Barong: Bali's Guardian Spirit, Rangda and the Dance

In Brief

The Barong is Bali's guardian spirit, a mythical beast danced by two men inside one costume. In Balinese understanding it is Banaspati Raja, the protector of the forest, a power that Balinese scholars connect with Siwa.

In the Barong and Rangda drama, the two figures are often presented as opposing forces. Rangda is the widow-witch linked to Durga and to the old story of Calonarang. Their confrontation is often interpreted as an expression of rwa bhineda, the coexistence of opposing forces.

The common form is the lion-like Barong Ket. Other villages keep a boar, a tiger or a pair of giant human figures.

A village Barong is consecrated and kept in a temple, and appears at ceremonies and at Galungan. The Barong and Kris dance performed for visitors is a staged presentation of a Barong tradition, although its story and ritual context may differ from those of a village ceremony.

When UNESCO inscribed Balinese dance as intangible heritage, Barong Ket was one of the nine dances chosen to represent it.

The Barong at a Glance

What it is: A protective spirit, embodied in a masked costume carried and danced by two men
Who it is: Banaspati Raja, protector of the forest and one of a person's four spirit siblings
Most common form: Barong Ket, the lion-like beast with a red mask, white fur and mirrored gold ornaments
Its opponent: Rangda, the widow-witch, identified with the goddess Durga
The story behind the drama: Calonarang, the widow of Girah whose magic brought plague
Where it lives: Kept in a village temple, brought out for ceremonies and for Galungan and Kuningan
UNESCO: Barong Ket is one of the nine dances in Three genres of traditional dance in Bali, inscribed 2015
In the north: Rare, and all the more interesting for it. Tukadmungga at the eastern end of Lovina keeps a temple Barong that walks the village at Galungan

The Barong Is Banaspati Raja, a Protecting Spirit

Indonesia's Ministry of Tourism calls the Barong the king of the spirits, a guardian who stands for virtue.

It describes the Barong Ket as a lion-like figure covered in thick white fur and adorned with gold and pieces of mirror. Two people dance it, moving as one (Indonesia Travel).

The ministry also says the Barong dance, like the sanghyang trance dances, belongs to Balinese culture older than Hinduism on the island.

The Balinese reading: one of a person's four spirit siblings

The Buleleng culture office gives the Balinese reading. In this teaching each person is accompanied through life by four spirit siblings, the catur sanak. One of them is Banaspatiraja, the spirit who gives a Barong its taksu, its charged, protective power (Buleleng Culture and Tourism Office).

A 2019 study in the ISI Denpasar arts journal Mudra defines the Barong as the form of Banaspati Raja. This magical beast is Siwa's manifestation when he destroys disease and danger (Wirawan, Mudra).

How a temple Barong is made

The same study describes how a temple Barong is made.

The mask is carved from the wood of a living tree, often pule. The wood is cut on an auspicious day, after asking permission of the tree's spirit. The carver is himself a priest.

The body is a frame of split bamboo and rattan, dressed in hair and fibre. The tail carries nine peacock feathers and a small bell.

Barong Ket Is the Common Form, and There Are Others

Each region of Bali has its own protective spirit, and the Barong takes a different animal form from place to place (Indonesia Travel).

The Mudra study lists fifteen. These are the ones you are most likely to meet:

Barong Ket (also Barong Ketet): the lion-like Banaspati Raja, found all over Bali and almost always paired with a Rangda.
Barong Bangkal or Bangkung: a boar. In Balinese bangkal is a male pig and bangkung a sow, and children often carry it through the village at Galungan (Buleleng Culture and Tourism Office).
Barong Macan: a tiger, tied to the animal fables of the Tantri, kept in only a few villages.
Barong Landung: two tall human figures, a dark-faced man, Jero Gede, and a pale woman, Jero Luh. The Buleleng office links them to the cult of the Balinese king Jayapangus and his Chinese wife, Kang Ceng Wie.
Barong Asu, Gajah and Sampi: a dog, an elephant and a cow, walked through their villages at Galungan and Kuningan.
Barong Brutuk: found only in Trunyan, on Lake Batur, with a costume of dried banana leaves.

A Barong with a red and gold mask and a body wrapped in black-and-white checked cloth walking along a village road, followed by a young drummer A Barong Bangkal walking a village road in Tabanan, with its drummer behind. Photo: Alain Secretan / Wikimedia Commons (CC BY-SA 4.0)

Two giant Barong Landung figures, a black-faced man and a pale-faced woman in a gold top, standing in a street with villagers and a white umbrella Barong Landung, Jero Gede and Jero Luh, on a street in Ubud. Photo: Alain Secretan / Wikimedia Commons (CC BY-SA 4.0)

Rangda Faces the Barong, and Calonarang Is Her Story

Rangda means "widow".

For Balinese Hindus she is the earthly form of the goddess Durga and the ruler of the graveyard. In the old palm-leaf text of Calonarang she is the widow of Girah (Wirawan, Mudra).

Temples that keep a Rangda may have a white-masked Ratu Ayu, a red-masked Ratu Mas, or both.

The Calonarang story

The Calonarang story is set in Girah, in the Javanese kingdom of Kediri under King Airlangga. The widow Calon Arang is a master of black magic.

Because people fear her, no man dares ask for her daughter, Ratna Manggali. In her anger she takes her book to the graveyard with her disciples and asks the goddess Bhagawati, Durga, for power, and a deadly sickness spreads through the kingdom.

The king turns to the sage Mpu Bharadah, who sends his pupil Mpu Bahula to marry the daughter. Through Bahula, the sage defeats the widow (Ardhana and others, Calonarang dalam Kebudayaan Bali).

Two long palm-leaf manuscript pages inscribed in Balinese script, laid on a dark blue cloth Two leaves of a Calonarang manuscript on palm leaf, kept in the village of Tojan. Photo: Eka343 / Wikimedia Commons (CC BY-SA 4.0)

Calonarang as sacred drama

Performed as sacred drama, Calonarang happens at night, and parts of it may take place in the cemetery. The widow first appears as Matah Gede with her female disciples, the sisya, and transforms into Rangda.

The Barong and Rangda costumes are prepared with offerings so that their chosen dancers, the penyungsung, can be possessed. Men called patih attack Rangda with their kris.

A ritual officiant makes the required offerings before the performance. Afterwards the two figures are returned to their place in the temple (Suryanegara, Revue musicale OICRM).

In some staged interpretations, the Barong's appearance brings the confrontation with Rangda to a dramatic resolution. The encounter is often discussed in relation to rwa bhineda, a Balinese concept of the coexistence of opposing forces. The precise meaning depends on the performance and its ritual context.

A Village Barong Is Consecrated and Kept in the Temple

Not every village or temple keeps a Barong and Rangda. Where one does, the figure is a tapakan, a seat for the deity (Wirawan, Mudra).

A newly made Barong is only a "barong-barongan", an imitation. First it is purified at the sea and consecrated. Then it is brought to life in the ngereh ceremony at the graveyard, and from then on it is treated as holy.

At Galungan the Barong goes from door to door

The time most people see a village Barong is Galungan and Kuningan. These are the ten days when, in Balinese understanding, the ancestors return (see Galungan and Kuningan).

The custom is called ngelawang, from lawang, a door. The Barong is paraded from house to house to the gamelan called batel bebarongan, often by children and teenagers of the village arts club. The purpose is to turn away misfortune and drive off harmful spirits (Buleleng Culture and Tourism Office).

Households wait at the gate with an offering. Balinese offerings explained covers what goes into one.

UNESCO chose Barong Ket to represent the entertainment dances

UNESCO's inscription file for Balinese dance chose Barong Ket "Kuntisraya" to represent the entertainment genre. Its example is a studio from the village of Kapal in Badung (nomination file).

The file also notes that the purification ritual for dancers and musicians is still performed before they begin, even when these dances are staged for tourists.

For how the sacred and staged dances fit together, see Balinese dance and music.

The Barong and Kris Dance Is the Staged Version

The Barong and Kris dance puts a version of the story on a stage.

In the Ministry of Tourism's account, men with kris daggers fight. When the Barong appears, they turn the blades on themselves in trance. After the Barong defeats Rangda, they are brought round with a sprinkle of holy water.

The ministry names the best-known regular performances as those of the Batubulan villagers in Gianyar and at Kesiman in Denpasar. Check times with the venue on the day.

A masked dancer with a white mane and a fallen figure on a temple forecourt, with dancers in gold and checked cloth, spectators' heads in the foreground A kris and Barong dance in a temple forecourt, photographed in February 1962. Photo: Don Christie / Wikimedia Commons (CC BY-SA 4.0)

Barongs Are Rare in North Bali, and Lovina Has One

The north has fewer Barongs than the south, and Buleleng's own culture office says so plainly.

Barong traditions are not widely found in north Bali. Where they exist, in places such as Pemaron and Tejakula, they are rare exceptions. The Barong dances staged at the Buleleng Festival from 2014 to 2016 followed the south's model (Buleleng Culture and Tourism Office).

The Mudra study lists one form, the Barong Singa, as found only in Buleleng, where it serves to ward off calamity.

Tukadmungga, Lovina: the temple Barong visits each house before Galungan

Tukadmungga is at the eastern end of the Lovina strip. Its Barong comes down from the Pura Desa on penampahan, the day before Galungan, and visits every house in the village.

Families put an offering of flowers, incense and a little money at the gate. A dancer walking with the Barong collects the money.

The purpose, the culture office explains, is to honour the lower spirits so they do not disturb the holy days. It is also to ask safety for the whole village (Buleleng Culture and Tourism Office).

Pemaron, the next village, is one of the exceptions the office names.

Banyuatis and Umejero, in the hills: Barong Ket at the Bali Arts Festival

In July 2025 Sanggar Tri Bhuwana Giri of Banyuatis entered the Barong Ket competition at the Bali Arts Festival. Buleleng had long sat out that competition.

Its Barong was danced to north Bali gong kebyar, fast and sharply accented. The studio's mentor, Gede Yudi Gautama, described the sacred figure Banyuatis worships as Ratu Gede as part of the calling (Buleleng Regency).

In June 2026 the regency was represented by Sanggar Seni Wahana Santhi of Umejero with "Singa De Barong" (Buleleng Regency).

On the beach at Lovina

The Lovina Sunday Market opened in July 2025 with a Barong and Rangda dance on the sand. The Barong is also part of the traditional programme at the Lovina Festival.

A Barong and Rangda dance on a round stage on the sand, with a band stage and the sea behind The Barong meets Rangda on the sand at the market's opening. Photo: Palm Living.

Palm Living's villas are mostly around Lovina, a short drive from Tukadmungga and Pemaron. Ask the villa staff whether a dance is on nearby.

How to Watch a Barong Respectfully

At a ceremony, wear temple dress, a sarong and sash, and keep to the outer courtyard unless you are invited in. Bali temple etiquette has the full rules.
Do not touch the Barong or Rangda. A consecrated one is a sacred figure, whatever it looks like at a street parade.
During ngelawang, stand to the side and leave the gateway to the household making the offering.
In the kris scenes keep well back, and let the priests and helpers do their work.
Ask before photographing people at a ceremony, and turn off the flash.

FAQ

What is the Barong in Bali? The Barong is a protective spirit, the king of the spirits in Balinese understanding, embodied in a large masked costume danced by two men. The Balinese identify it with Banaspati Raja, a guardian power, and a village keeps its Barong in a temple as a sacred figure.

What does the Barong represent? It represents goodness and protection. In the drama it stands against Rangda, the widow-witch who represents destructive magic, and their encounter is often discussed in relation to rwa bhineda, the coexistence of opposing forces.

What is the difference between Barong and Rangda? The Barong is a four-legged guardian beast, most often lion-like. Rangda is a fanged, long-haired widow-witch identified with the goddess Durga and the graveyard. Temples that keep one usually keep the other, and in the Calonarang drama they meet.

Is the Barong dance sacred? Both, depending on where you see it. A consecrated village Barong at a ceremony or at Galungan is sacred. The Barong and Kris dance performed for visitors is a staged version, though UNESCO's nomination file notes that the dancers and musicians still go through a purification ritual first.

What are the types of Barong? Barong Ket, the lion-like form, is the most common. Others include Barong Bangkal (a boar), Barong Macan (a tiger), Barong Landung (two tall human figures), Barong Asu (a dog), Barong Gajah (an elephant) and Barong Brutuk, found only in Trunyan.

Where can I see a Barong in north Bali? The Barong is rarer in the north. On the eve of Galungan, Tukadmungga in Lovina walks its temple Barong from house to house, and the Barong appears on stage at the Lovina Festival and at regency events. Ask your host whether anything is on during your stay.

Sources

UNESCO Intangible Cultural Heritage, Three genres of traditional dance in Bali and the nomination file, for the nine dances, the Barong Ket of Kapal and purification before tourist shows, read September 2026 (in English)
Indonesia Ministry of Tourism, The Barong and the Kris Dance, for the Barong's appearance, its regional forms, the Calonarang ending and where the dance is performed, read September 2026 (in English)
Komang Indra Wirawan, Liturgi Sakralisasi Barong-Rangda, Mudra 34:3 (2019), ISI Denpasar, for Banaspati Raja, Rangda and Durga, the forms of Barong, how a Barong is made and consecrated, read September 2026 (in Indonesian)
I Putu Arya Deva Suryanegara, Trance and Dance in Bali (1951), Revue musicale OICRM 9:1 (2022), for how a sacred Calonarang is performed, read September 2026 (in English)
Buleleng Culture and Tourism Office, Barong, the ngelawang tradition of Tukadmungga and ngelawang and Barong Bangkung, read September 2026 (in Indonesian)
Buleleng Regency, Barong Ket Buleleng at the Bali Arts Festival, July 2025, and Buleleng's manpower and energy office, Barong Ket as a symbol of harmony, June 2026, read September 2026 (in Indonesian)
I Ketut Ardhana, I Ketut Setiawan, Sulandjari and A.A. Gd. Raka, Calonarang dalam Kebudayaan Bali (Cakra Press with Pusat Kajian Bali, Universitas Udayana, and the Gianyar Culture Office, 2015), for the Calonarang story, read October 2026 (in Indonesian and Old Javanese)

Barong: Bali's Guardian Spirit, Rangda and the Barong Dance