If black magic prevails, a village fails into danger, and extensive purification ceremonies become necessary to restore a proper equilibrium for the health of the community. Dramatic art is also a mea of cleansing the village by strengthening its resistance to harmful forces through offerings, prayers and acts of exorcism. Such is the symbolic play of the two remarkable presences-the Barong and Rangda. Barong, a mystical creature with a long swaybackand curved tail, representstheaffirmative, the protector of mankind, the glory of the high sun, and the lavorable spirits associated with the right and white magic.

The Kebyar Duduk is danced by a man who must be very skillful in controlling the difficult dance-movements. The dancer, although in a sitting position, changes places by shifting his legs and by walking. One Special quality of the Kebyar Duduk is that, even though the rhythm of the accompanying gamelan is very quick, the dancer can dance to it vigorously without destroying its artistic values. The music seems infused in the dancer's body. The fingers bend with singular beauty to catch the light melodies, while the body sways back and forth to the resounding beat of the gong.

The story of the Legong is very stylized and symbolic and one should know the story before actually watching the performance. The Legong Keraton dance involves three dancers - two legongs and their 'attendant', the condong. The legongs are identically costumed in gold brocade, which is bound so tightly that it is a mystery such agitated and rapid moves could be made. With elaborately made-up faces, plucked eyebrows that are boldly repainted, and hair decorated with frangipanis, the dancers relate the story with captivating movements.

Panyembrama is frequently staged to welcome guests of honour who are making a visit to this islands of the Gods. Four or eight young girls bearing a bokor, a heavily engraved bowl made from silver or aluminium, laden with flowers, dance expressively to the accompaniment of vibrant gamelan music. During the dance, the flowers are scattered over the guest or audience as an expression of welcome. The Panyembrama has taken many of its movements from temple dances, such as the Rejang Dance, Pendet and Gabor, which are considered sacred and performed exclusively for God.

The unique feature of the Sanghyang Jaran dance is the courage of the dancers who in a state of Kesurupan or trance, calmly step and trample on red hot coals just as if they were walking in cold water.
This dance is believed to have the power to invite the gods or sacred spirits to enter the body of the dancers and put them in a state of trance. It dates back to the ancient Pre-Hindu culture, a time when the Balinese people strongly believed that a dance could eliminate sickness and disease. The is dance is usually performed in the fifth or sixth month of the Balinese traditional calendar.

Baris Dance is a warrior's dance. Executed with energetic and warlike martial spirit, the Baris dancer has to convey the thoughts and emotions of a warrior preparing for action as well as confronting an enemy in battle.
Baris dance is performed solo and requires great energy, spirit and skill. The warrior's changing moods have to be displayed through facial expressions and movements; he should be able to depict chivalry, pride, anger, prowess, and a little regret. Baris dance is said to be one of the most complex of all Balinese dances.