In the Ngoncong ritual, the use of costumes and accessories plays a significant role as a symbol of respect for traditional customs and enhances the aesthetic quality of the performance. Although the costumes are relatively simple, they are rich in cultural values and reflect the unique heritage of the Bidayuh Salako community. The attire varies slightly depending on the type of Ngoncong ritual being performed, whether it is for healing or thanksgiving purposes.

During the Healing Ngoncong ritual, the performance is accompanied by three female dancers who are responsible for performing the ritual dance around the ceremonial tray (talam). The dancers wear brightly colored or soft-toned kebaya blouses paired with traditional batik-patterned sarongs. The Pangoncong (the ritual healer) wears a more distinctive attire: a plain white shirt symbolizing purity, and black long pants symbolizing strength and authority in leading the ceremony. Before the ritual begins, the Pangoncong ties a piece of cloth around the head, symbolizing the centering of spiritual energy and protection against external disturbances during the ceremony.

For Thanksgiving Ngoncong performances, the dancers wear kebaya blouses of uniform cut and harmonized color, creating a sense of visual uniformity in group performances. Batik sarongs with floral or geometric patterns are the preferred choice. Each dancer holds a small handkerchief, which serves as an essential element in their dance movements.

The Ngoncong ritual requires several specific ritual items and traditional musical instruments that play an essential role in ensuring the smooth execution of the ceremony, in accordance with the ancestral customs of the Bidayuh Salako community. Each item used carries its own symbolism, closely related to their spiritual beliefs.

Several key musical instruments are used during the Ngoncong ritual, whether for healing purposes or during thanksgiving performances, including:

Ganang/Rabana (Drum):

This traditional drum plays a vital role as the leading rhythm setter in the performance. Made from hollowed wood and animal skin, the drumbeats accompany the dance movements and singing while maintaining the tempo of the entire ritual.

Agong (Gong):

The gong creates deep resonant sounds that add depth to the musical rhythm. Its reverberations are believed to produce a mystical aura that helps create a sacred atmosphere throughout the ceremony.

Canang:

A small metallic percussion instrument, the canang is struck rhythmically to add melodic variation to the music. It is played in layers to create bright, resonant sounds that enrich the entire performance.

Violin:

Unlike most Borneo ethnic traditions that primarily use indigenous instruments, the uniqueness of Ngoncong includes the violin as a primary instrument. The violin melody serves as the main accompaniment to the singing of the Panadek Koncong, adding emotional beauty to the ceremonial atmosphere.

The implementation of the Ngoncong ritual requires a carefully arranged and well-ordered process to ensure that this inherited cultural tradition proceeds smoothly while preserving its sanctity. Every stage and step of the ceremony holds specific meanings that are deeply intertwined with the spiritual beliefs of the Bidayuh Salako community.

Initial Preparations: The Preparation of Buis (Offerings)

Before the Ngoncong ritual can begin, the preparation of “buis”, special offerings presented to Jubata (God, according to traditional Salako belief) must be made. These offerings symbolize sacrifice, gratitude, and prayers for well-being. The materials prepared for Buis include one chicken, Poe’ (glutinous rice cooked in bamboo), Tumpi’ (a traditional cake), Bontong (rice wrapped in leaves and cooked in bamboo), Turmeric rice, Flour and sugar, Samangko baras (a small container filled with rice), Topong (betel set: betel leaves, areca nuts, and lime) and One egg.

Commencement of the Ritual

Once all preparations are complete, the ritual begins with the arrival of participants, including the honored family, village community members, musicians, and dancers. The ceremony is carefully led by the Panadek Koncong, who oversees the entire process.

The traditional musical ensemble, including the gong, rebana (rabana), canang, and violin, begins to play softly, setting the sacred atmosphere. The violin plays the central melodic role in the ritual, while the traditional percussion instruments establish a harmonious rhythmic background.

The Ngoncong Songs and Dance Performance

After the music begins, the Panadek Koncong starts singing a sequence of Ngoncong verses. These songs consist of pantun or lyrical poetry in the Salako language, delivered rhythmically with deep expression. Each verse expresses praise, gratitude, and supplications for blessings from Jubata. Among the sung verses are:

Yoiyo Banter Gundan Batiti...

Dalu Tarekng Balampar...

Babunga Baras Iyoiyo Nabek Nyubaie Sakaie...

(The full lyrics are sung in continuous sequence, with the repeated phrase "Iyoiyo" emphasizing the spiritual nature of the chant.)

Throughout the singing, the female dancers, usually numbering three or more, begin to circle around the ceremonial tray (talam). Each dancer holds a small handkerchief between their fingers, which forms part of the traditional dance movements. The dance is characterized by gentle, circular, and controlled movements, symbolizing respect for the ceremonial tray and the graceful demeanor of Salako women.

The Ritual of Charitable Offerings (Derma)

While the ritual is in progress, guests and family members voluntarily place monetary donations into a specially prepared tray. These offerings are given according to each person's ability as a sign of support and shared blessings. The collected funds are then distributed among:

Panadek Koncong (ritual leader)

Musicians

Dancers

The family being honored

Puan Belinda Lim

Mr. London Anak Tasin

 Encik Allen Manium Engang