Once upon a time, there was a region named Daha. When Daha was ruled by King Sri Aji Airlangga the region was remained safe and the people were prosperous. On his power, none of thieves had enough bravery to practice their occupation in Daha. And people lived peacefuly. Unlike Girah, one of villages in Daha, was remained unorganized. This was because a widow named Rangdeng Girah, Rangda (the word “rangda” means “widow” in Bali this word is associated with witch and evil) from Girah village, lived there. She had a daughter; named Diah Ratna Manggali who rumored of having a beauty of an angel.

Rangdeng Girah wished her lovely daughter to get marriage soon. But no one have enough guts to marry Diah because Rangdeng Girah was known as a witch who had a great power to harm everyone. Therefore Rangdeng was very angry. One night, she went to graveyard named Gandamayu, followed by her adherents, Ni Larung, Ni Guyang, Ni Lenda, Ni Lendi, Ni Weksirsa, and Ni Mahisawedana. In the midnight, she tranced and asked her adherents to dance. On that moment she put a curse to every one in Girah Village .

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I walked into the compound of the griya (Brahmin household) in the midst of much activity. Their family gods were getting new shrines and every post and pavilion was wrapped in gold-painted cloth; the neighbors were there in droves making offerings, sorting through rice and busying themselves with the myriad tasks any large temple ceremony entails. And this is two weeks before the ceremony even begins.

This compound is where Ida Bagus Oka Wirjana, or Gus Aji Blangsinga as he is more affectionately known (named after his village of Blangsinga) lives with only a few of his l7 children (with Ida Ayu Putu Muter), 27 grandchildren and 4 great-grandchildren. An incredibly handsome and fit man of 73, Gus Aji is one of the living repositories of the famed Kebyar Duduk dance, which was created in the 1930s by I Ketut Mario and has become one of the standards seen in both sacred and secular venues.

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Out of many kinds of masked dances in Bali, Jauk and Telek can be categorized as the most singular one. Jauk is the male version of this genre while Telek is the female one. Jauk and Telek are kind of masked dance that can be distinguished from other kind of masked dances out of its mask, outfit and dance movement.

The mask of Jauk is white or brown, fierce with large eyes and shiny teeth, moustache and sometimes with beard. The striking features of Jauk’s outfit are the bright head dress in the shape of Buddhist stupa and long artificial fingernails. Telek also wears the identifying stupa-shaped headdress and carries a fan, as for the mask, telek wears white mask with smiling pleasant expression. For the movement, Jauk movements is similar to baris (warrior) dance but with more exaggerated violence.

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There are two old manuscripts of Calon Arang folktale. The first one is from Bali and the other is from Java and had been translated into Dutch by R. Ng. Purbatjaraka in Bijdr. K. I deel 82 page 110-180, and then it was sung in traditional symptom by Raden Wiradat and published by Balai Pustaka in 1931 (book series no. 942). Pramoedya Ananta Toer rewrote this folk tale in Javanese version which was written in 1462 of Caka Lunar Calendar and some other folk tales in order to save the existence of the folk tale itself which begins to disappear.

Calon Arang performance on The Annual Bali Arts Festival 2006

In the book of Pramoedya entitle ‘Cerita Calon Arang’ – the Story of Calon Arang, mentioned that Mpu Baradah, a great priest who defeated Calon Arang has a daughter named ‘Wedawati’, Weda is the Hindu’s Bible and Wati is an address for a girl or woman. So, ‘Wedawati’ is the girl who learns Weda. In his writing on Calon Arang he made some characters have same proportion; it seems that there are many central characters inside. They are: Calon Arang, King Airlangga, Mpu Baradah, and Wedawati. In the Balinese version Wedawati is not mentioned but Ratna Manggali, the daughter of Calon Arang is told more.

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The second day of Classical Dance and Drama Performances (28/9/2007) was full to rim with various rare performances, from primitive and mystic Sanghyang Memedi trance dance to highly refined Legong Sudarsana, from grotesque and weird Baris Jangkang to elegant Rejang Renteng. Except for Legong Sudarsana, all these dances are extremely rare and can only be seen in special religious occasions.

The first performance was Sanghyang Memedi trance dance from Buleleng regency. This rare performance is only performed when a serious threat of plague strikes a village, this trance dance functions to ward off both the plague and evil spirits. The performance began in complete darkness, all light was out. A group of men sit cross-legged, sang a merry Sanghyang Song to invite the Memedi (supernatural beings which are well known for their playfulness) to enter the bodies of the mediums. No musical instrument accompanied the first song. After the first song was finished, the dancers sit cross-legged face to face in the center of the stage, a brazier was put between them. The chorus sang another Sanghyang song accompanied by musical instruments which were made of bamboo such as flute and tek-tekan (an instrument which consists of two bamboo sticks, hold in each hand).

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