Rangda and Barong

                        Reuben L. Rutledge, Ph.D abd

     The conflict between Rangda and Barong is an important part of Balinese culture. Rangda is the dark, liminal Goddess. She is a manifestation of Durga the Goddess of Death. She is the Queen of the Leyaks. Her armies of bhutas, kalas, and leyaks (types of demons) cause malice, illness, misfortune, and the destruction of crops. She is Mahendratta the Widow Queen. According to Margaret Mead, Rangda is a mother figure, the expression of parent/child relationship in Bali. Rangda is the personification of fear. She is a hairy elderly woman with pendulous breasts. Her eyes bulge. From Her mouth huge fangs and a lolling flaming tongue appear. Her hands are equipped with long nails. She is a resident of cemeteries were She feasts on corpses. She has an appetite for children.   She is associated with black magic.  Her main disciples are Raroeng, Lendi, and Waksisia. When Rangda departs, Raroeng then becomes the ruler. Barong is the personification of white magic. He is the powerful protector clearing away the demonic that crosses His path. Barong is the kaya polarity. He is also associated with King Erlanga. There are various forms of Barong. Barong Matjan is a tiger. Barong Bangkal is a boar. Barong Gadjah is an elephant. Barong Singa is a lion. Barong Lemboe is a cow. The most common and important form of him is Barong Keket, a fantastical abstract beast. Barong is a tantric manifestation of Rangda. He is the propitiated form of Rangda, converted from being a destroyer into a protector. [1] Barong’s appearance is not unlike a Chinese dragon or lion. He is portrayed in a two-person costume. Barong Keket’s face strongly resembles a Chinese lion. This costume is covered with golden hair. The masker’s behavior is not unlike that of Chinese lion dancers. Chinese traders probably introduced this image.  In their battles, neither of them wins. The battles are always a draw.

      Rangda and Barong are Balinese local deities, but do exhibit foreign influences. In Bali, Rangda is associated with Durga.  What is evident about Her is that She displays many of the same features as Kali. Both have a lolling tongue. They are also residents of places of death. Rangda was probably an ancient island goddess who was once married to Siwa. As Siwa is associated with the kings, Rangda’s identity is the mourning widow queen Mahendratta. She was also the domineering wife who controls through black magic. Barong is probably an ancient local god. Buddhism was the other religion introduced into Bali. The Chinese features he possesses are indicative of this. Barong’s conversion into a protector is also very Buddhist. Conversion as opposed to marriage is the preferred method of Buddhists for bringing local deities into the tradition. Their battle is a symbol of the competition of the two religions.  Rangda and Barong are Indianized forms of local deities.

       The mythic battle between Rangda and Barong is recreated in an elaborate masked dance. This performance recreates a legendary battle between King Erlanga and an angry witch. This ceremony, known as the Pura Dalem, occurs in the courtyard of Durga’s Temple of Death on the full moon.  Inside the temple is an image of Durga. On platforms next to the statue are two platforms. On one are placed small doll like figures. These are the dewa alit or little goddesses. The other platform holds the masks of Rangda. This is symbolic of the two aspects of the Goddess.  The mask of Rangda consists of a face featuring bulbous eyes and a mouth in which tusks protrude. From her mouth a lolling and flaming tongue lolls. Her body is covered with hair. Her fingers are equipped with long nails. Her only weapon is a white cloth. The ceremony begins with offerings to the gods. The officiating priests blessing devotees with water and mantra follow this. Then the actual performance begins. Outside the temple the devotees start entering trances. The Rangdas and Barong along with their retinue enter into the performers. Some of the trancers are then brought into the temple and are then dressed up in the Rangda costumes. Inside the temple little girls and women are given the dewa alit dolls. The girls and women then enter a trance and dance with them. The Rangdas are then sent into the crowds in order to cause mayhem. They begin to feed on the dead and the living. They pull effigies from the ground. These can be both adult and children. They ‘kill’ actors sleeping in the graveyard. Then Barong enters the slaughter, and chases off the Rangdas. The ‘dead’ effigies are then carried off in the direction of the sea. Yet Rangda can never be defeated. She returns with Her followers and hurl challenges at the Barong. The Barong lunges at the Rangdas. Men armed with krisses attack the Rangdas. With a flip of Her handkerchief the attackers are forced to turn their krisses upon their chests. With another flick of Her cloth She disappears. Then the performers begin to convulse and pass out.  Eventually Rangda is chased off, but not defeated. The performance ends with the players being incensed in order to bring them out of trance.