BALINESE DANCE: HISTORY, TYPES, STORIES. CHARACTERS,

BALINESE DANCE

dancer at an Ubud tourist show in 2010

Dance and drama have traditionally been one and the same. Depending on how you look at it dancers have traditionally played characters and acted and actors have traditionally danced around a lot. The dances usually tell a story, often an episode of a Hindu epic characterized by fighting off evil gods or demons.

Balinese dancers move their necks from side to side as if there necks were made of rubber necks. Their movements tend to be both precise and stylized, with an emphasis on finger and hand movements. Dancers generally dance independently and don’t touch one another. Dances are fixtures of festivals and they are often accompanied by gamelan music.

There are many Balinese dances. Among them are the the “Baris” (“Warrior Dance”), with martial arts style moves; “Janger”, a sitting dance with swaying movements performed by groups of men and women; the “Pendet”, a simple dance often performed before making an offering at a temple; and “topeng”, mask dances. The "Legong" depicts dueling princesses and is sometimes danced by girls in a trance who execute its complex movements without prior instruction. The "Barong" dramatizes the struggle between the benevolent lion-like Barong and the witch Rangda.

Book: “International Encyclopedia of Dance”, editor Jeane Cohen, six volumes, 3,959 pages, $1,250, Oxford University Press, New York. It took 24 years to prepare.

History of Dance in Bali

two young Balinese dancers in 1929

After the Dutch conquest of Bali in 1908, the political and cultural dominance of the Klungkung court in eastern Bali declined. Cultural activity increasingly shifted northward toward Singaraja, the Dutch colonial center. There, new gamelan ensembles and dance associations emerged, and competition among them sparked a cultural renaissance from the 1910s to the 1930s. The most striking innovation of this period was kebyar, a new style of music and dance that developed through rivalry between villages seeking to create bold new compositions. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

As Bali’s reputation spread internationally, Balinese dance troupes began touring abroad. In 1931 a full ensemble performed at the Colonial Exhibition in Paris, followed by tours of Europe and the United States in 1953. Western audiences responded enthusiastically, and Balinese performances deeply influenced modern artists such as Antonin Artaud, who interpreted them through his ideas of “total theatre” and the expressive power of non-Western performance.

To meet foreign audiences’ expectations, the dancer and choreographer I Nyoman Mario created short, easily understood pieces for international tours, including Oleg Tambulilingan, which depicts the courtship of bumblebees. Mario’s works became firmly established in the Balinese repertoire. From this period onward, animal themes inspired many short, non-ritual dances, while gender play—especially women performing male roles—became increasingly prominent in Balinese dance.

Following Indonesian independence, Bali became part of the new republic, and Javanese influences again intensified after centuries of relative isolation. A nationalistic approach to the arts emerged, partly inspired by socialist models, producing dances that portrayed everyday life and social groups, such as farmers and weavers. Kebyar technique was often adopted for these accessible new works. Although many experiments were undertaken, few achieved lasting popularity.

Bebalihan (entertainment dance) refers to the dances performed for audiences and tourists. Many new Bebalihan are created yearly or even monthly. These dances are categorized as Kontemporer or contemporary dance and usually performed in social events.

Kebyar Dances

Gamelan gong kebyar, with its explosive dynamics and richly ornamented sound, is among the most expressive Balinese musical styles. In 1914 it accompanied the first kebyar dance, kebyar legong, performed by two young women dressed as men. The style spread rapidly and was further developed by I Nyoman Mario, who in 1925 introduced kebyar trompong, in which the dancer simultaneously performs on the trompong instrument. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Kebyar is a non-narrative, abstract dance in which performers respond directly to the rapidly shifting moods of the gamelan, drawing movements from older dance traditions. Dancers often perform in a crouched stance, lifting the hem of a narrow skirt while their arms and fingers execute swift, expressive gestures. A fan is frequently used to emphasize rhythmic and emotional accents.

Several kebyar variations appeared during its peak. Panji Semirang depicts Princess Candra Kirana disguised as a man, reflecting the genre’s fluid treatment of gender roles, while kebyar bebancihan can be danced by performers of any gender. Overall, kebyar has had a decisive influence on the aesthetics of twentieth-century Balinese dance and music.

Ritual and Trance Performances in Bali

Many Balinese ritual performances do not fit Western definitions of theatre or dance. As Dr. Miettinen explains, they are primarily religious acts imbued with magical significance rather than performances intended for aesthetic enjoyment. These rituals, usually staged in inner temple courtyards during ceremonial festivals, integrate dance and dramatic elements in service of religious purposes. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Performers are often non-professionals, and technical skill is secondary to ritual function. Ritual dances generally fall into two categories: ancient ceremonial dances of indigenous origin and trance rituals in which performers—and sometimes spectators—enter altered states of consciousness.

The most sacred wali dances are acts of devotion performed only in the holiest temple spaces. Although largely indigenous in origin, they later absorbed elements of Hindu-Javanese court dance. Because such dances are not meant for public display, secularized versions have developed for commercial presentation.

Dance in Bali Today

Despite Bali’s status as a global tourist destination, classical dance and theatre remain central to Balinese cultural identity. Ritual performances continue, children still study music and dance, and audiences include both locals and visitors. Tourists commonly attend performances, while dedicated students enroll in private dance schools, particularly around Ubud, where quality performances are available daily. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Tourism has reshaped performance practices: dances once tied to ritual calendars are now staged daily, often shortened and simplified to suit tourist expectations. Many shows present a selection of styles rather than full-length traditional performances, and even the Bali Arts Festival has become an international showcase rather than a purely religious event.

At the same time, institutions such as the Akademi Seni Tari Indonesia and KOKAR work to preserve and revive older traditions. In the 1970s, cultural leaders ruled that the most sacred wali dances should not be commercialized, underscoring the importance of protecting their spiritual core. This balance between adaptation and preservation helps explain the enduring vitality of Balinese dance.

Rangda, the Queen of Black Magic

Rangda is one of Bali’s most powerful mythological figures. Often interpreted as a symbol of evil, she is nonetheless revered in village temples as a protective force against malevolent powers. Her terrifying mask—bulging eyes, long tusks, and an extended red tongue—connects her to the Indian goddess Durga, an embodiment of destructive divine energy. Rangda represents rage and annihilation, and in performances other beings may suddenly assume her form when overcome by extreme emotion. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Unlike the benevolent Barong, Rangda is dangerous and capable of inducing trance. Performers portraying her may themselves enter trance states, and the role demands spiritual strength and community respect. Her movements deliberately oppose classical Balinese ideals, emphasizing trembling, abrupt gestures, and aggressive postures. Rangda appears at village festivals, rituals, and dramatic performances throughout Bali.

Calonarang: The Struggle Between Good and Evil

Calonarang is a celebrated dance-drama depicting a conflict between a priest and his disciple and a powerful queen who practices black magic. The priest transforms into Barong Ket, while the queen becomes Rangda. Masks used in the performance are believed to be spiritually charged and are ritually honored before the show. Trance states commonly occur, particularly during the climactic keris scene, when dancers stab themselves without injury. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Calonarang originates from an East Javanese Kawi text influenced by Indian tantric teachings. First adapted into Balinese drama in the 1890s, it was traditionally performed in temples, crossroads, and cemeteries—places considered spiritually dangerous. The drama was originally intended to ward off epidemics and remains deeply connected to beliefs in black magic.

The performance culminates in a trance ritual in which villagers, under Rangda’s spell, turn their weapons on themselves. Priests eventually restore order, reviving participants with holy water. Comic interludes featuring clowns provide contrast through humor and social commentary. Today, shortened versions are staged for tourists, continuing a tradition that began in the 1940s.

Mekare-karean and Other Male War Dances

Mekare-karean, or the Pandan War, is a ritual dance unique to Tenganan village in eastern Bali, performed during the temple anniversary. It combines dance and combat to instill bravery in young men and honor the village deity. Armed with thorny pandan leaves and rattan shields, participants fight under ritual supervision. Though injuries occur, pain is minimal and wounds are treated with traditional turmeric medicine. The event takes place annually, usually in June or July. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Another martial dance, Gebug Ende, originates from Karangasem. Male dancers wield rattan shields and sticks, striking each other according to strict rules overseen by a referee. Once performed to summon rain, it is now a popular form of entertainment, known for its intensity and physicality.

Balinese Couple and Bamboo Gamelan Dances

Ghopala is a harvest dance performed by couples to express gratitude for agricultural abundance. Its relaxed, humorous movements have made it a favorite at social events. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki, Bali Tourism Board]

Janger is a youthful social dance that strengthens communal bonds. Performed at celebrations such as weddings and harvests, it combines singing and dancing, accompanied by lively batel or tetamburan music. Styles vary from region to region.

Jegog, named after the bamboo instrument that accompanies it, originates from Jembrana. Usually performed by female dancers, its resonant sound and graceful movements have brought it popularity across Bali.

Joged is an interactive dance in which female dancers invite male audience members to join them, creating a playful and inclusive atmosphere.

Mresi, from Tenganan, is danced by unmarried men who carry keris daggers as symbols of courage. Accompanied by the ancient gamelan selonding, the dance is believed to help participants find a life partner.

Relatively New Balinese Dances

Oleg Tambulilingan, created by I Nyoman Mario in 1952, is a celebrated couple dance inspired by the flirtation of bumblebees in a garden. Known for its elegance and length, it is frequently performed at formal occasions.

Puspanjali, choreographed in 1989 by Swasthi Wijaya and I Nyoman Windha, is a welcoming dance performed by five to seven women. Meaning “offering flowers,” it features graceful movements and ends with dancers presenting flowers to honored guests, making it a popular choice at ceremonial events.

Image Sources: Wikimedia Commons, Indonesia Tourism website

Text Sources: “Encyclopedia of World Cultures Volume 5: East/Southeast Asia:” edited by Paul Hockings, 1993; Wikipedia; National Geographic, Live Science, Metropolitan Museum of Art, Natural History magazine, New York Times, Washington Post, Los Angeles Times, Smithsonian magazine, Encyclopedia.com, Library of Congress, The Conversation, The New Yorker, Time, BBC, CNN, Reuters, Associated Press, AFP, Lonely Planet Guides, Google AI, The Guardian and various websites, books and other publications.

Last updated January 2026