of the dead visiting during Gawai.Cultural Identity: The dance is a powerful symbol of Iban heritage and cultural identity. Performing and witnessing ngajat connects the Iban people to their ancestors and traditions.

2.Karlina, Dina (2023-09-30). "The Legal Protection of Ngajat Lesung Dance as a Copyright for Traditional Cultural Expressions". JURNAL USM LAW REVIEW. 6 (2): 873. doi:10.26623/julr.v6i2.7334. ISSN 2621-4105.

3.Yapp, Aloysius; Morah Abas, Anita (2013). "The Ethnic Identity of Sino-Iban in Saribas River and Marup Sino-Iban, Borneo Sarawak". SSRN Electronic Journal. doi:10.2139/ssrn.2342029. ISSN 1556-506

4.Kosmanto, Kokos (2020-10-05). "Strategi Penginjilan Kontekstualisasi Terhadap Kebudayaan Gawai Dayak Bakati Di Kiung". dx.doi.org. Retrieved 2024-04-14.

5.Kiyai @ Keai, Gregory; Tugang, Noria; Seer, Olivia (2020-12-31). "Ngajat Iban: A Cultural Study". Kupas Seni. 8 (2): 70–83. doi:10.37134/kupasseni.vol8.2.6.2020. ISSN 2289-4640.

6."Sapeh Sonok (Sokonah Nongkok): Mengungkap "Laba Lain" dalam Perspektif Pemilik". Prosiding Seminar Nasional Budaya Madura V: Membangun Pariwisata Madura Berbasis Budaya Lokal. UTM Press. 2019-11-27. doi:10.21107/budayamadura.2019.14.

7.Matusky, Patricia (2015-05-28). Engkromong. Oxford Music Online. Oxford University Press.