A PERCEIVED lack of Orang Ulu voices in the burgeoning Dayak music industry is prompting calls for more aspiring singers, especially from the the Kayan and Kenyah community, to come onboard.
Among those encouraging them to step forward is veteran singer and cultural advocate from the Kayan community, Rosiana Urai, who stressed the importance of preserving and elevating their indigenous heritage through music
The 53-year artiste makes no bones about what they need to do from the get-go.
They must not shy away from using their mother tongue in music, she said matter-of-factly, pointing out that this is what heritage is all about.
Urai said despite their rich cultural traditions and unique musical identity, few Kayan and Kenyah voices have reached the mainstream.
“Now, cultural advocates are urging young talents to be bold, embrace their roots, and bring new energy to Dayak music, breathing life into sounds that reflect the heart of Borneo.
“Orang Ulu involvement in the Dayak music industry is still seen as limited, with many talents fading from the spotlight after brief appearances. Although there are singers from the Orang Ulu community, including the Kayan and Kenyah ethnic groups, their musical presence tends to be short-lived.
“We see some of them releasing one or two albums, and then they disappear. There’s no continuity, no follow-up albums, no regular invitations to perform,” she said on the sidelines of the recent event of the 28th edition of the Rainforest World Music Festival (RWMF) at the Sarawak Cultural Village (SCV).
Urai, who is also known as ‘Mama Rock’ said this lack of sustained visibility has raised concerns about the level of support and encouragement for Orang Ulu artistes within the industry.
“The lack of strong Orang Ulu presence in the Dayak music industry could be due to several social and cultural factors, including religious beliefs and limited support from within their own families.
“Many of our Orang Ulu youth, including the Kayan and Kenyah, they are shy and hesitant. Some feel that being involved in entertainment contradicts their Christian values. Parents too, in some cases, are reluctant to support their children in pursuing music as a career,” she said.
Urai believes this perception needs to change.


“To me, music is not something bad. Any profession can lead to negative outcomes if misused. It’s not about the industry itself, but how you handle it. In fact, music can be a source of income and cultural pride if developed properly,” she said.
She also highlighted the importance of preserving language and identity through music.
“One thing I’ve observed is that many Dayak singers today tend to translate songs from English or Malay into their native languages, but that often strips away the poetic beauty of our mother tongues. We lose the depth, the soul of the lyrics.”
In this respect she urged aspiring Orang Ulu artistes to work with proper composers and lyricists and to write songs in their native language.
“At the very least, this is a way to educate the younger generation, to keep our language alive. Don’t be afraid to use your mother tongue in music. It’s our heritage,” she said.
The award winner in the Dayak Artistes and Musicians Association (DAMA) also said that with the rise of social media, new artistes have more platforms than ever to share their talent and be discovered.
“Don’t shy away. You don’t need to wait for a label to notice you anymore. Be consistent, be patient. One day someone will see your work, but it starts with you being brave,” she said.
She also pointed out that a lack of networking and exposure might contribute to the quiet presence of Orang Ulu artistes in the industry.
“We do have Kayan singers, but many don’t want to step forward or don’t know how to carry themselves in the industry. It’s also about knowing how to mill about, how to seek opportunities and grow,” she said, adding that there are probably fewer than 10 Kayan, Kenyah artistes at the moment.
Nevertheless she said, it is important to recognise that there are Orang Ulu artistes who have made it to the international stage, a remarkable achievement that brings pride to the community.
“These individuals have proven that with dedication and talent, it is possible to reach global standards,” said Urai, a composer who won acclaim for patriotic music through the song ‘Telang Usan’, some years ago.
In addition to composing for her own works, she has also written for other Dayak artistes, particularly among the Iban and Orang Ulu communities.
“Through music, we can preserve our identity, inspire the next generation, and show the world the richness of our cultural heritage,” she said.
She is convinced that Dayak music has global potential if rooted in identity.
“With today’s social media platforms connecting people across borders, music rooted in indigenous identity can find audiences worldwide. If our own ethnic communities can appreciate and support these songs, there’s no reason why others wouldn’t be drawn to them as well.
“Take Indonesia, for instance. Dayak music there has become widely popular, both within and outside the community. Similarly, our own song “Berkikis Bulu Betis” has gained international attention, not just within Malaysia but abroad. The Iban rock band Masterpiece is another shining example, their songs are well-received in Indonesia and continue to capture the richness of Iban culture through melody and message.
“An emerging Iban talent like Mawat is also making waves. His recent song, Dayang Bintang, which beautifully integrates all the essential elements of Iban music such as poetic language, storytelling, and cultural nuances stands out as one of the finest examples of how traditional influence can blend with modern production.
“Songs like his show that it’s possible to preserve the “ke-iban-an” (Iban essence) while reaching broader audiences,” she said.
Urai added that seasonal songs, especially those released during Gawai, have also become an important part of the music economy.
“From April to June, there’s high demand for new Gawai-themed tracks, and many local artistes seize the opportunity. It’s not only culturally meaningful, it can also be a good source of income.
“That said, artistes are encouraged to avoid simply copying existing genres such as English or Malay songs and translating them into Iban. Doing so often loses the soul and poetic nature of the original language.
“Instead, artistes should focus on producing original content in their mother tongue, incorporating elements like puisi (poetry) and pantun (traditional verse). That is the strength of music by artists like Mawat and Masterpiece, it remains authentically Dayak while appealing to a wider market.
“In the end, Dayak music, when done with heart, rooted in culture, and presented professionally has no limits. It can go far, and it can go global,” she said.
Urai’s own journey in music began in the late 1980s, during the golden era of cassette tapes. Fresh out of Form 5 in 1988, she stepped into the world of music through Radio Televisyen Malaysia (RTM) Miri, a bold move for a young girl from the longhouse, with big dreams and raw talent.
“I remember auditioning for the Bintang RTM competition back then,” she recalled.
“But I wasn’t selected. Maybe it’s because I came from the rural interior, no experience, no proper clothes that fit the city standards. I had the voice, but perhaps people judged me more on how I looked. If you were from the city, you were the whole package, beauty, style, confidence. I had only my voice.”
Though she didn’t make it to the competition, her talent didn’t go unnoticed. The Kayan, Kenyah DJs at RTM Miri saw something special in her.
“They believed in me and invited me to record with them. We used to do live band recordings right in the RTM studio. I sang in Kayan and Kenyah. It was real, raw, and honest,” she said.
That first opportunity opened the door to a relationship with RTM Miri that has lasted over three decades.
“To this day, they still invite me. It’s been more than 30 years, it’s a bond I truly treasure,” she said.
Urai’s musical journey has taken her far beyond the longhouse and the studio. As a freelance artiste, she has performed across Malaysia, from Gawai concerts to state and federal-level events.
“I’ve sung in Seremban, Penang, Johor Bahru, KL, and Selangor, representing the Dayak community, not just the Orang Ulu. Last year alone, I performed in Penang.”
But while the invitations come, she points out a challenge many Sarawakian artistes face: fair compensation.
“In Sarawak, sometimes we struggle to have honest discussions about fees. If you ask for a higher rate, some might say, ‘Who does she think she is?’ They start comparing you to other artistes who charge less, but without considering the quality, professionalism, or commitment.”
Some singers, she noted, are willing to perform for free or for exposure.
“But for me, I take this job seriously. I give 100 per cent every time I perform. I value music, and I value the art of entertaining. That’s why I believe we deserve to be appreciated not just with applause, but with fair recognition — including payment.”
Despite the challenges, Urai remains deeply committed to promoting Dayak music, especially in native languages, and nurturing the next generation of singers from the Orang Ulu community.
