Kaki Tua (old man) had a fine fat cow which he was very proud of. He refused to lend her when the village wanted to borrow her for the work in the rice fields. One day, the cow strayed into the garden of Bedag, and began eating up his plants. He tried to kill her but he only succeeded in wounding her. The villagers heard of it, and again asked Kaki tua to lend his cow, just to tease him. This time he consented and went to look for her, but she was nowhere to be found. The people said they heard a great thud in Bedag garden; perhaps it was the cow falling down. And sure enough, Kaki Tua did find the cow lying there wounded. He asked the people to help him, and after three tries they managed to get her on her feet. Then they said a charm over her, and this was the song they sand as the charm:

Tinkle-tinkle goes Samplangan’s bell, all set with rubies.
Here comes Ida Bagus Nyoman and sits cross-legged.
The white horse goes trot-trot along the beach.

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According to Covarrubias no dance in the world can be manlier than baris. Baris, a traditional war dance, typifies the strong elegance of the male and is the source of for all masculine dances. The Baris dance can be performed by men in pairs of four, eight, sometimes even tens; the accompanying gamelan is the gamelan gong or gamelan gong kebyar. The word “baris” means a line or military formation, in the sense of a line of soldiers, and referred to the warriors who fought for the kings of Bali. Originally, Baris was performed as a religious ritual. The dancer may bear a kris, a spear, a bow, or other weapons, depending on the variant performed. Baris has an exorcizing character and is invariably danced at important temple ceremony. The special characteristics of baris are its elegance moves and complex facial expressions. The movement of baris is synchronized with the tempo of the music and Baris‘s facial expressions show the varieties of soldier mood such as admiration, wonder, surprise, rage, pleasure, tenderness and love.

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There are several dances which are considered more sacred that others: Rejang, Pasutri, Mendet, Baris Gede and Topeng Pajegan. These are usually performed in the innermost courtyard (Jeroan) of temple. Part of what makes “sacred” is that there is little on no rehearsal of the forms; they are performed for the deities and it is not the compactness of the form that takes precedence in the ritual, but the actual presence of the form.

In the Samuan Tiga Temple of Bedulu, older women called Permas dance Rejang to help purify the temple area.

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