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Journal of Aesthetics, Creativity and Art ManagementJournal of Aesthetics, Creativity and Art Management

Amreta ing Huma is an art ecosystem whose ideas sparked the subak phenomenon and its current existence. By linking culture, society, education, politics, technology, economics, and stakeholders, it can become an alternative way of thinking for Balinese society, both nationally and internationally. This paper is compiled based on the results of fieldwork through a qualitative approach, namely the implementation of interview methods accompanied by direct observation, the process of transcribing information in the form of field data, processing data to compiling data into a systematic and coherent data report. The aesthetic approach used is that of Clive Bell and William Morris, along with a sustainable ecological art approach. Amreta ing Huma, interpreted as the water of life in rice fields, is a product of thought in the form of an art ecosystem. The achievement of an art ecosystem begins with the creation of the Amreta ing Huma artwork, ecological art, which ultimately forms an art ecosystem. Based on this artwork, a role model for interaction within the community is established through the perspectives of culture, education, politics, economics, and stakeholders.

The Amreta ing Huma art ecosystem began with the creation of ecological artworks based on upcycled glass and ceramics in response to the subak phenomenon.These artworks then served as a model for the artists responsiveness to engage the public in understanding the social phenomenon, leading to interactions between stakeholders.Amreta ing Humas artwork is defined as something that triggers aesthetic emotions based on its formal structure and fills the personal imagination of the audience.The Amreta ing Huma art ecosystem refers to the cultural system model based on the UNESCO Framework for Cultural Statistics, which has five subsystems.

Further research could explore the potential of Amreta ing Huma as a model for community-based ecological art initiatives in other agricultural regions facing similar challenges of land conversion and cultural preservation. Investigating the economic viability of upcycled art materials, specifically glass and ceramics, could reveal opportunities for sustainable livelihoods and circular economy models within the Balinese art sector. Additionally, a comparative study examining the effectiveness of different art-based interventions in promoting awareness and fostering community engagement with traditional ecological knowledge systems, such as subak, would be valuable. These studies should consider the role of digital media and participatory art practices in reaching wider audiences and facilitating collaborative problem-solving. Expanding on the aesthetic analysis presented in the paper, future research could delve deeper into the specific formal elements and compositional strategies employed in Amreta ing Humas artworks, and how these contribute to the overall emotional and intellectual impact on viewers. Finally, exploring the potential for integrating Amreta ing Humas principles into educational curricula at various levels, from primary schools to universities, could cultivate a new generation of artists and citizens committed to sustainable practices and cultural heritage preservation. This integration could involve hands-on workshops, field trips to subak landscapes, and collaborative art projects that address local environmental and social issues.

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