Often the struggle occurs within the framework of a popular story; for instance, an episode from the Mahabharata. Yet the essence of the Barong and Rangda play remains the eternal conflict of two cosmic forces symbolized in the two protagonists. Because the play is charged with sorcery and magic charms, extensive offerings are made beforehand to protect the players during the performance.

Usually the Barong enters first, cleverly danced by two men who form the forelegs and hindlegs, the first man manipulating the mask. A Barong's appearance varies with the kind of mask it wears, which may be stylized version of a wild boar, a tiger, a lion, or occasionally an elephant. The most holy mask and the one used in the play is that of the Barong Keket,

"The Sovereign Lord of the Forest", a beast representing no known animal. In the extreme coordination of the lively Barong, one forgets the fantastic creature isn't acting on its own accord, as it mischievously side steps and whirls around, snapping its jaws at the gamelan, and swishing flies with its tail. After the Barong's dance, everyone falls silent. From behind the temple gate appear the splintery fingernails that fore shadow the dread full vision of Rangda. From her mouth hangs a flaming tongue signifying her consuming fire and around her neck, a necklace of human entrails falls over her pendulous breasts. How ing a low, gurgling curse she stalks the Barong while waving a white cloth from whence issues her overwhelming magic.

They collide in a desperate clash of witch. craft. In the protection of the Barong lies the preservation of the community, represented by the "kris dancers", men armed with kris daggers. At one point in the fight, when the victory of the Barong is threatened, the kris dancers rush to the Barong's assistance by violently attacking Rangda. The witch's spell reverses their fury back into themselves, and they begin to plunge the blades of their krisses inward against their own bodies. But the Barong, with its own powerful charm, protects the crazed men from, inflicting self-harm.

In most plays, this phenomenal self-stab. bing is enacted when the kris dancers are in trance. No matter how forcefully they plunge the daggers against their chests, the tips of the blades do not puncture the skin. At the end of the play, the kris dancers are revived by the pemangku, who sprinkles them with holy Water which has been dipped in the beard of the Barong. (The beard, made of human hair, considered the most sacred part of the Barong).  A final offering is made to the evil spirits by spilling the blood of a live chicken.