These ceremonial dances and dramas directly relate to religious ceremonies by serving an offering, a prayer, or an exorcism of e spirits. Presented with the active participation of the pemangku (the peoples priest and caretakers of the village temple), they area drama form of contact with the spiritual world, this communicative purpose runs throughout a performance.
As religious dances, they are usually within or near a temple. Pendet may be dance whenever there is occasion to present and the ring. In the Sanghyang, in which the dance enter trance prior to dancing, the ceremonies begins in the temple and a procession formed to march to the dance clearing near, Because of their association with evil spirit the Calon Arang and Barong plays are generally held near the temple of the dead the graveyard, which. Are thought to be favorite meeting places of witches and their disciple.


The masks of the Barong and Rangda bear a spiritual significance. Because of the relation to the forces of magic and their power to exorcise evil spirit, they are considering sakti, magically powerful. Only certain avers, no matter how exquisite theyre work, capable of fashioning a new mask of this. A purification ceremony with elaborate of is always held to initiate a new Baron Rangda mask. When they are not being use, the play, the masks are kept in a special pavilion within the temple, where they are displayed amidst heaps of flower and fruit offerings during temple festivals The Rangde mask, capable of emitting dangerous vibrations, is always kept covered by a white clots as security to contain its magic. The cloth only removed immediately before the drama by the Rangda actor as he enters the stage Some masks considered extremely sakti over a hundred years old, and are followed large processions whenever they leave temple.