The Alai Bubu Dance, also called Main Lukah or Bubu Mengalai, is a traditional dance of the Bisaya ethnic community. The Bisaya people predominantly reside in the Beaufort district, particularly along the banks of the Padas and Klias Rivers. Besides engaging in agricultural activities, this community is renowned for its maritime practices, especially fishing in saltwater and freshwater environments like rivers and lakes. One of their notable skills includes crafting fish traps known as Bubu, locally called Lukah, which are typically submerged or placed in rivers or the sea to catch fish. The origin of this dance, rooted in the mystical beliefs of the Bisaya people, is divided into two versions.

According to the first version, the Alai Bubu Dance originates from a myth about a fish trap believed to be able to "dance." The myth tells the story of a husband and wife who lived by the seaside in ancient times. When the husband passed away, his loyal wife remained behind, mourning his death. During that era, the Bisaya people practised Pagan beliefs, including a unique marriage custom. The tradition dictated that when one spouse died, the surviving spouse was required to follow them into death. This was performed by placing the deceased spouse into a fish trap (bubu), followed by the living spouse, and both were then cast into the sea. This act symbolised a husband's and wife's eternal loyalty, extending beyond life into death.

Following this ritual, a Bobolian (shaman) would summon the spirit of the Bubu to return to the shore. The spirit would then meet with family members or villagers to provide healing for those ill. The shaman would recite incantations, such as the following:

Iya Bamban Iya Lukah,

Utak Bamban Iba Sari,

Main Dengan Sipar Muda,

Silukah Pandai Menari.

The second version explains that the Alai Bubu Dance originated from the Lesung Dance (rice mortar), which was derived from the rice-pounding tradition of the Bisaya ethnic community in Lumagar, Beaufort, Sabah. This dance was performed at night as entertainment after a long day working in the rice fields. 

In the original practice, a Babalian (shaman) would chant incantations to summon the spirit of the rice mortar (lesung), which was believed to leap into the air when the chants were recited. Two assistants to the Babalian would dance while ensuring that the leaping movements of the rice mortar were controlled. The dynamic and leaping movements of the mortar were regarded as manifestations of mystical power, which the community believed demonstrated supernatural forces. This made the rice mortar Dance an entertaining performance and a profound spiritual and cultural expression.

However, a tragic incident during a rice mortar Dance performance led to its transformation. A dancer was fatally injured when the leaping rice mortar fell on them, deeply impacting the local community. As a result, they decided to discontinue using the rice mortar in the dance. Instead, they introduced the Salihid, a fish trap (bubu), as a new symbol in their cultural performances.

Over time, the elements of black magic and spiritual elements in this tradition were abandoned due to prohibitions imposed by the Sabah Islamic Religious Affairs Department. Since the revival of the dance in the 1980s, the chants have been completely omitted from the practice. By then, only a few elderly members of the community still remembered the older traditions.

Today, the Bisaya community in Beaufort has voluntarily embraced Islam, and practices associated with older beliefs that conflict with Islamic teachings are no longer observed. The chants that were once an integral part of the tradition are now performed solely as artistic expressions, free from mystical or spiritual connotations. This modern approach ensures that the cultural heritage of the Bisaya people is preserved as a valuable art form while simultaneously respecting the religious beliefs and values of the community.