Baris Tombak: The Spear Dance of the Baris Family in Bali
Baris tombak is the spear dance of the baris family, the group of Balinese warrior dances that form one of the core traditions of the island’s performing arts. The word tombak means spear in Balinese, so the name tells the audience which weapon the dancers carry. The dancers move with the spear through a set sequence of postures, turns and thrusts, timing each movement to the gamelan that accompanies them. In many villages the dance is performed by groups of young men who have trained together, and it is offered at temple ceremonies and village celebrations as part of the festive calendar. For a visitor, baris tombak is one of the most direct ways to see the warrior spirit of Balinese dance up close.
What the Baris Tombak Dance Is
Baris is a family of Balinese warrior dances, and the tombak version is the one performed with a spear. The dance belongs to the wider baris tradition, which is one of the core forms of Balinese dance. Baris dances show warrior poses, stamping feet and quick changes of direction, and each form in the family adds its own weapon, character or pattern. The spear form is the one that uses a long, slender weapon as the centre of the performance.
The name is simple. Tombak is the Balinese word for spear, and baris is the warrior dance, so the whole phrase describes a warrior dance with a spear. A visitor who knows that much will understand the performance as soon as the first spear is raised, and the rest of the dance will follow the logic of the weapon.
What Sets the Spear Form Apart
In the spear form, the dancer’s movements are built around the spear, and the spear’s length and weight shape the choreography. The dancer must control the spear through every turn and pose, so the movements are designed to show balance and strength with the weapon. The baris dances as a whole show warrior poses, stamping and quick changes of direction, and the spear form adds thrusts, turns and balances that are specific to the weapon.
Other baris forms use the shield, the keris dagger or other props, so the spear is what marks this form out. A visitor who sees a baris performance with a shield or a dagger is watching a different form in the same family, and the spear form can be recognised by the long weapon held in both hands. The dance is most easily understood by comparing it with the other forms, which share the stance and the rhythm but differ in the props and the sequence.
Movements and Costume
The dancer wears traditional costume, with a headcloth, a jacket or sash, a sarong and ornaments suited to a warrior role. The costume is designed to show the dancer’s bearing, and the ornaments catch the light as the dancer moves. The headcloth frames the face, and the jacket and sash give the body a clear outline that the audience can follow through each turn.
The spear is held in both hands and moved through a set sequence of postures, turns and thrusts. Each posture is held for a moment so that the audience can see it, and the transitions between them are as important as the poses themselves. Eye movements and facial expression are part of the baris style, and they convey the character of the warrior. The dancer looks along the spear, around the space and at the audience, and the expression changes with the tempo of the music.
The music sets the tempo, and the dancers time their movements to the gamelan accompaniment. The ensemble builds and slows with the sequence, and the dancer’s stamping and thrusts follow the beat of the metal instruments. A visitor who listens closely will hear the moments when the music changes and the dancer moves into a new posture.
When Baris Tombak Is Performed
Baris dances are performed at temple ceremonies, village celebrations and cultural events. They are part of the temple festival programme, where dances are offered to the deities as part of the ceremony. The dance is therefore an act of devotion as well as a performance, and the dancers approach it with care. A visitor who sees a baris tombak at a temple should keep in mind that the performance is an offering, not only an entertainment.
In many villages the dance is performed by groups of young men who have trained together. The group is the unit of performance, and the dance depends on the coordination of the dancers as much as on the skill of the individual. Performances are often held in the village or temple courtyard during the festive calendar, and the courtyard is the natural setting for the spear dance, where the audience can gather around the open space.
How the Dance Is Taught in the Village
Village groups teach the dance through repeated practice, often in the evenings in the village hall or courtyard. The practice is informal in most villages, and it is passed on through observation and repetition. Older dancers teach younger ones the postures and the sequence, and the training is part of the village’s cultural life. A young man who learns the dance learns it alongside his friends and neighbours, and the group becomes the place where the skill is kept alive.
Practice is often timed around the temple calendar, so that the dance is ready for the festival dates. The rehearsals may begin weeks before a major ceremony, and they build towards the moment when the group performs for the village and its guests. A visitor who hears the gamelan at night in a village may be listening to a rehearsal for a coming festival, and it is a sign that the dance is being kept in readiness.
What a Visitor Sees at a Village Performance
The performance takes place in an open courtyard or hall, with the gamelan on one side and the audience around the open space. The dancers enter in costume, and the spear work is the central focus of the dance. The sequence builds in tempo, and the dancers finish with a clear pose or exit. The atmosphere is intent and disciplined, and the audience follows the performance quietly.
Visitors are usually welcome to watch. The audience sits or stands around the edges of the space, and the dancers move through the centre. A village performance is not staged for tourists, and it is a community event first. Watch how the local audience behaves and follow their lead, and you will understand the performance better than you would from a programme alone.
Dress and Behaviour at a Performance
Dress modestly for a village or temple performance, covering shoulders and knees, and wear a sarong and sash. Keep quiet during the dance and stay behind the seating area, so that the performers have room to move. Ask before taking photographs of the performers, and avoid using flash, since the sudden light can distract the dancers and disturb the rhythm of the performance.
The performance is a serious occasion, and the audience treats it with respect. Do not walk across the performance space, and do not talk loudly during the sequence. If you are invited to sit closer to the front, accept the invitation and keep your movements calm. A visitor who is attentive and quiet will be welcomed, and will be able to enjoy the dance without interrupting it.
Season and Timing of the Dance
Performances follow the temple calendar, so the dates shift from year to year and from village to village. A visitor who wants to see a baris tombak should ask a local host or guide about the next festival in the area, since the performances are tied to the ceremonies rather than to a fixed programme. The dry season is more comfortable for watching an outdoor performance, and the open courtyard is at its most pleasant when the air is dry.
Evening performances are common, and the lighting is often provided by lamps or temple lights. The flicker of the lamps gives the performance a warm and intimate feel, and the spears catch the light as the dancers turn. In the wet season the courtyard can be muddy, so plan for the footing as well as the timing of the performance.
Useful Words for the Dance and Its Setting
Baris is the warrior dance, and tombak is the spear. Gamelan is the traditional ensemble that accompanies the dance. Pura is the temple. Odalan is the temple anniversary, and keris is the ceremonial dagger used in other baris forms. Learning these words will help you follow a guide’s explanation and talk with the dancers and their families after a performance.
Connecting the Dance with Other Balinese Performances
The Balinese dance guide describes the main dances of the island and where a visitor is most likely to see them, and it places the baris tombak among the other forms. The guide to Balinese traditional dress for temple and ceremony describes the clothing that dancers and audiences wear, which will help you dress for a performance. The Balinese ceremonies and holy days guide sets out the festivals across the year, which is where the dance is most often performed.
Village life gives the dance its setting, and the village life guide explains the banjar and the desa adat that organise the performing groups and the ceremonies in which they dance. The guide to Bali’s traditional villages describes how to visit a village respectfully, which is the most important thing to keep in mind when you go to watch a performance in a community courtyard.
Related guides: Legong compared with other Balinese dance performances, baris dance, teruna jaya dance.