The Manaradan dancers wear elaborate attire embellished with intricate beadwork. The main ensemble features handwoven fabric called Banat Ngolitan, which covers the dancer’s body, complemented by a skirt known as Tapi Rinugading and a shoulder cloth referred to as Longon. Female dancers also wear a headpiece called Titimbok, an ornament placed at the back of the hair, while the Sisingal, a beaded accessory, adorns the hairline. 

Additional adornments include a beaded necklace called Inggot, paired with a central decorative piece called Sulau, crafted from seashells. Shoulder embellishments consist of flat bead sashes such as Pinakol, Sandang, and Sopilang, worn diagonally across the shoulders. On their wrists, dancers wear Saring bracelets, featuring wide white bangles paired with slim copper ones. At the hips, a finely beaded accessory called Orot fully covers the hips and waist, while for their legs, the dancers wear Bongkol, beadwork anklets.

Typically, this dance is accompanied by traditional Rungus gongs comprising seven types: Koritikon (small gong), Sandangau (small gong), Pompom, Soludon, Tongikon (Tavag), Hungkodonan (Tavag), and Bimbingan (Tavag). Occasionally, the Manaradan dance is performed without musical instruments. Instead, the accompanying sound is produced solely from the stomping or striking of bamboo.

Traditionally, this dance incorporates two key elements: Mongigol Sumundai and Magunatip. The Mongigol Sumundai element represents the basic dance movements, while the Magunatip element uses bamboo during the female dancer’s performance. Consequently, the dance is performed exclusively by women, with the men’s role limited to a single performer responsible for striking or stomping the bamboo in rhythm. One of the prominent movements in this performance is called Mamanbazangan, where the dancer gracefully extends both arms and raises them to waist level. This movement highlights the elegance and harmony of the dancer’s body, bringing the traditional dance to life.

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