On the night of Pangrupukan 2026, a profound silence fell over Denpasar’s busiest intersection, the Catus Pata. In a ritual usually defined by the thunderous clash of gamelan beleganjur and the aggressive shaking of demonic statues, the appearance of Sapa Warang—the latest creation by maestro Marmar Herayukti and the youth of Banjar Gemeh—brought a rare, meditative stillness. Moving away from the typical snarls of traditional bhuta kala, the invisible deities of Balinese Hinduism, Sapa Warang emerged as a contemplative, hyper-detailed masterpiece that uses the "first cry of a newborn" as a startling metaphor for spiritual awakening.
Sapa Warang is a deep linguistic and philosophical inquiry into the most primal human event: the first breath and the subsequent cry of a baby. In the Balinese language, the word for crying is ngeling, which shares a root with eling, meaning "to be conscious" or "to remember." Similarly, in Indonesian, tangis (cry) contains the word tangi (to wake up). In an interview with Tribun Bali, Marmar explained that he views this cry as a tool given by God to accompany us on our life's journey, suggesting that modern society has become dry, losing the ability to weep because it is obsessed with a curated version of happiness. By highlighting the cry, Sapa Warang reminds the viewer that life is not merely a search for joy, but a sequence of events—both painful and beautiful—that serve to wake the soul from its spiritual slumber. In promoting spiritual awareness, the piece relates to the United Nations Sustainable Development Goal of Good Health and Well-Being.
Visually, Sapa Warang challenges the observer’s perspective through mirrored geometry featuring a dual-oriented face. What appears to be the front from one angle is actually the back, and vice versa. This intentional ambiguity forces the audience to realize that their understanding of reality—human and demonic, good and evil—is entirely dependent on their physical and spiritual position. As analyzed by Tatkala, the figure’s body is covered in intricate cracks that serve as pathways for inner light rather than signs of decay. From these fissures, a red glow emerges to symbolize the suppressed emotions and truths of the human experience that eventually demand an exit. In a striking subversion of traditional iconography, the statue features a Jaladwara (sacred water spout) that emits fire instead of holy water, representing a world where the human ego has turned life-giving elements into destructive forces.
Marmar Herayukti has long been a pioneer in the movement to return to natural materials, and Sapa Warang is constructed entirely without styrofoam, utilizing bamboo, rattan and paper. This commitment addresses a need for sustainable artwork creation by eliminating toxic waste and by proving that eco-friendly traditional practices can produce more sophisticated art than modern synthetic alternatives. Furthermore, the philosophy of Eling (consciousness) also encourages spiritual health and emotional honesty. Marmar suggests that "crying" is a biological honesty of the body that the mind often tries to suppress.
The name Sapa Warang itself carries layers of meaning, where sapa can mean a greeting, a question, or even a stern warning, while warang brings together the opposing elements of fire and water. Combined, the title suggests a greeting from Mother Earth (Ibu Pertiwi), who is symbolized as a figure whose body is torn but who continues to weep for her children. Marmar notes that the body is the smallest part of the earth and is always honest—telling us when we are hungry, tired or in pain—while the mind is the one that lies and rejects those truths. For the youth of Banjar Gemeh, the creation of Sapa Warang was a lesson in patience, as the statue was finished entirely by hand with brushes to achieve an organic texture. Ultimately, Sapa Warang acts as a mirror, asking spectators to stop seeking a successful ending and instead embrace the thorny process of life, reminding viewers that through the cracks of their pain, consciousness eventually finds its way to the surface.
Find out more about Marmar Herayukti’s work on his Instagram @marmarherrz.