Fact-checked by Grok 2 weeks ago

Rangda

Rangda (Old Javanese for "widow") is a prominent mythological figure in Balinese Hinduism, depicted as the demon queen and witch who embodies destructive forces and the darker aspects of femininity, often portrayed in ritual dances as the eternal antagonist to the protective spirit Barong.^[1] Her origins trace back to the 10th-11th century Javanese legend of Calon Arang, a tale of a vengeful widow who unleashes black magic on a kingdom after her daughter's rejection in marriage, ultimately subdued through ritual exorcism by a priest and his son-in-law.^[2] This narrative is believed to draw from historical events involving Queen Mahendradatta, consort of King Udayana of Bali and mother of King Airlangga, whose reign in East Java and Bali during the Medang Kingdom era intertwined politics with accusations of sorcery and devotion to the goddess Durga.^[2] In Balinese cosmology, Rangda represents the principle of Rwa Bhineda, the dualistic balance between good and evil, purity and impurity, serving as an avatar of Durga in her fierce, chthonic form akin to the Indian goddess Kali, yet adapted to local animistic and Hindu traditions.^[3] Physically, she is iconically portrayed with a snarling fanged mask, disheveled hair, bulging eyes, a long protruding tongue, and ornaments of human skulls, symbolizing her role as a child-devouring leyak (shape-shifting witch) who flies at night and leads an army of demons.^[1] Her significance extends beyond mythology into vital cultural rituals, particularly the Calon Arang and Barong performances, which are not mere entertainments but exorcistic ceremonies to purge negative energies, restore communal harmony, and protect against illness and misfortune in Balinese society.^[4] Rangda's worship occurs at Pura Dalem temples dedicated to Durga, where offerings and invocations acknowledge her transformative power from chaos to order, reflecting Bali's syncretic blend of Indian Hinduism, indigenous ancestor cults, and Javanese influences.^[2] These practices underscore her role in education and moral instruction, teaching the community about the perils of unchecked desire and the necessity of equilibrium in the universe, while her image in masks and carvings reinforces Balinese artistic traditions tied to spiritual efficacy.^[3]

Mythology and Legends

The Calon Arang Story

The Calon Arang story is a foundational Old Javanese legend from the 11th century, set during the reign of King Airlangga (also known as Erlangga) of the Kahuripan kingdom in eastern Java, and it serves as the primary mythological origin for the figure of Rangda.^[5] The narrative, preserved in palm-leaf manuscripts and first critically edited in the early 20th century, depicts a tale of sorcery, revenge, redemption, and the clash between black and white magic, originating from the Kediri period (circa 1135–1159 CE) but transcribed in later Old Javanese prose texts dating to around the 16th century.^[6] One of the earliest known versions is a 1570 palm-leaf manuscript held in the Leiden University Library Special Collections.^[5] In the village of Girah (or Dirah, near Kediri), lived Calon Arang, a formidable widow and master of black magic, who resided with her beautiful daughter, Ratna Manggali (also called Retno Manggali).^[6] Despite Ratna Manggali's allure, no suitors approached due to the villagers' fear of Calon Arang's fearsome reputation and supernatural powers, leaving the young woman unmarried and fueling her mother's rage against the kingdom.^[5] Enraged by this rejection and her own social isolation as a widow, Calon Arang turned to dark sorcery, invoking leyak—her demonic followers—to spread plague, disease, and death across the land of Daha, the capital of King Airlangga's realm.^[6] Corpses piled up, villages emptied, and the kingdom fell into chaos as Calon Arang's curse decimated the population, targeting women in childbirth and causing widespread infertility and mortality.^[5] Desperate to end the calamity, King Airlangga dispatched his bravest knights and warriors to confront Calon Arang, but they were effortlessly defeated by her magical prowess and the leyak spirits she commanded.^[7] Turning to spiritual counsel, the king sought the aid of Empu Bharada (or Mpu Bharada), a revered Hindu priest and master of white magic, who resided in a distant hermitage.^[6] Empu Bharada, unwilling to engage directly, instructed his devoted pupil, Empu Bahula, to infiltrate Calon Arang's household by feigning interest in marrying Ratna Manggali.^[5] Bahula succeeded in winning Ratna Manggali's hand and, through her unwitting assistance, gained access to Calon Arang's sacred book of black magic spells, which he secretly copied and delivered to his master.^[6] Armed with knowledge from the stolen text, Empu Bharada devised countermeasures using white magic to neutralize Calon Arang's powers.^[7] The climax unfolded in a fierce ritual confrontation at Calon Arang's abode, where she summoned her leyak demons in a whirlwind of black sorcery, transforming her disciples into monstrous buta kala spirits to battle the intruders.^[5] Empu Bahula, empowered by his teacher's incantations, weakened Calon Arang by disrupting her magical source, leading to her defeat and apparent death in the ensuing clash.^[6] However, moved by her pleas for mercy, Bahula revived her with a ritual, guiding the repentant sorceress toward spiritual enlightenment and moksa (liberation), though her unleashed spirit ultimately manifested as the demon queen Rangda, a protective yet perilous entity in Balinese lore.^[6] This transformation elevated Calon Arang from a vengeful human figure to a supernatural guardian, embodying the legend's themes of destructive power tempered by redemption.^[5] The story's transmission began as an oral folktale in Java before being committed to Old Javanese manuscripts, with the earliest scholarly edition published by R. Ng. Poerbatjaraka in 1926 as De Calon-Arang, drawing from 19th-century Balinese copies that trace back to the Majapahit era's cultural migration to Bali after 1478 CE.^[8] Over centuries, the narrative evolved through performances but retained its core as a cautionary tale of unchecked anger and the balance of cosmic forces.^[6]

Role in Balinese Cosmology

In Balinese Hindu cosmology, Rangda is revered as the queen of the leak, or witches, embodying the fierce and destructive aspect of the goddess Durga, which represents the raksasa (demonic) forces essential to the cosmic balance.^[9]^[10] This positioning aligns with the principle of rwa bhineda, the dualism of good and evil, where Rangda symbolizes the chaotic and impure elements that must coexist with purity to sustain universal harmony, rather than being eradicated.^[3] As a manifestation of Prakerti (the feminine creative force) in Shivaistic teachings, she counterbalances Purusa (the masculine principle), illustrating the dynamic interplay of opposing energies in the spiritual realm.^[10] Rangda's eternal antagonism with Barong, the protective lion-like spirit, exemplifies this dualistic struggle, particularly in the Barong-Rangda dance, where their confrontation symbolizes the perpetual battle between chaos and order without a definitive victor, ensuring ongoing equilibrium.^[10] This ritual enactment underscores Rangda's role as both a fearsome adversary and a protective entity, invoked to ward off greater evils by channeling destructive energies.^[3] She shares strong associations with deities like Kali, reflecting traits of time, death, and transformation, and with Durga as her primary avatar, while overseeing leyak spirits that amplify her influence over the supernatural.^[9]^[10] Within broader cosmological concepts, Rangda governs domains in the spiritual realm tied to death, fertility, and misfortune, wielding powers that can disrupt or restore natural cycles, such as disease and agricultural bounty.^[3] Her integration into tri hita karana—the philosophy of harmony among humans (pawongan), nature (palemahan), and the divine (parhyangan)—positions her as a necessary force for maintaining this triadic balance, where her appeasement prevents imbalance.^[9] As a bhuta kala (demonic spirit), Rangda must be propitiated through offerings in rituals like those during Galungan and Kuningan, ensuring cosmic equilibrium by acknowledging and neutralizing potential malevolence.^[10]

Depictions and Iconography

Physical Appearance and Attributes

Rangda is traditionally depicted as a monstrous, elderly female figure embodying terror, characterized by wild, unkempt hair often aflame or matted, bulging or projecting eyes, enlarged white fangs that curl upward, a long lolling tongue, pendulous breasts, and sharp claws or long nails.^[11]^[12] She is often adorned with ornaments of human skulls, particularly children's, symbolizing her role as a child-devouring leyak.^[1] These features, rendered in stark black or red tones, emphasize her fearsome and demonic visage to evoke dread and chaos.^[12] In iconographic representations, Rangda is shown wearing geometric or checkered robes, sometimes incorporating motifs of tigers or snakes to signify her wild, predatory nature; she frequently wields a keris dagger or staff as symbols of her destructive intent and is often surrounded by flames or attendant lesser demons known as leyaks.^[12]^[13] As the adversarial counterpart to the protective Barong in Balinese duality, her props underscore her role in cosmic conflict.^[13] Variations in her depiction occur between static temple carvings, typically sculpted from painted wood or stone to capture her gaunt yet powerful form, and dynamic mask designs used in rituals, which incorporate real human hair, fiber, or carved elements for added texture and realism.^[14]^[11] Masks, crafted primarily from pule wood (Alstonia scholaris) and adorned with paints and integrated offerings like incense, highlight differences in scale and detail, with carvings emphasizing permanence and masks allowing for performative exaggeration.^[14] These attributes, drawn from traditional craftsmanship using natural woods, pigments, and ritual elements, reinforce her as a chthonic force in iconography.^[13]

Representations in Art and Performance

Rangda is prominently featured in Balinese temple carvings, particularly in Pura Dalem temples dedicated to death and the underworld, where sculptures depict her as a fierce demoness embodying Durga's wrathful form, often shown with protruding tongue and fangs to ward off evil spirits.^[15] These stone reliefs illustrate scenes from the Calon Arang legend, with Rangda surrounded by her followers in dynamic, grotesque poses that emphasize her role as a protector against malevolent forces.^[10] Illustrations of Rangda appear in traditional lontar manuscripts, palm-leaf texts that recount Balinese Hindu myths, where she is painted in vivid colors amid episodes of sorcery and redemption from the Calon Arang story, serving both narrative and ritual purposes in temple libraries. In contemporary Balinese art, Rangda motifs inspire wood carvings and batik textiles, with artisans in areas like Ubud crafting intricate panels and fabrics that blend traditional iconography—such as her bulging eyes and disheveled hair—with modern abstract styles for decorative and ceremonial use.^[16] In performing arts, Rangda holds a central role in the Barong and Kris Dance, a ritual drama where she confronts the lion-like Barong in a symbolic mock battle representing cosmic balance, accompanied by the percussive rhythms of a gamelan orchestra that intensify the dramatic tension.^[17] Performers don elaborate Rangda masks carved from sacred pule wood in the patah semprong style, featuring broken, horn-like projections for her wild hair, and costumes including a flowing white sarong accented with poleng checkered cloth to evoke her dual nature as both destructive and protective.^[18] During the choreography, which involves hypnotic swaying and thrusting movements, dancers wielding kris daggers often enter trance states, channeling Rangda's energy to purify the community from negative influences.^[19] The Calon Arang play further showcases Rangda as the antagonist witch who transforms into a spectral force, enacted through masked dance-drama that culminates in her ritual defeat and redemption, with regional variations such as more elaborate sword fights in Tabanan performances compared to the trance-focused versions in Ubud.^[17] In these enactments, the Rangda performer leads a chorus of followers in synchronized gestures that mimic sorcery, heightening the audience's emotional involvement through the interplay of shadow, light, and sound. Rangda also appears in wayang kulit shadow puppet theater, where the dalang puppeteer manipulates her flat leather figure behind a screen to narrate tales of her rampage and eventual harmony, using vocal modulation and gamelan cues to convey her menacing presence during all-night performances tied to temple rituals. Twentieth-century documentation of these performances was advanced by German artist Walter Spies, who in the 1930s captured Rangda dances on film and in photographs, preserving details of trance choreography and mask usage that influenced global appreciation of Balinese arts.^[20]

Cultural and Religious Significance

In Balinese Hinduism and Rituals

In Balinese Hinduism, Rangda plays a central role in rituals that invoke her as a manifestation of Durga, embodying destructive and protective forces to maintain cosmic equilibrium, often in opposition to Barong as part of the rwa bhineda duality of good and evil.^[21] Her presence is summoned through masked performances and effigies to facilitate spiritual balance during key ceremonies. These practices underscore her function in guiding communal harmony by confronting and expelling negative energies. Rangda effigies are invoked in rituals such as those during Galungan, the 210-day festival celebrating dharma's victory over adharma, where they are carried in processions to symbolize the containment of chaotic forces and to restore order after ancestral spirits visit the earthly realm.^[4] Protective ceremonies known as pembersihan, or village purifications, frequently summon Rangda to transform negative forces, including evil spirits and leyak witches, with performers entering trance states to channel her power and ward off misfortune, often accompanied by offerings such as chickens to appease disruptive entities.^[22] These rituals emphasize communal participation, where the invocation of Rangda's fierce energy cleanses the banjar (village community) from spiritual impurities, preventing epidemics or discord. Rangda holds strong associations with pura dalem, temples dedicated to death and the underworld, where her sculptures and shrines embody Durga's chthonic aspects, serving as focal points for rites addressing mortality and the afterlife.^[9] In these temples, sekaa groups—village dance troupes—perform trance-inducing Barong-Rangda rituals during exorcisms, allowing participants to stab themselves with kris daggers unharmed, symbolizing immunity from harm through her protective wrath.^[23] In community practices, families often consult balian shamans, who may draw taksu (spiritual power) from Rangda masks or effigies to heal curses, infertility, or spiritual afflictions, integrating her as a source of occult potency for restoration.^[24] Female balian often lead such rituals, channeling aspects of feminine power associated with Rangda, including fertility and menstrual cycles.^[25] During specific festivals, Rangda participates in spirit ceremonies tied to Nyepi, the Balinese New Year, where pre-Nyepi processions like Melasti invoke her alongside Barong at beaches for purification, expelling malevolent forces before the day of silence.^[26] These rituals continue in modern Bali, including in contexts influenced by tourism, maintaining their spiritual significance as of 2025.^[27] In temple odalan anniversaries, her effigies and dances feature prominently in pura dalem celebrations, reenacting cosmic battles to renew the temple's sanctity and protect the community for the coming cycle.^[28]

Symbolism and Interpretations

Rangda embodies the destructive power of the feminine divine, often linked to the concept of shakti as a chaotic force that disrupts order while facilitating renewal, representing the balance between death and rebirth in Balinese cosmology.^[4] As a manifestation intertwined with Durga, she illustrates a fluid transformation between benevolence and malevolence, underscoring the dualistic nature of divinity where destruction paves the way for regeneration.^[21] This symbolism aligns with broader Hindu-Buddhist syncretism in Bali, where Rangda's fierce attributes—such as her protruding tongue evoking hunger—mirror the raw, untamed energy of the goddess, serving as a brief nod to her iconographic traits without overshadowing her metaphysical role.^[3] Scholarly interpretations portray Rangda as a cultural archetype that empowers marginalized women, particularly widows and those deemed witches, by channeling societal fears into a figure of agency and resistance against patriarchal norms.^[29] From an anthropological perspective, she maintains social order by embodying communal anxieties about disorder, with her confrontations in performances acting as a mechanism to reinforce harmony through ritualized fear and resolution. Clifford Geertz analyzed Rangda within Balinese ritual theater as a singular figuration of profound dread intertwined with levity, akin to a "theater of cruelty" that exposes the raw undercurrents of human emotion and societal structure, drawing parallels to Antonin Artaud's concepts while emphasizing cultural specificity.^[30] Psychologically, Rangda's presence induces trance states during performances, providing catharsis for collective repressions such as jealousy and rage, allowing participants to confront and exorcise inner shadows in a controlled communal setting.^[31] These episodes, where dancers stab themselves with krises without harm, reflect a therapeutic release of suppressed energies, mirroring Jungian notions of integrating the shadow self through ritual enactment.^[32] In cultural theories, Rangda connects to Tantric traditions via motifs like matted hair and bond-breaking behaviors, promoting acceptance of "evil" as integral to enlightenment in Hindu-Buddhist syncretism. As a liminal figure associated with crossroads and cemeteries, she bridges the human and spirit realms, embodying the triadic aspects of divinity—creation, preservation, and destruction—in Balinese thought.^[11]

Historical and Modern Contexts

Historical Evolution

The origins of Rangda trace back to the 11th-century Calon Arang legend from Java, preserved in 12th-century Old Javanese kakawin poetry that depicts a vengeful sorceress subdued by royal intervention, blending historical and mythological themes.^[33]^[3] The figure evolved from this literary portrayal into a central demonic icon through oral traditions that amplified her fearsome attributes, including temple inscriptions that reinforced her role as a manifestation of chaotic forces in Balinese cosmology.^[3] The spread of the Calon Arang legend to Bali occurred in the 14th century via the Majapahit Empire's conquest and cultural expansion, which integrated Javanese Hindu-Buddhist traditions into Balinese society following the 1343 invasion.^[34] Javanese nobles and priests fleeing Islamic advances brought texts and performances, transforming Calon Arang—renamed Rangda, meaning "widow" in Old Javanese—into a performative demon queen opposing the protective Barong in ritual dances.^[17] Key manuscripts like the Aji Saraswati, a palm-leaf lontar from 1922 detailing spiritual formulas and ethics for performers, further codified her transmission from literary antagonist to ritual embodiment of evil, guiding trance states and exorcistic rites.^[35] During the Dutch colonial period in the 19th and early 20th centuries, ethnographic studies began documenting Rangda in Balinese rituals, often framing her as a symbol of indigenous superstition amid efforts to catalog and control local customs.^[36] These records, compiled by colonial administrators and early anthropologists, noted her prominence in village ceremonies despite occasional suppression of "heathen" practices. In the post-independence era, scholars like Jane Belo provided detailed documentation of Rangda's role in trance rituals and cosmology through publications based on 1930s fieldwork.^[37] The 1930s arts revival, spurred by Western artists such as Walter Spies and Rudolf Bonnet through the Pita Maha cooperative, influenced depictions of Rangda in paintings and carvings, blending traditional iconography with modern styles to elevate her visibility in Ubud's cultural scene. Following the catastrophic 1963 eruption of Mount Agung, which killed over 1,000 and was interpreted as divine imbalance, recovery rituals incorporated intensified Rangda-Barong performances to restore cosmic harmony, culminating in the rescheduled Eka Dasa Rudra ceremony in 1979.^[38] From the 1980s onward, the rise of mass tourism bolstered the preservation of Rangda performances by funding village troupes and integrating them into staged shows, though this commercialization sometimes shortened rituals to suit visitor schedules while sustaining their transmission amid economic pressures.^[39] This period marked a shift where Rangda's iconic status, evolved from Java's literary roots through oral and inscribed traditions, became a cornerstone of Bali's cultural identity, ensuring her enduring role in rituals despite external influences.^[40]

Contemporary Relevance and Adaptations

In contemporary Bali, Rangda figures prominently in commercialized performances tailored for tourists, particularly in cultural hubs like Ubud, where the Barong-Rangda dance is staged nightly to attract visitors and boost the local economy. These adaptations often shorten traditional rituals to fit short attention spans, transforming sacred enactments into entertainment spectacles that generate significant revenue but raise ethical concerns about cultural dilution and exploitation since the 1990s tourism boom. Scholars note that such commodification risks eroding the spiritual depth of performances, as troupes prioritize audience appeal over ritual authenticity, leading to debates on balancing economic benefits with cultural preservation.^[41]^[42] Rangda has permeated modern media, appearing as a formidable antagonist in Indonesian horror films of the 2010s, such as the 2014 short Rangda and animated features like Chhota Bheem and the Throne of Bali (2013), where she embodies chaotic supernatural forces. In video games, she serves as a central villain in The Witch and the Hundred Knight 2 (2016), portraying her as a protective yet destructive matriarchal entity. Western adaptations trace back to influences from artist Walter Spies, who in the 1930s collaborated on Balinese-inspired ballets like those documented in Dance and Drama in Bali (1938), inspiring later global interpretations that blend Rangda's iconography with contemporary choreography.^[43]^[44] Post-2002 Bali bombings, Rangda rituals have evolved to symbolize communal resilience and opposition to terrorism, with performances like protective Barong-Rangda enactments deployed at public events to ward off further threats and restore social harmony. These adaptations frame Rangda not solely as evil but as a necessary counterforce to chaos, aiding psychological recovery and reinforcing Balinese identity amid trauma. In environmental activism, Rangda imagery appears in protests against overdevelopment, such as the 2018 Bali Tolak Reklamasi campaign, where her demonic form critiques land reclamation's destructive impact on sacred sites and ecosystems.^[28]^[45] Globally, diaspora communities have reclaimed Rangda through feminist lenses, viewing her as an empowered widow-sorceress challenging patriarchal norms, as explored in modern interpretations like the 2023 film Groh Goh (Rehearsal for Rangda), which centers matrilineal knowledge transmission. Some therapeutic practices incorporate Rangda motifs for trauma healing, drawing on her transformative role from plague-bringer to protector in Balinese lore to facilitate emotional resilience. In the 2020s, UNESCO's 2015 recognition of three genres of traditional Balinese dance—including those featuring Rangda—has elevated her global profile as intangible cultural heritage.^[46]^[47]

References

[1]
[PDF] Dancing around the Cauldron with Rangda, the Balinese widow-witch
Oct 11, 2020 · Some significant cultural differences separate and set apart the Balinese story of Rangda, the witch, and other Southeast Asian vampire myths ...
[2]
[PDF] FEMALE DEITIES IN BALINESE SOCIETY: LOCAL GENIOUS ... - Neliti
Oct 30, 2018 · In certain local traditions in Kediri, East Java and also in Bali, it is mentioned that. Mahendradatta is related to the story of Calonarang, ...
[3]
Weiss 2017 Rangda and Durga in Bali - Academia.edu
This article examines Rangda and her role as a chthonic and mythological figure in Bali, particularly the way in which Rangda's identity has intertwined ...
[4]
Mysticism Of Barong And Rangda In Hindu Religion - ResearchGate
Barong and Rangda is the concept of Shivaistic divine teachings which explains the dualistic aspects of God as Purusa and Prakerti as a whole unit.
[5]
[PDF] Shaping Barong Dance Drama in Paradise Bali - Redalyc
69 The story, apart from elements of “Utopia” and “paradise regained” has the ingredients of the legendary Calon Arang tale about the widow-witch Calon Arang or.
[6]
[PDF] Adaptation and Representation of Narcissistic Desires of Calon ...
Historically the existence of Rangda and Barong started from the text of Calon Arang, which initially came from the island of Java in. Indonesia. This fact ...
[7]
None
### Summary of Calon Arang Folktale Mentions Related to Airlangga
[8]
the "samaya" of bharadah and kuturan - jstor
What follows is my own summary of the text and translation given in R. Ng. Poerbatjaraka, "De Calon-Arang," Bijdragen tot de Taal-, Land- en Volkenkunde,.
[9]
[PDF] FEMALE DEITIES IN BALINESE SOCIETY: LOCAL GENIOUS ...
Oct 30, 2018 · Gottowick mentions that this Calonarang is related to the story of Rangda and. Barong in the context of the Balinese dance. Gottowick quotes ...
[10]
Mysticism Of Barong And Rangda In Hindu Religion - ResearchGate
Barong and Rangda is the concept of Shivaistic divine teachings which explains the dualistic aspects of God as Purusa and Prakerti as a whole unit.
[11]
Part 2 - Duality and Symbolism in Balinese Performance Art
Jan 2, 2024 · "Rangda" in Balinese also means "widow" and the figure is associated with cemeteries and crossroads. The goddess / demon is considered the queen ...
[12]
[PDF] Configuring Rangda and Durga in Balinese and Bengali Films
The film tells the story about Calon. Arang (Rangda), a widow with powerful black magic skill that intends to trample down the in-power King Airlangga and rule ...
[13]
None
### Summary of Rangda's Appearance, Symbolism, and Iconographic Elements in Balinese Culture
[14]
Bali's elaborate masks offer a connection to the gods
15 Mar 2023 · Ida Bagus Anom Suryawan holds a mask he made depicting the Rangda White, a demon queen from Balinese Hindu mythology. It's believed that every ...
[15]
[PDF] Offerings to Durga and Pretiwi in Bali - Asian Ethnology
Betari D urga. Betari Durga is widely known in Bali as the terrifying goddess of death who resides in the various Pura Dalem，the temples near the graveyards and ...Missing: carvings | Show results with:carvings
[16]
https://www.academia.edu/33436944/The_Beauty_of_Bali_Products_and_Art
[17]
Barong, Rangda, and Calonarang
They are Barong, resembling a lion with its long mane, and the witch Rangda with matted hair and large tusks. Both are invested with a strong aura of magic.
[18]
Indonesian Dance Masks (Topeng): Spiritually Connecting the ...
Sep 3, 2021 · In Bali they are called topeng (literally meaning “pressed against the face”) and a mask is called tapel in Balinese. There are also dance ...
[19]
(PDF) Rethinking Balinese Dance - ResearchGate
Aug 6, 2025 · The serious study of dance in Bali encounters the problem of how to extricate it from more than a century of European – and now Balinese and Indonesian – ...
[20]
Letter from Bali: films of the 1930s - Asian Review of Books
Sep 3, 2025 · The film brims with Balinese rituals, particularly trance dances like the Barong and Rangda, where dancers, possessed by spirits, embody the ...
[21]
Rangda and the Goddess Durga in Bali | Fieldwork in Religion
Sep 26, 2017 · This article examines Rangda and her role as a chthonic and mythological figure in Bali, particularly the way in which Rangda's identity has ...
[22]
https://brill.com/view/journals/bki/158/1/article-p61_4.pdf
[23]
Manifestations of Presence in Korea and Bali - jstor
Jul 25, 2023 · 20 Rangda emerges from the sacred-most pinnacle of the temple, where the medium meditated and entered the altered state that inspired him to ...
[24]
https://search.proquest.com/openview/87df7980a28f391cb0a29419462048bb/1
[25]
Ritualizing Barong and Rangda: Repercussions of a Collaborative ...
Another important Balinese dance-drama revolves around the mythological battle between Barong, the lion and Rangda, the witch (Tafoya, 2009) . Depending on the ...
[26]
Calonarang Dance: Bali's Darkest, Wildest Ritual Performance That ...
The Calonarang dance is intense. It's a traditional Balinese performance that dives deep into ancient black magic stories, especially the tale of Rangda, the ...
[27]
Scary Mask/Local Protector: The Curious History of Jero Amerika
29 Oct 2020 · “Jero Amerika,” a mask/tutelary god, protects the people of Ubud, a former kingdom of Bali, Indonesia, and today a tourist mecca.
[28]
Dancing around the Cauldron with Rangda, the Balinese widow-witch
Nov 3, 2020 · The Balinese ritual battle between the troubled widow witch Rangda and the gentle Barong offers a circular view of history that arguably holds ...
[29]
[PDF] Clifford Geertz
The interweaving of the malignant and the comic, which the Rangda-Barong combat depicts, animates a very wide range of everyday Balinese behavior, much of which ...<|separator|>
[30]
Cultural Stylization and Mental Illness in Ball TERENCE KETTER
striking aspect of the dance involves about a dozen of the followers of Barong who go into trance and, bewitched by Rangda, turn their kris knives on ...
[31]
INDIGENOUS HEALING PRACTITIONERS AND THEIR USE OF ...
In Bali, so-called “trance dancing” serves as a useful emotional outlet both for the dancer and the observer. What Thong calls “altruistic trance states” are ...<|separator|>
[32]
Calonarang Story: Balinese painting E74214 - The Australian Museum
The stories are about a woman called Calonarang who was rejected (or widowed) by her husband and exiled to live in the forest. Her beautiful daughter, Ratna ...Missing: summary legend scholarly
[33]
Was Majapahit really an empire? - New Mandala
Jan 9, 2020 · According to later Balinese tradition, Javanese nobles were sent to administer the island after the Majapahit invasion of 1343. The Batur ...
[34]
Balinese Calonarang in Performance | Ecumenica
May 1, 2022 · Calonarang has prompted Western assessments by anthropologists, such as Jane Belo, Bali: Rangda and Barong (Seattle: University of Washington, ...
[35]
[PDF] Dutch Colonial Anthropology in Indonesia - Radboud Repository
Abstract. Attempts to assess the results of colonial anthropology in Indonesia faced some problems, which, until recently, have not been dealt with properly ...Missing: records Rangda
[36]
Independence — The Bali Retirement Villages
The Balinese resisted the Japanese occupation, as the Japanese turned out to be much worse as occupiers than the Dutch. A rebel army was formed under the ...
[37]
Traditional Balinese culture; essays : Belo, Jane, 1904-1968
Feb 2, 2015 · Traditional Balinese culture; essays. by: Belo, Jane, 1904-1968. Publication date: 1970. Topics: Bali Island (Indonesia) -- Civilization ...Missing: Rangda 1950s-
[38]
Agung's Eruption: The Wrath of Gods? - Volcano World
Apr 8, 2016 · The ancient texts had stated that the “Eka Dasa Rudra” ritual was to be performed around the middle of February, 1963. Coincidentally, Agung ...
[39]
[PDF] "C ultural Tourism " in Bali: Michel Picard - Cornell eCommons
Within the context of the academic literature on the so-called "social and cultural impact of tourism," it greatly contributed toward promoting this island as ...
[40]
[PDF] RITUALIZING BARONG AND RANGDA - DRUM
There are rituals, practiced in. Bali showcasing Rangda in this manner. For this case study and specifically within this framework of the Barong/Rangda ...
[41]
Authenticity and Commodification of Balinese Dance Performances
According to a tourism survey undertaken by the Bali Tourism Office in 1997 ... The dance essentialry t"pte"ents the eternal Jtruggie Barong) and evil (Rangda the ...
[42]
14. Authenticity and Commodification of Balinese Dance ...
Tourism in BaliBali is a leading international tourism destination. ... Cultural Tourism: Aspects of Authenticity and Commodification 177; 12. The Process ...
[43]
Rangda (Short 2014) - IMDb
... Movie newsIndia movie spotlight. TV shows. What's on TV & streamingTop 250 TV ... OscarsScary Good HorrorHalloween Family FunAFI Film Fest GuideSTARmeter Awards ...
[44]
Rangda | Villains Wiki - Fandom
Rangda is the main villain in the video game The Witch and the Hundred Knight 2. Rangda sees herself as both a protector and mother to the inhabitants of ...
[45]
Bali Tolak Reklamasi: The local adoption of global protest
Oct 21, 2018 · ... environmental activism (Diani, 1992; Gerbaudo and Treré, 2015 ... Rangda, or Kecak and Topeng and let the narrative circle around the ...
[46]
GROH GOH (Rehearsal for Rangda): Reflections on Bali's witch ...
A single channel moving image artwork, the film centres upon a feminist building and passing of knowledge around the mythological figure of Rangda, extending ...
[47]
Three genres of traditional dance in Bali
There are three genres of traditional Balinese dance – sacred, semi-sacred and that meant for enjoyment by communities at large.Missing: recognition Rangda 2020s