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We know too little of the history of Balinese
culture to separate the various conceptions which have become embodied
in the Barong play. We can only relate what happens, with as few theories
as possible. But in order to understand at all the Barong's dance
we must know a little why he dances and what he dances.
People all over the world have either believed themselves to be descended
from an animal, which helps them like any other ancestor, if approached
with suitable offerings, or, as often in Africa, that an animal was
once helped by one of their ancestors, and so became a grateful protector.
The Barong would seem undoubtedly to belong to the class 'protective
animal'. The protective lion of Buddhism, which in Buddhist pictures
of Indian origin is not shown as a realistic lion but as something
much more like the Balinese Barong, is perhaps derived from a pre-Buddhistic
protective animal, 'friend of the ancestor. Probably the lions in
such paintings are not representations of real lions but of people
dressed up as lions in an exorcistic: lion-dance. With this lion in
its plastic form the Barong seems to be closely associated. The Boma-head
found above gateways in Balinese temples as a defensive ornament is
identical with the Javanese Kala-head, known. As Banaspati, His Majesty
the Lord of the Forest, the most constant name of the Balinese Barong.
Raja Singa, the King-lion mask on the houses of the Toba Bataks in
Sumatra, strongly resembles the Boma in form and function. Several
of their tombstones have a similar mask in fronts and a curved tail
behind, while the, tomb itself has the same curious shape of a sagging
body as the Balinese Barong. One is inclined to read a similar |
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