Tradition is not a stagnant entity but a dynamic process of transformation. Ethnomusicologist Michael Bakan (2019) describes tradition as a “creative transformation whose most remarkable feature is the continuity it nurtures and sustains.” This study investigates the transformation of the traditional Balinese gilak structure into the asymmetrical gegilakan by analyzing I Ketut Gede Asnawa’s Egar Abinawa. Composed as an accompaniment for Topeng Keras an improvisatory dance, Egar Abinawa challenges dancers to navigate irregular meters—a departure from the predictability of gilak. This research combines ethnomusicological fieldwork, musical analysis, and Balinese notational systems to dissect the gilak and its transformation. This paper will analyze two important issues: firstly, understanding the intersection of tradition and transformation in Balinese musical forms; and secondly, probing Asnawa’s provocative concept of ngematiang pregina (“killing the dancer”). This metaphor encapsulates the challenge posed to dancers habituated to gilak, compelling them to transcend ingrained rhythmic instincts and engage creatively with the unfamiliar gegilakan framework. Through gegilakan Egar Abinawa, tradition is not merely preserved but transformed, demonstrating how asymmetrical meter can serve as a catalyst for artistic growth. This composition underscores the evolving nature of Balinese music and dance, where innovation breathes new life into heritage.