What Indonesia - Bali is all about ?

The dramatic victory of the Barong is more than a mere symbol of its preservation, it is a material pledge. Black magic, the force of death, is not destroyed, but it is driven away to the graveyard where it belongs; while the Barong, for whose safety his servants the villagers have shown their readiness to sacrifice their lives, returns in triumphant procession to the temple as does also the mask of Rangda in its covered basket, already disembodied.
There is a moment in the progress of the fight between the Barong and Rangda when the victory of the Barong seems doubtful. It is then that the Kris dancers rush forward to his defence and furiously attack the witch. In various parts of Bali they are called differently Daratan, Penoegdoeg, Ngoerek, Ngoenjing. There are various interpretations given of their action. In one they are said to be possessed by boeta-kalas (demons) who form the retinue of Banaspati Raja, or even to represent the boeta-kalas themselves, who want to show their readiness to die for their master. In another their desire to kill Rangda is enhanced by the spell she casts upon them, and having no outlet for their rage they turn their weapons against themselves

Djero Gede swaggered about round the shrines, looking very martial and magnificent, his stomach well stuck out, an over power figure, grotesque and splendid. Men were now dancing a desultory Mendet, mixed Z the women; there was a good deal of confusion, especially round the bale of the Barong Keket. Women were moaning, girls whimpering with fear, as they strained towards the dark mass of figures lying on the ground or crowding round the Barong Bangkal, who stood with Rangda beside Djero Gede. There were prayers, incense, dense kneeling half-circles, the thin peep-peeping of the sacrificial chicken. A woman lying back in the arms of her neighbor talked continually in a high strange voice, and was answered by the pemangkoe.

A shrill uncanny laugh broke from somewhere in the temple as some one else went for a moment into trance. Gradually all became quiet; every one was blessed and sprinkled. All the time, during the excitement of possession, and the lovely calm procession of the dancers, through the kaleidoscope of moods, Djero Loeh looked on from her bale, leaning slightly forward, with nodding head, under her golden tiaraed head-dress. Gradually all became quiet; the crowd separated into little groups, the wayang screens was put up. Lights became scarcer; people drifted away under the stars. Children peered out of the curtains where they had been sleeping below the altars. Every one was preparing for an all-night sitting of Wayangs. An extraordinary feature of every ceremony or preparation in Bali is the alternation of noisy confusion and order, chaos and exquisite design.

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