Multidisciplinary Balinese artist, Marmar Herayukti, recently revealed his latest artistic work with the unveiling of ‘The Puputan Badung’ diorama in Denpasar. This new display has reimagined an existing iconic statue, Monumen Puputan Badung, made in remembrance of one of Bali’s most significant historical moments.
Bali’s ‘puputan’, or mass ritual suicides, committed during Bali’s war against the invading Dutch remain emotionally-charged historical moments. Between 1848 and 1908, there were four major puputan: Puputan Jagaraga (1849), Puputan Margarana (1946), Puputan Badung (1906) and Puputan Klungkung (1908). Each were in defiance of Dutch forces, where gruesome suicide – mostly by keris dagger – saw the end of those involved, from royalty to soldier and servant. The Dutch Intervention of 1906 resulted in over 1,000 deaths in the Kingdom of Badung, over 800 of which are estimated to have been by suicide, including the King of Badung himself, in full display of the Dutch soldiers before them.
The puputan were acts of honourable defiance, and whilst they translate to ‘fight to the death’, what they really shouted to their enemies was: “I deny your victory over me, we would rather die than surrender!” Puputan Badung was specifically significant, not only by the sheer number of deaths, but it was also witnessed, reported and drawn by one of the first foreign artists in Bali, W.O.J. Nieuwenkamp, whose reports back to Europe helped to bring awareness of colonial aggression in the region.
Yet, for the Balinese, these gruesome rituals are remembered not as moments of sadness, but rather of proud resistance, a sentiment deeply embedded into the Balinese psyche through the immortalisation of puputan.
Monumen Puputan Badung
The monuments that honour the puputan can be found in the regions where they took place, including at Puputan Badung Square, the historic centre of Denpasar where one will also find the Bali Museum, Gajah Mada Street, Badung Market and the old Bali Hotel (now Inna Bali Heritage Hotel).
Here in this park stood the first Hero Monument by late sculptor, Edhi Sunarso (2 July 1932 – 4 January 2016), who depicted defiant soldiers raising their weapons against their invaders. The monument was completed in 1979 and has since been a major landmark of the area.
Almost fifty years on, a new artist has come to quite literally elevate, and a new layer to, what has been an iconic statue in Denpasar. Asked to enrich the existing monument, artist Marmar Herayukti’s dramatic diorama invites visitors to immerse themselves in the puputan story.
From tattoo artist to painter, sculptor and even rock band vocalist, Marmar is the definition of a multidisciplinary artist. He rose to prominence through his ogoh-ogoh effigy creations, especially through his campaign for environmentally-friendly ogoh-ogoh in 2014, which saw the eventual ban on styrofoam-made figures. Since then, he has become a figurehead for Balinese culture and arts, and has been commissioned to created several public art pieces, including the Ratu Ayu Mas Melanting statue at Badung Market.
‘The Puputan Badung’ Diorama
Indonesian museums love their dioramas, and whilst they are an outdated concept in most cases, Marmar has managed to make this medium both visually captivating and meaningful in story. Installed beneath the existing statue (elevating the statute one level) are eight, three-dimensional metal panels, rich in detail, each depicting scenes related to the historical moment: from the Sri Komala shipwreck of 1904 which began the Dutch intervention of 1906, the bloody fights, to the spiritual inheritance ‘post-puputan’, and everything in-between.
Marmar worked with the original artist’s own archives to research the significant moments of Puputan, and scoured Bali for inspiration, imbuing subtle symbolism, iconography and philosophy into each panel. Working with skilled craftsman, each panel was meticulously hand-sculpted in metal, with an intensity for detail that makes each scene so much more visceral.
“A monument comes alive when it interacts with the public and becomes easily accessible. Its presence must radiate in all directions—not only to those within the monument grounds but also to anyone passing through the city. The history of this place should resonate farther and touch more deeply,” Marmar reflects.
In an effort to be more accessible and inclusive, Marmar designed the refurbished monument so that it could also be enjoyed by visually-impaired and mobility-challenged visitors, with ramps and guide blocks to ease access, as well as braille on the panel descriptions. “Those who cannot walk still have the right to define their own ‘steps,’ and those who cannot see still possess their own vision,” comments the artist, equally-renowned for his philosophical depth.
Beyond preserving Bali’s cultural and historical heritage, Marmar aims to tell a story grounded in documented accounts and surviving artifacts. His intention is to illuminate often-overlooked details through three-dimensional visual storytelling, enriching the historical fragments already known to the public.
This work is made to strengthen the foundation for younger generations to cultivate a deeper appreciation for Bali’s history and cultural identity. “The Puputan Badung” diorama illustrates the tragic yet honourable resistance of the royal family and the people of Badung against Dutch colonial troops. It embodies the enduring values of Balinese society: unity, honour, loyalty, and self-sacrifice.
The Puputan Badung Monument is publicly viewable at Puputan Badung Square, Denpasar. For more on the artist, follow him on Instagram: @marmarherrz
