Bali Travel News

Every fifteen days, on Kajeng Kliwon, the dark forces of Bali gather to frolic and inflict illness on unsuspecting souls. These witches or leyak are humans who, through the study of black magic, are able to transform themselves into grotesque animals, demons, even flying cars. They haunt crossroads, graveyards or bridges, and this particular day, due to its inauspiciousness for dharma, or the correct path, is auspicious for Rangda, queen of the leyaks. A performance of the Calonarang dance is then often held.

As with many Balinese dance dramas, the story is based on historical sources. In the early 11th century, a powerful Balinese king, Udayana, married an east Javanese princess, Mahendratta. When he found out she had been practicing black magic, he banished her to the forest. No one dared to marry her daughter, even though she was stunningly beautiful  so afraid were they of her mother’s magic. To this day the queen, her teeth grown into fangs, her tongue a long flame and her hair full of fire, takes revenge by spreading pestilence throughout the land.

There are many variations on the Calonarang dance, but all involve the Barong — a mythological beast with an immense coat of fur and gilded leather vestments. The most common and sacred is the Barong Ket, a cross between a lion and a bear, although the Barong Macan (tiger), Barong Bangkal (wild boar), Barong Celeng (pig) and Barong Gajah (elephant) also exist.

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Topeng literally means “pressed against the face” or mask. All actors in Topeng dramas are masked refined characters wear full masks; clowns and servants sport a half- mask which facilitates speaking. Topeng is a tremendously popular form in Bali, as it relates local lore and historical tales concerning the royal lineages in scenes of everyday life. Topeng is also immensely entertaining, as the use of humor and clowns is extensive.

The first dancers to emerge are the pengelembar or introductory characters — three or four ministers at the court. Next to appear is the penasar, by far the most important character in the play. His role is a combination of storyteller, royal servant, stage director, and at times music conductor. He extols the virtues of the king in a sung soliloquoy alternating between Kawi and Balinese. As in many dance dramas, form takes precedence over plot.

His younger brother and sidekick Kartala then comes out and the two engage in slapstick antics. Both the penasar and Kartala wear half-masks and speak in colloquial Balinese. The king then appears, moving with delicate steps and thus showing his refined nature. He gestures — as his full mask prevents him from speaking — and the penasar translates for him.

Inevitably there is a kingdom to conquer or a person to rescue. The servants of an opposing king appear and more clowning takes place. Often a series of masked dancers with grotesque features appear one at a time under the guise of joining the king’s army or going to pay homage at the palace. Here, the audience goes wild. Masks with three sets of teeth, burlesque women — even tourists in cock-eyed berets appear on the scene. If the audience is receptive, these antics could go on for hours. Imbedded in the joking, however, are values of religious piety and honesty that the Balinese treasure. Topeng, along with the wayang kulit shadow play, is the primary medium through which Balinese history, values, and even a knowledge of current events are transmitted. In the end, the two factions contend, and the “bad guys” admit defeat.