Barong Landung is a magically protective effigy which is found in many villages of Denpasar area in preference to Barong Ket and other types of animal Barong. The word ‘landung’ means tall and indeed the three-meter figures, with human faces and features, tower over their bearers and attendants. A set of Barong Landung consist of five characters: Jero Gede (the Big Man), Jero Luh (his wife), and their three children. Jero Gede has a black complexion, long hair, and fangs while his wife has Chinese features and yellow skin. The children are somewhat shorter and wear mask with pleasant and smiling expression.

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Before we talk about a Balinese stage, let us take a glance on what Oxford Advance Learners Dictionary has to offer on the word ‘stage’ in the context of theater – a raised area, usually in theater, etc. where actors, dancers, etc. perform. When we apply this definition on what is called stage by the Balinese, it is clear that there are only few stages in Bali. But when we define the word “stage” as Balinese define it – place to perform a performance, everywhere is a stage in Bali. For wherever there is a space to dance, to mount a play, there is the Balinese stage.

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Hamlet, or Banjar in Balinese language, is the center of Balinese social and political life. Every Balinese is member of a banjar community, he has an obligation to attend all banjar activities, failure to attend these activities will be punished with fine and constants failure will result exclusion or banishment from the banjar, it means no body will help him when he holds a religious ceremony, especially the big one.

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Cakepung is a male social performance, combination of singing and dancing, done strictly for recreation and amusement, and is found today only in Karangasem Regency and on Lombok, its former vassal state. This folk-performance derives its name onomatopoeically from the sound of its accompaniment, a rhythmic vocal sound similar to that produced by the cak chorus. In the accompaniment, two dozen vocalists chant ‘pung-cakapung’ in unison.

A performance of cakapung might take place any evening during leisure time. The dancers gather at about seven o’clock at the bale banjar with simple costume, a sarong, headdress, a shirt sometimes bare-chested. Some participants bring bottles of tuak (Balinese palm wine), brem (sweet wine) or arak (distilled palm wine).

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Pangrupukan, Balinese New Year eve is always full with celebration and festivity, and ogoh-ogoh, the monstrous doll of Bhuta kala, evil spirit or the personification of negative force, is an indispensable part of this festival.

The ogoh-ogoh is truly monstrous in size and appearance. The inspiration for creating this monster is usually drawn from the Ramayana epic, the tale of Calonarang, and other Balinese folktales. The ogoh-ogoh must be in a form of Asuri Sampad or scary monster, giant, witch and other kinds of monster.

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A day prior to Nyepi, or Balinese New Year, the great Tawur Kesanga ritual is held all over Bali. The word “tawur” literally means, “pay” in a sense of a payment to the bhuta kala, personification to negative force, in order to restore the harmony of life. And kesanga is the ninth month in Balinese Caka calendar. The kesanga is considered the worst month by the Balinese, with troublesome rainy season, and when even the earth is said to be sick and feverish (panes). It is believed that the Lord of Hell, Yama, sweeps Hades of devils, which fall on Bali, making it imperative that the whole of the island be purified.

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The tawur kesanga ritual is always held on the new moon of the ninth month of Balinese Caka calendar that always coincide with the spring equinox. This ritual is believed to be an effective way to purify the island in order to make a harmonious relation between human being and God, human and human, and human and their environments.

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