Datun Julud means ‘long dance’ in the language of the Kenyah Dayak, ‘Hivan Joh’ for the Kayan tribe and ‘Arang Kadang’ for the Kelabit tribe. Traditionally, Datun Julud is performed by a group of women in the Orang Ulu customary receptions. This dance, that symbolizes happiness and gratefulness to the Great Angel, is said to have been created by the king of the Dayak Kenyah tribe in Apo Nayan called Nyik Selong who is brave in playing with weapon that it is difficult to compete him. However, he still doesn’t have an inheritor. In the end one of his daughters-in-law conceived and gave birth to a would-be inheritor. As a sign of gratitude all the longhouse residents were in festivities and danced with graceful movements. Datun Julud normally begins as a solo performance by a female dancer barefooted, and she dances spontaneously with movement akin to the movement of a flying hornbill. Bird’s feathers are inserted in between the fingers of both her hands. All the dancer’s body parts move except the head to avoid too many movements around the heavy copper earrings. With slow and graceful moves the dancer performs according to the beat and music of ‘Sapedan Jatung Utang’. Her dance steps concentrate on the feet movement that is as if ‘walking on ground’, while the hand movement is as if ‘floating or flying in air” If performed in a longhouse, the performance is normally encircling the living room of the village head and sometimes in the whole longhouse, followed by the people who are there then. After performing another female dancer takes her place and this continues until all the females have taken their turns. Nowadays, Datun Julud is a part of the dances usually performed at a longhouse and in celebration events to receive visitors and tourists.

One of the Bidayuh popular dance is Rejang Be'uh. 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 Be’uh 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.

Pisa' Asin is a traditional game of the Melanau community other than Pisa Tibow and is still favoured until now. The Pisa' Asin game is suitable to be played by children and often played during celebration festivals. Pisa' Asin is divided into two versions that is 'asin tu'u' and 'asin bibung'. In 'asin tu'u' the defending players can only catch players that are inside the playing court area only. They cannot catch players that play outside the playing court. In 'asin bibung', the gatuong (middle player) is allowed to chase players who play until they cross the end line of the playing court. But the positions of players who play cannot be out of the edge lines or the head line of the playing court. Players who run straight to the end of the playing court can be chased.

Zapin can be traced to dances introduced by the Middle Eastern missionaries who arrived in the Malay Archipelago in the 14th century. Once performed only by men, it later evolved into a dance that paired men with women as they were dressed in traditional Malay costumes. The dance is accompanied by musicians playing the gambus (short-necked lute), accordion, violin, marwas (bongos) and rebana (drum). Zapin is most popular in the state of Johor. Zapin Melayu Johor’s main structure is divided into three main parts, Taksim or Taqasim, Ragam & Kopak, and Wainab. There are in fact several types of zapin, such as Zapin Mastar, Zapin Tenglu, Zapin Putar Alam, Zapin Pekajang, Zapin Lenga, Zapin Kores, Zapin Padang Sari (Johor), Zapin Salor (Kelantan), Zapin Sindang (Sarawak), Zapin Tingkatalu (Sabah) and many more.

Sekafi is a short-necked plucked lute similar to the sape of the orang ulu community. It is a strummed lute with three brass or wire strings. Like the tafe, its body is made from the soft wood of the jackfruit tree trunk. The surface of the instrument is painted with special designs, which reflect Lundayeh art. Some inter-influence between the sape of the orang ulu community in Sarawak and the sekafi could have occurred as they share similarities in terms of shape and their strummed lute. Their differences, however, are in the design, tune and decorative motifs on their body: these aspects portray the individual creativity of the musical instrument makers. Sekafi is usually performed solo for personal entertainment or as dance accompaniment. Not many Lundayeh in Tenom could play the sekafi today. This non-ability is a similar situation among the Lundayeh communities in Sipitang and Long Pasia.

Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.

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It is said that Mi Kolok was brought in by the Chinese communities who migrated to Sarawak. Thus, this dish is abundantly served in Chinese food outlets. Other references include Mi Kolok in Malay, Kampua in Chinese, and Mi Rangkai/Kering in the Iban language. Basically this dish uses Yee Mee or dried mi served with slices of braised beef or chicken with its soup and sambal (hot chili paste). To prepare the gravy braise the beef or chicken till tender with soup condiments, salt and an adequate amount of water. Then slice the meat when cooked. Put aside the gravy as it can be reheated and water be added in when the amount has reduced. For the sambal grind some chilies with garlic then mix with sweet soy sauce and the juice of musk lime. Braise the noodle with a little salt till soft then drain. Heat a little oil, fry the sliced garlic till crispy then remove. Fry the drained noodle using the garlic’s oil remnant, then enhance with vinegar, fish sauce or soy sauce and salt. Remove and put aside. Fry the sliced meat, add in thick soy sauce, sweet soy sauce, black pepper powder and salt. Blend well then remove. To serve put the noodle into a serving dish and mix with a little of the sambal. Add in the fried sliced meat, fried garlic and garnish with sliced spring onion. Put aside a bowl of the gravy garnished with celery leaves for the soup.

Sape is a traditional lute of the Orang Ulu community of Sarawak, traditionally used by the Kenyah, Kayan and Kelabit tribes. It was once played solely during healing ceremonies at the longhouse, but gradually became a social instrument used as a form of entertainment. Carved from a bole of white wood, the Sape is about over a metre long and approximately 40 centimetres wide. Initially this instrument measured less than a metre and had only two rattan strings and three frets. Today it has up to five strings held by movable wood frets and are tightened or loosened with wooden pegs. This solo instrument’s music is thematic, more often than not inspired by dreams. There are specific compositions for specific ceremonies and situations (marriages, births, harvest times, rain, etc.) which often differ from one sub-ethnic group to another. Typically, the Sape is played while sitting cross-legged on the floor and is used to accompany dances; one for the men's longhouse, the other for the women. Examples include the Ngajat (warrior dance) and Datun Julud. When played for a dance usually two Sapes are used and tuned to different registers of low and high. Sape is occasionally supported by other musical instruments such as jatung utang (wooden xylophone).

The Melanau ethnic is one of the biggest in Sarawak living in the Mukah area. Some are Muslims and some Christians. Those that still practice animism worship the Ipok ‘spirit’, the manifestation of the strength and power of nature. Ipok consists of Ipok Laut (Sea Ipok), Ipok Balau (Jungle Ipok), Ipok Sarauang (Sky Ipok) and Ipok Iyang (Soil Ipok). On the first night the faith healer is alone in his house after being told that someone has fallen ill. The faith healer bargains with the ‘spirit’ including obtaining the spirit’s requests for the Bebayoh ritual. The second day involves the sick and the faith healer at the faith healer’s house or at the sick person’s premises depending on the spirit’s request. On the night itself the faith healer informs the sick person’s family about the spirit’s requests. The preparation begins in the evening of the following day. The Seladai Dance is then performed. The substances for the Bebayoh ritual are young leaves such as the betel nut leaves, jasmine flower, incense, a drum, candle, and glass fragments on a white cloth. Incense is burnt to start the ritual with mantras recited by the faith healer in the language of the faith healer’s spirit and that of the Ipok, at the same time hitting the drum used to detect the sick person’s illness. The candle is lighted inside the drum and then placed on the faith healer’s face. Other musicians play the rest of the musical instruments such as drum, kulintangan and gongs. After detecting the illness, the faith healer swallows the candle. The betel nut leaves are then swayed on the sick person’s body. The Ipok’s spirit enters the sick person’s body to cure him. Then the sick person steps on the glass fragments. The Seladai dance is then performed by seven unmarried couples with the faith healer circling the dancers with the isem pesai (a kind of young leaves). The sick person has to undergo abcentism like he is forbidden to consume stingray and shark, as well as beans and eggs. On final evening (the seventh day) is the end of the treatment. The sick person has to prepare the ‘payment’ to the faith healer that includes gold, a small spear (made of bone – as the spirit’s food), and a live chicken.

Melakut Karat is a traditional game of the Sarawak community. In the Iban language the term ‘melakut karat’ means 'pull and push'. This game aims to test the strength of men when they have to pull out logs of which the tips are buried into the ground, with all might and distantly possible. Logs that are successfully pulled out are measured on the distance they are pulled out of the ground. The man who successfully pulls the furthest usually becomes the mention and attention of women.

The origin of this ethnic group dance is not known but it is strongly believed to be in existence along with the Iban ethnic group since the 16th Century. The Ngajat dance is believed to been performed by warriors on their return from battles. This dance is now performed to celebrate the most significant harvest festival called ‘Gawai’, to welcome important guests to the longhouses for the celebration. 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’. The female dancers have an elaborate headdress, chains, beads and a ‘dress’ that reaches to below their knees with intricate weaving. Traditionally this dance was only performed by male dancers but been innovated and perform by all. The dance is arranged in straight lines and a circle and does involve dramatic leaps and jumps performed by the male dancers. Gongs and other ethnic percussion instruments such as the ‘enkeromong’, ‘bendai’, ‘canang’ and ‘dumbak’ or ‘ketebong’ assemble the music. There are in fact several types of Ngajat dances, such as Ngajat Induk, Ngajat Bebunoh, Ngajat Lesong, Ngajat Semain, Ngajat Berayah and Ngajat Ngemai Antu Pala. The ‘Ngajat Lesung’ for example is one of the famous Iban traditional Ngajat dance in Sarawak. The knees are bent and kept close together as they twist from side to side, ending with a simple tap of the heel on the ground. The arms move from left to right in front of the body. The dance is done gracefully. The hornbill, an iconic bird of Sarawak, symbolizing all the movements. The male dancer in this dance represents the warrior who shows off his strength by biting a wooden mortar called the ‘lesung kayu’ with his teeth while dancing. It weighs about seven kilogrammes.

The ‘Ngajat Lesung’ is one of the famous dances in Sarawak. This is an Iban traditional dance and is believed to have been performed by warriors on their return from battles. This dance is now performed to celebrate the most important harvest festival called ‘Gawai’, to welcome important guests to the longhouses. In this dance, the knees are bent and kept close together as they twist from side to side, ending with a simple tap of the heel on the ground. The arms move from left to right in front of the body. The dance is done gracefully. Apparently, the hornbill, an iconic bird of Sarawak, inspires all the movements. The male dancer in this dance represents the warrior who shows off his strength by biting a wooden mortar called the ‘lesung kayu’ with his teeth while dancing. It weighs about seven kilogrammes. The male dancers wear feathers as part of their headgear, hold an ornate and long shield in their hand with chains, beads and a loincloth called the ‘sirat’. The female dancers have an elaborate headdress, chains, beads and a ‘dress’ that reaches below their knees with intricate weaving. Gongs and other ethnic percussion instruments such as the ‘enkeromong’, ‘bendai’, ‘canang’ and ‘dumbak or ketebong’ provide the music.