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heritage and traditions. Dayung Borih is considered a rite of passage for Bidayuh women. It
marks the transition from childhood to adulthood and signifies their readiness for marriage and
the responsibilities that come with it. This recognition of maturity is empowering for women as
it establishes their status within the community. In cultural preservation, participating in Dayung
Borih, Bidayuh women actively engage in the preservation of their cultural heritage. They learn
about and participate in traditional rituals and practices, which helps keep their cultural identity
alive. This preservation of culture is a form of empowerment as it ensures that Iban traditions
are passed down to future generations. Besides that in some cases, women who excel in their
roles during the Gawai festival may be recognized and become leaders within their communities.
This recognition can provide women with a platform to influence and contribute to decision-
making processes, furthering their empowerment. It's important to note that while Dayung
Borih and Gawai customs contribute to the empowerment of Bidayuh women within their
cultural context, the degree of empowerment can vary among individuals and communities.
Additionally, the role and significance of these customs may evolve over time, influenced by
changing social and cultural dynamics.
5. Conclusion

The exploration of the Dayung Borih's role in the Gawai ritual practiced by the Bidayuh
community, the art elements of the fan's performance theory through Dayung Borih, and the
summary of elements of performance theory by Richard Schechner applied to Dayung Borih
provides a comprehensive understanding of the cultural, artistic, and theoretical dimensions of
this traditional performance. The background of Dayung Borih within the Gawai ritual sheds
light on its cultural and historical significance among the Bidayuh community. Dayung Borih's
role as a ritual performer is deeply rooted in the community's agricultural traditions, spiritual
beliefs, and cultural identity. Over time, it has evolved and adapted to changing circumstances
while retaining its core significance, reflecting the Bidayuh's ability to balance tradition with
contemporary realities. The analysis of the art elements in Dayung Borih's performance,
especially the use of the fan, reveals the intricate aesthetics, symbolism, and cultural messaging
embedded in the ritual. Dayung Borih's dance, attire, and movements serve as a canvas for
artistic expression, communicating the relationship between the Bidayuh people and their land,
as well as the cyclical nature of agricultural life. The fan, as an artistic prop, amplifies the visual
and symbolic impact of the performance. Hence, by applying Richard Schechner's performance
theory to Dayung Borih illuminates the multidimensional aspects of this traditional performance.
Schechner's concepts, such as "communitas," "liminality," and "performance as a mode of
cultural knowledge," provide a framework for understanding how Dayung Borih reinforces
community cohesion, transcends everyday reality, and communicates cultural knowledge. This
theoretical perspective underscores the enduring cultural and social significance of Dayung
Borih's role in the Gawai ritual. In conclusion, In this sense, Dayung Borih in gawai in Padawan is
a performance should be seen as an event and a process actively engaged in by everyone in
attendance and not as a pre-composed product ‘owned’ by performers and transmitted for
audience reception.

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