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A social dance performing harvest festival, which people were gathered to do the work. Some women did the tossing and pounding, some toss the mixture of rice and chaff in their baskets, while a smaller number of men lent a hand carrying the heavy baskets of rice.

As the men carried the heavy baskets from the mortars to the women doing the tossing, they might begin to move in time to the music and then begin to dance as they approached with their loads.

As they walk, they would strut and wriggle in a flirtatious manner as comic as it was sexy and the girls would call as the men danced 'Come on brother, bring your pestles!'

The girls would come out to dance also, one or two at a time, still holding their threshing baskets. They would dance with the boys in ngibing style, with each couple 'performing' for a few minutes.

Wisecracking and teasing were general. The mood was invariably happy and relaxed, and such a gathering was often the occasion for teasing, gossip and flirtation. It offered the crowd sense of bustle that Balinese people enjoy.

The women pounding at the long mortar trough would start a kind of improvisation, developing a complex interlocking pattern of polyrhythm from the byog-byog-byog (hence : Gebyog) sound created by their falling pestles.

The elaborate rhythmic structures resulting are considered by many Balinese musicians to be the source for the pattern used by the Cak chorus accompanying the Sang Hyang Dedari dance.

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