When we come face to face with a work of art, we often find ourselves in between tradition and modernity, two aspects which at first sight seems contrastive, although it is not so. Those who have a firm hand on tradition, and sanctify tradition to the extreme, will resist any form of innovation for the sake of conservation, for from their point of view, modernization is assumed as something which can cause the degradation of the greatness of tradition. In the meanwhile, those who adore modernity think of tradition as a set of rules which limits creativity.

What is happening in reality is the failure of communication between tradition and modernity. The deeper we understand the essence of traditional culture, along with an open mind in regarding modernity, and vice versa, the creative process within the development of the arts will be in accord with the development of the times, without any need to worry about losing the identity of traditional culture.

Sri Tanjung: The Scent of Innocence, I think, can give a drop of water to this stagnant situation. From the selection of the story, its choreography, music and even the wardrobe, all are rooted in both tradition and the modern. The work is rich aesthetically like the works which flowed out from the enthusiasm of artists in Bali in the bygone times: modest in what he owns, yet enriches through modesty. The work aspires to revitalize the position of aesthetics as an important aspect in the process of art, through giving attention to the smallest details, for the original work of literature is open for limitless interpretations. If aesthetics is a reflection of what we call taksu, then I hope Sri Tanjung: the Scent of Innocence is a starting point in looking for taksu in between tradition and modernity.

Reference : www.artifoundation.org

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