Travel Reference
In-Depth Information
and confides as much to his friend and charioteer Krishna. Krishna, who is actually an
avatar of the Hindu god Wisnu, then launches into a long theological lecture, in which he
explains to Arjuna that the action is the all-important factor, not the result, and that because
Arjuna is of the warrior caste, his duty is to fight, to act in a manner that's appropriate
to his destiny. This episode of the Mahabharata is known as the
Bhagavad Gita
, and en-
capsulates the core Hindu philosophy of caste, and the notions of karma and destiny. Duly
persuaded, Arjuna joins his brothers in battle, and at the end of eighteen bloody days the
Pandawa brothers are victorious.
Baris
The
Baris
or
Warrior Dance
is most commonly performed as a solo by a strutting young
man who cuts an impressive figure in a gilded brocade cloak of ribboned pennants. He enacts
a young warrior's preparation for battle, goading himself into courageous mood, trying out
his martial skills, showing pride at his calling and then expressing a whole series of emotions,
much of it through his eyes.
Barong-Rangda dramas
Featuring the most spectacular costumes of all the Balinese dances, the
Barong-Rangda dra-
mas
are also among the most sacred and important. Essentially a dramatization of the eternal
conflict between good and evil, they take various forms but nearly always serve as ritualized
exorcisms.
The mythical widow-witch character of
Rangda
represents the forces of evil, and her cos-
tume and mask present a frightening spectacle. The
Barong
is much more lovable, a shaggy-
haired creature with bug-eyes and a mischievous grin, a cross between a pantomime horse
and a Chinese dragon. The Barong Ket (lion) is his most common persona, but you might also
see Barong Macan (tiger), Barong Bangkal (wild boar) and Barong Celeng (pig). All Rangda
and Barong
masks
are invested with great sacred power and treated with extreme respect.
Barong-Rangda dramas can be self-contained, as in the Calonarang, or just one symbolic
episode in the middle of a well-known story. Whatever the context, the format tends to be
similar. Rangda is always called upon by a character who wants to cause harm (unrequited
love is a common cause). She generally sends a minion to wage the first battles, and is then
forced to appear herself when the opposition calls in the Barong, the defender of the good. In
this final confrontation, the Barong enters first, occasionally joined by a monkey who teases
him and plays tricks. Suddenly, Rangda appears, fingernails first, from behind the central
gateway. Flashing her magic white cloth, she harasses the Barong, stalking him at every turn.
When the Barong looks to be on his last legs, a group of village men rush in to his rescue, but
are entranced by Rangda's magic and stab themselves instead of her. A priest quickly enters
before any real injury is inflicted. The series of confrontations continues, and the drama ends
