group had in 1936 "combined the Rangda or Witch play (Tjalonarang) with the Barong and kris-dance play, which was then popularized with tourists through the efforts of [the painter] Walter Spies and his friends." Synopsis The film describes and illustrates a single performance of the Kris Dance, a ritual dance on the Indonesian island of Bali. The dance portrays the struggle of good, in the shape of dragons, against evil, in the shape of masked Tjalonarang witches. The dancers are young women. They hold kris daggers. They are seen to enter trance, one at a time, and are revived from it. While in trance, they dance ecstatically and stab themselves with their daggers, remaining unharmed. The film opens and closes with displayed blocks of text, summarizing the dance's story. No sounds were recorded at the time of filming. The film's soundtrack consists of narration by Mead, and Balinese music recorded elsewhere, possibly by Bateson and Mead's collaborators, the Canadian musicologist Colin McPhee, and the scholar of Balinese dance Katherane Mershon. Publication Trance and Dance in Bali was filmed in the 1930s, most of it in 1937, and released in 1951. It is written and narrated by Mead, with cinematography by Bateson, and co-directed by Bateson and Mead. The short film is now available for free download. Historical significance In 1999 the film was deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry. The film was "very influential for its time", according to the anthropologist Jordan Katherine Weynand. She states that it records Balinese people "dancing while going through violent trances, stabbing themselves with daggers without injury. They are then restored to consciousness with holy water and incense." The Indonesian American anthropologist Fatimah Tobing Rony argues that the "photogenic" violence and trance are untranslatable: anthropology can look at trance but never really penetrates its mystery. In her view, "the naughty voices of the girls and the vain chuckles of the old women, transcribed by the secretary, are never heard in the voiceover or soundtrack: the women become undifferentiated exotic trancers. And the spiritual depths of the older women are not considered." As for objectivity, Rony remarks that "The photogenic Trance and Dance in Bali is representative of a kind of anthropological imperialist blindness, ironic considering that these scientists believed [in] and promoted the idea of their own superior vision". The anthropologist