Indonesian Aura Farming Boat Boy Wins Hearts Online

Rayyan Arkan Dikha’s mesmerizing “aura farming” dance during Pacu Jalur turns tradition into viral sensation and cultural ambassador moment.

  • Publish date: Wednesday، 16 July 2025 Reading time: two min read
Indonesian Aura Farming Boat Boy Wins Hearts Online

An 12‑year‑old Indonesian boy, Rayyan Arkan Dikha, recently stole the spotlight with his charismatic "aura farming" dance performed atop a speeding Pacu Jalur racing boat.

Balancing effortlessly at the bow, sunglasses perched and clad in traditional attire, his smooth moves not only energized the rowers but captivated millions on TikTok and Instagram.

The term “aura farming”, borrowed from anime‑inspired internet slang, describes cultivating cool, confident vibes through calm, deliberate gestures. Rayyan's spontaneous performance, complete with hand rolls and subtle poses, embodied this trend, earning him the nickname "The Reaper" online.

His now‑viral dance, often set to the rap track “Young Black & Rich,” has sparked global imitations from high‑profile athletes and celebrities.

Most notably, Travis Kelce, DJ Steve Aoki, MotoGP star Marc Márquez, and PSG players have recreated the moves, elevating the viral challenge across sports and entertainment circles.

Back home in Riau province, Rayyan's fame earned him the title of cultural and tourism ambassador, along with a scholarship prize. He even performed for national dignitaries in Jakarta—a testament to how this traditional role of Tukang Tari (boat dancer) merged seamlessly with modern internet culture.

The Pacu Jalur Festival, a centuries‑old canoe race on Sumatra’s Kuantan river, traditionally features a dancer at the prow to inspire rowers. Rayyan first took on this role at the age of nine and choreographed this now-famous routine himself.

Analysts see Rayyan’s story as a powerful example of how local traditions can gain global resonance through viral authenticity. His cool, organic aura farming moves highlight the universal appeal of confidence and cultural pride—and show how even spontaneous performance can turn into a unifying, cross‑cultural phenomenon.

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