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Story
of Bali, Indonesia
But
when, late at night, towards the end of some play, the
barong made a dramatic entry, looming out of the darkness
to the sound of agitated drums, it was no longer the
friendly agreeable creature. It advanced slowly, with
strange mee, its gold and mirrors shining dimly in the
lamplight. Now it had become the mystic and supernatural
form of king or saint about to engage in battle against
the forces of evil, a conflict in which the last ounce
of magic strength would be needed to put to flight the
witch or demon foe. This was a dark moment in the drama,
a moment of hovering on the borderline between reality
and the unseen, for more often than not the dancers,
carried away, identifying themselves perhaps with the
beast whose body now enveloped them, fell into trance.
Here a new drama might begin, for the barong often left
the stage, to run quite wild into the night'
The authors concur that Balinese fathers are strikingly
tender, affectionate, and tolerant in interaction with
their children. However, this fact does not justify
equating the father with the playful barong in the classical
dances. For the Balinese, the barong does not represent
life as interpreted by Mead but it is a good, reassuring,
protective, helpful, and entertaining figure. The barong
is also spiritually powerful and he is held in great
awe.
Suryani
(1984) described a mental disturbance of 27 women living
in the compound of the premier royal family of Bali
in Klungkung, a trance disorder which she called bebainan
(see Appendix 1). Symptoms began suddenly and lasted
about 15 minutes to an hour. The women who were studied
described hallucinations and spirits speaking through
them. The spirits usually told the traditional healer
the purpose for coming, i.e., that they came to harm
or kill the person whose body they had entered. The
cause of the disorder could be understood in terms or
an accumulation of stress, a restricted lifestyle of
adolescent girls about which they felt resentful and
pressures on lower-status women to defer to higher-status
families in precisely prescribed manners and language
as they gracefully accepted affronts from the upper
classes. Prospects of marriage or pressure of a newly
married status were also sources of concern .These behaviours
and stressful aspects of the roles were expected or
required to be performed without overt expression of
emotion. However, the women experienced associated inward
emotions of anger, anxiety, and worry. Suryani hypothesized
that trance behaviours (bebainan) provided sufferers
with an opportunity to release feelings of frustration
and anger without risk of widespread disapproval or
stigmatization.
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