Rangda derived from ancient Javanese language means widow and is the widow of the group called Tri Wangsa (Wesya, Knight and Brahmins). In Balinese mythology, Rangda is Queen of the Leak was told often kidnap and eat children and lead an army against the wicked witch Barong (a symbol of the forces of good).
According to legend, probably Rangda originating from the queen Mahendradatta who live on the island of Java in the century to 11. She was exiled by the king Dharmodayana because the accused witchcraft against the second wife of King. Queen Mahendradatta was then revenge by killing half of the kingdom and made it into her own kingdom and Erlangga (Dharmodayana son).
Another story says that Rangda is queen of black magic (Pengleakan). the power to change shape beings owned by the Queen Calonarang, ruler of black magic in the Girah village. Rangda battle against Barong is often displayed in the dance. This dance is very popular and is an important legacy in the tradition of Bali. Folklore in which there are elements Rangda and the most impact is Calonarang. Another story is the creation of artists such as: Srya Kunti Lakin, Aprak Nang, Celedu Nginyah, Men Muntregan, Balian Batur, Mix Taluh (Talo) and Kaki Tua. Also mythologi stories and history as Kalikek, Jayapati and Sudarsana.
Further development of the term for widow Rangda less frequently heard, lest the impression is not bad considering the form of Rangda frightening and scary and identical to those who have a black magic.
In the Calonarang story there are other Rangda forms such as Rarung and Celuluk. However, they were just minions of Calonarang (not sacred like Rangda). To distinguish the form of Rangda is to see the shape of her face, namely:
1. Nyinga
Rangda resembled a lion’s face and slightly protruding forward. The nature of this Rangda is fierce and savage.
2. Nyeleme
Rangda faces resembled human faces and slightly widened. Rangda like this shows the authoritative nature and haunted.
3. Giant forms
Rangda face shape resembles a giant like Rangda that we see in general. Usually this Rangda scary.
For the people of Bali, Rangda is sacred and truly respected as God’s creation. Because for them the most important is balance. Power of black and white should be there and should be respected as something that fell from the Lord. They believe that there Bineda Rua term (two natural / differences), there is a good reply there must be bad, nothing is impossible these two things in this world. And it’s a natural law.
Rangda, usually danced in a particular temple and at certain, for example celebration at Temple or in a good day. When we danced the existing Rangda mask at Temple, we will become possessed after such a dance. Because there is another spirit that drives the dance. So before doing Rangda dance, we must be purified first and then we wear masks of Rangda. Only certain people can dance Rangda, the saints like pemangku (priests) who have strong faith because that comes into the mask is the spirit of evil Rangda.
Rangda described with a scary face, a woman with long hair disheveled, having long nails, long fangs, mouth issued fire, bulging eyes, pulled out the intestines from his belly, and bring gauze (white cloth) which has written letters to sacred Rangda. That said, if we get the cloth, we will pass out or possessed. The reason is the characters that are found on the cloth.
Leak and Rangda strength of the most sacred located in Sungsungan Temple at the village of Jimbaran. How to make the mask of Rangda is the same as Barong made of wood taken from haunted places like the cemetery. After the mask is made, will be directly used by pemangku. Then Rangda was escorted to the cemetery along with the Barong gathering at village temple. After arriving in the cemetery, in the ceremony held to Rangda, then the person wearing the mask was called tangible fire Leak around Rangda. When Rangda’s got his power, suddenly found the tail of Barong at village temple to be moving. After Rangda got his power, then taken back to the Temple. Ceremony is called the power Ngereh.
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