Within Balinese Hinduism, dance and shadow puppetry are not peripheral arts but central modes of worship through which the human community addresses, invites, and embodies the divine. Dance functions as a living offering, presented during temple festivals and other ceremonies as a refined act of devotion directed to deities and ancestors. The dancers’ movements, costumes, and musical accompaniment are shaped to create a bridge between the visible and invisible realms, so that the performance itself becomes a form of prayer. In many ritual contexts, these dances are believed to purify temple spaces and communities, preparing them for deeper contact with sacred forces.

At the same time, Balinese dance is a vehicle for myth and moral reflection. Choreographies often dramatize episodes from the Ramayana, Mahabharata, and related narratives, allowing participants and observers alike to contemplate dharma, duty, and the tension between constructive and destructive forces. In certain forms, trance states may arise, and these are understood as moments in which spirits or divine powers temporarily inhabit the dancers, enabling direct communication and blessing. Through such performances, the community does not merely watch stories about the gods; it ritually re-enacts and participates in them.

Shadow puppetry, especially wayang kulit, occupies a similarly sacred position. The puppeteer, or dalang, is regarded as a ritual specialist who mediates between the human and spiritual worlds, chanting prayers and guiding the flow of the narrative. The screen and shadows are rich in symbolism, suggesting the veil between physical and spiritual realities and the subtle interplay of seen and unseen forces. The stories presented—drawn from Hindu epics and local lore—explore the struggle between dharma and adharma, the responsibilities of ethical living, and the cyclical nature of existence.

These wayang performances are not merely didactic; they are woven into major festivals, life-cycle ceremonies, and other important rites, where they are treated as sacred events accompanied by offerings and music. Through the interplay of light, shadow, and sound, the community is invited to reflect on its place within a larger cosmic drama. Both dance and shadow puppetry thus serve as powerful instruments of religious education, communal cohesion, and spiritual protection, sustaining a living tradition in which art and worship are inseparable.