Tari Baris Dapdap is categorized in one of the scared dances. The performance of the scared dance influences the understanding of the society to the symbols related to the sacred dance performance. Symbolic Communication is done to find the same value that exists in the performance of Tari Baris Dapdap.Based on the background of the study, the problem of studies which were conducted in the study are: (1) How is the existance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (2) How is the Symbolic Communication that is contained in the performance of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? (3) What is the function of Tari Baris Dapdap in Upacara Pitra Yadnya in Banjar Bebali Berembeng, Selemadeg Regency, Tabanan? In identifying the problem of study, the theory used in this study is aesthetic theory, symbolic interactionism and structural functional. In analyzing the problem of study, the study used some methods, which are: research approach using qualitative method.  The result of this study are: (1) The existance of Tari Baris Dapdap in Upacara Pitra Yadnya is still being preserved by the villager in Banjar Bebali as the worthy ancestral heritage. The dancer of Tari Baris Dapdap are the adult people with simple make-up, dress and gambelan, yet it is sacred. The dance is performed in the house of the dead (rumah ngaben); (2) Tari Baris Dapdap is the symbol of a sincere devotion of the people in Banjar Bebali; (3) Tari Baris Dapdap in Banjar Bebali is a sacred dance, which is special only for Upacara Pitra Yadnya and has the religious, social and aesthetics functions.