The capital city in every region in the world is usually populated by people from many different areas and ethnics. In addition the capital city is usually more developed socially, economically, than others cities. It becomes more sophisticated so does Denpasar; as capital city of Bali. Is there any original unique culture from Denpasar which is still alive?

The answer is yes. Nevertheless there are so many people of Denpasar do not realize that they still have “Pangerebongan” (mass trance ritual). “Pangerebongan” is always held twice a year by people who live around the Kesiman Village, East Denpasar.

Eight days after Kuningan holiday, the community of Kesiman village gather in Pura Petilan (well known as Pura Dalem Pangrebongan since the pangerebongan ritual is held in this temple) using traditional costume. The main role is played by the Kesiman community. However this ritual is open to all of people who want to come.

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On 2/10/08, the biggest mass ritual trance ritual which is known as Pengerebongan was held in Petilan temple, in Kesiman village Denpasar. Here are some snapshots from the most famous trance dance in the island.

Petilan temple is situated near the palace of Kesiman many people calls this temple, Pengerebongan temple due to the popularity of the pengerebongan trance ritual that is held in this temple. There are many speculations on the origin of the word “Pengerebongan”; the widely accepted origin of this word is the phrase “ngerehang barong” or “recharging the magical power of the Barong” (protective deities in form of mythological beast). This speculation is supported by the fact that many Barong and Rangda from Kesiman and surrounding villages come to participate in the ceremony.

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In a ceremony to celebrate temple anniversary, one will likely has a chance to witness a singular and very striking form of Balinese religious expression which is known as Onying, in which the temple congregation, usually young men and elderly women, sometimes a few male priests are ‘visited’ by the gods and dance in a ecstatic ‘trance’ state, while carrying heirloom kris daggers, and spears. The entranced dancers often inhale quantities of incense before becoming possessed.

There is no exact pattern or movements in this dancing but the men dance orderly enough at the beginning with the steps and gestures somewhat resembling ceremonial war dance (Baris dance). Suddenly one of the dancers starts crying, then several, and then all the dancers shout; their bodies taut and shaking with tension. Their daggers or spears are extended high in their right hand and brandished. Then the dancers press the daggers into their chests; use all their might to stab themselves. Some dancers hurl themselves to the ground as they try, uselessly, to pierce their throats with their spears.

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A mask and costume representing a mythical, supernatural creature; the most common barong has a costume that looks like a Chinese lion (barong ket) and is animated by two men, one manipulating the mask, the other the hind end.

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Literally “widow”; Rangda is one of the two central figures in the barong play, representing the negative side of man; Rangda is also related to Durga, wife of Siwa, who represents his destructive side.

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