The battle cry is: Kill or Be Killed, as two gamecocks are thrown into the wantilan (fighting arena), their spurs laced with poison as they flutter and lunge at each other. At one time, cockfighting could be found in many parts of Southeast Asia, especially in the villages, like in Bali, in the temples, where cockfighting was / is regarded as some sort of religious obligation. How one could nurture with love and affection a fighting cock but shows no emotions if it gets killed in the wantilan, shows the cruelty behind the practice, the culture. To many Indonesian artists, presenting the sabung ayam (cockfighting) is a rite of passage from Affandi to in this case, Haji Widayat, with his trademark brown veneer. The central heart of the composition focuses on the gladiatorial art of death, whilst two more could be seen being primed on the sidelines, diagonal top left and bottom right. With technology, cockfighting betting has gone online, so there is no showing of guilty fowl faces of the perpetrators playing a proxy war. Haji Widayat is known for his Magical Decorative or Mysticism in his oeuvre and boasted of a museum in his name in Magelang in Central Java. In 2007, the Singapore Art Museum accorded him a Retrospective featuring his paintings, sculptures and ceramics. Widayat was a surveyor cum map-maker before he enrolled at the Indonesian Academy of Fine Arts (Asri) in Yogyakarta, and later lectured there for more than 30 years before retiring in 1988. During the revolution, he produced Anti-Dutch propaganda and co-founded the Young Indonesian Painters group PIM in 1952.