Barong & Rangda Dance

The natural world to the Balinese is one held in balance by two opposing forces: the benign, beneficial to man, and the malign, inimical to humanity. The destructive power of sickness and death is associated with the latter force and the evil influence of black magic.

If black magic prevails, a village fails into danger, and extensive purification ceremonies become necessary to restore a proper equilibrium for the health of the community. Dramatic art is also a mea of cleansing the village by strengthening its resistance to harmful forces through offerings, prayers and acts of exorcism. Such is the symbolic play of the two remarkable presences-the Barong and Rangda. Barong, a mystical creature with a long swaybackand curved tail, representstheaffirmative, the protector of mankind, the glory of the high sun, and the lavorable spirits associated with the right and.white magic.

The widowwitch Rangda is its"complement. She rules the evil spirits and witches who haunt the graveyards late at night. Her habitat is darkness and her specialities lie with the practice of black magic, the destructive force of the left. Both figures are of the same earthly substance, possessing strong magical prowess. Somewhere in a mythical past, the Barong was won over to the side of humanity, and, in the play, fights on behalf of the people againstthe intruding death force of Rangda. Often the struggle occurs within the framework of a popular story; for instance, an episode from the Mahabharata.

Yet the essence of the Barong and Rangda play remains the eternal conflict of two cosmic forces symbolized in the two protagonists. Because the play is charged with sorcery and magic charms, extensive offerings are made beforehand to protect the players during the performance. Usually the Barong enters first, cleverly danced by two men who form the forelegs and hindlegs, the first man manipulating the mask. A Barong's appearance varies with the kind of mask it wears, which may be stylized version of a wild boar, a tiger, a lion, or occasionally an elephant. The most holy mask and the one used in the play is that of the Barong Keket, "The Sovereign Lord of the Forest", a beast representing no known animal. In the extreme coordination of the lively Barong, one forgets the fantastic creature isn't acting on its own accord, as it mischievouslysidestepsand whirls around, snapping its jaws at the gamelan, and swishing flies with its tail.

After the Barong's dance, everyone falls silent. From behind the temple gate appearthe splintery fingernails that fore shadow the dread ful vision of Rangda. From her mouth hangs a flaming tongue signifying her consuming fire and around her neck, a necklace of human entrails falls over her pendulous breasts. How ing a low, gurgling curse she stalks the Barone while waving a white cloth from whence issues her overwhelming magic. They collide in a desperate clash of witch. craft. In the protection of the Barong lies the preservation of the community, represented by the "kris dancers", men armed with kris dag. gers.

At one point in the fight, when the victory of the Barong is threatened, the kris dancers rush to the Barong's assistance by violently attacking Rangda. The witch's spell reverses their fury back into themselves, and they begin to plunge the blades of their krisses inward against their own bodies. But the Barong,with its own powerful charm, protects the crazed men from,inflicting self-harm. In most plays, this phenomenal self-stab. bing is enacted when the kris dancers are in trance. No matter how forcefully they plunge the daggers against their chests, the tips of the blades do not puncture the skin.

At the end of the play, the kris dancers are revived by the pemangku, who sprinkles them with holy Water which has been dipped in the beard of the Barong. (The beard, made of human hair, considered the most sacred part of the Barong). A final offering is made to the evil spirits by spilling the blood of a live chicken.