Some facets of anthropological understanding of religion as cultural symbols can be comprehended with the example provided by Clifford Geertz on the Balinese theatrical performance.He takes this example to elucidate how cultural performances, a term introduced by Singer, integrate the dispositional and conceptual aspects of religion. For the participants of these performances, Geertz observes these religious cultural recitals are a realization of their religion and their own life itself. This is especially apparent in how the performers and participants interact during the performance of the combat between “Rangda and Borang” symbolically a clash between malignant and comic. Here Geertz observes that participantsjoin the performance as supporting actors, this happens when the participant enters another realm apart from their commonplace existence,here they are possessed by one or the other demons. The untranced here controls excessive activities of the possessed by throwing holy water or chanting spells. Geertz cautions that although one may understand its meaning from myths associated with it, here importance is given to the state of trance. The characters of Rangda the witch and Borang the comical monster and their compact not only represents certain things but also depicts it. These performances justifyand accept the religious understanding of these symbols such as anger, fear,playfulness, etc. These state of trance and ritualistic performance urges believers to reflect upon their everyday reality.This is precisely where Geertz's major argument takes shape