There is a moment in the progress of the
fight between the Barong and Rangda when the victory of the Barong
seems doubtful. It is then that the Kris dancers rush forward to his
defence and furiously attack the witch. In various parts of Bali they
are called differently Daratan, Penoegdoeg, Ngoerek, Ngoenjing. There
are various interpretations given of their action. In one they are
said to be possessed by boeta-kalas (demons) who form the retinue
of Banaspati Raja, or even to represent the boeta-kalas themselves,
who want to show their readiness to die for their master. In another
their desire to kill Rangda is enhanced by the spell she casts upon
them, and having no outlet for their rage they turn their weapons
against themselves. But the Barong's power, stronger still than that
of Rangda, makes them invulnerable. In yet another it is said that
Rangda, disturbed in her meditations, avenges herself by striking
her assailants with forgetfulness so that they fall inanimate. The
Barong, thinking them dead, brings them to life again. But Rangda's
power has turned their killing power upon themselves and it is only
through the kris that they can find satisfaction. To cut short the
action the kris is taken forcibly away at a certain point during the
scrimmage, but may not be taken away while held towards the body,
be it chest, arm, cheek, or mouth.
Certain of the villagers have a capacity for going easily into trance,
and will appear at every Barong performance. The pemangkoe also prays
Durga, supposing the supply of mediums in the village is short, to
inspire certain of the onlookers who have come from the outside. A
penoegdoeg (follower) is very seldom wounded, and only, it is said,
if he has touched a corpse during the last seven days, or been touched
by some one who has done so. If somebody is wounded the pemangkoe
presses the edges of the wound |
