This research analyzes the role of the Gamelan Jegog as a distinctive gamelan instrument in Jembrana Regency, Bali, which reflects the competitive spirit embraced by its community. The research adopts Huizinga's perspective on play, recognizing five key elements that differentiate it from everyday activities: freedom, temporality, closedness, order, and tension.The research employed a qualitative method, with an interpretative analysis approach to dissect the Mabarung Jegog competition events. Data was gathered through interviews and observations of the supporting community and aspects related to the Mabarung Jegog competition.The findings reveal that Mabarung Jegog is not merely a musical performance. Still, it reflects the identity and character of the players, evident in their movements and body positions while playing. This competition is also closely tied to the context of place and time, with spatial limitations set by the organizers. The paper thus concludes that Mabarung Jegog exhibits specific traits such as order, systematicity, and high aesthetic value while fostering a sense of tolerance among the players. The tension that arises affects the psychology of the players, ranging from pride and self-esteem when winning, and feelings of disappointment and shame in the face of defeat. The competitive performance of Mabarung Jegog also encourages the emergence of contestation, where differences of opinion or conflicts may arise among the involved parties.The novelty of this research lies in the in-depth analysis of Gamelan Jegog's role in reflecting the Jembrana community's competitive spirit and the interpretation of cultural context in the Mabarung Jegog competition.