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together and lays an hibiscus-petal upon
it. If other penoegdoegs see the wound they will fling themselves
upon it in order to suck the blood. One reads in sensational books
on Bali alarming accounts of bloodshed during kris-dances. It is obviously
impossible to say they are fictitious without having been present
one self. Perhaps it is just one's good or bad luck never to have
been present on such an occasion. Some Balinese did once tell us about
a kris-dance in which a great deal of blood had flowed; though it
appeared that the man who was most desperately wounded was at the
market next day as usual.
The preparations for possession vary in every village. Sometimes each
penoegdoeg will be as it were initiated by plunging his head into
the Barong's mouth; sometimes offerings are made before them and holy
water is sprinkled over their faces and given them to drink. As the
moment approaches for them to become possessed they are watched over
by a number of attendants, who have to keep them under control.
In its simplest form the Barong dance contains no story, and this
solo dance continues to form the prelude to every Barong performance,
however complicated the story may be. Or a few comic masks may accompany
him, who seem to engage in a kind of fight about his person. They
are known as Djaoeks or Omangs, but their association with the Barong
remains mysterious. The following folk tradition attempts to explain
it. In Noesa Penida, above referred to as an abode of demons, lived
a dangerous demon, Djero Gede Metjaling (Tusked Giant), whose chief
abode was the Poera Ped. Once he came over to Bali with many attendant
0mangs, small demons of every color, red, green, |
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