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The Barong play of which we will now describe the ending was staged in the middle of the road, and at various points of the performance the players stood aside to let a dog-cart pass; though towards the end, when the trances were in progress, the traffic was held up, and only passed in a long procession when the Barong himself was beginning to move off to his stable.

The Barong's body was made entirely of peacock feathers on a background of black hair, and had a wild, turbulent royal head and grand black beard; from his arched and gilded tail sprouted tufts of red and black hair. Peacock feathers were also attached to the black hair beside his ear. He bombarded the gamelan tremulously with clashing jaws and quick side to side movements of the head like a dancer. He curveted, crouched, sprang, rose high on his toes. His steps, despite his antique air, were light and agile. At last he carried his huge length down the ground, swirling his peacock feathers, swinging his head, his jeweled armor glittering.

As he approached Rangda, who had her back to him and was deep in meditation, he began to move cautiously, step by step, circumventing her, and looking back at her from behind his tail, very high and frightening, but also with a comic effect of peering out of a hiding-place. He was driven back with harsh, uncanny cries, and fell flat over by the flagstaffs, his front legs stretched straight in front, his mask quivering, the front dancer already in trance. Meanwhile several of the 'kris-dancers' had also fallen into trance

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