Solo Show “Sri Serie” by Agung Kurniawan’s
January 2, 2025
Ambiguity
Pande Wardina
Exhibition
Repurposing: Paradise
Artist
Pande Wardina
Written by
Krisna Sudharma
Challenging to discern between the sacred, secular, and profane nuances in these traditions
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In the “Ambiguity,” artist Pande Wardina delves into the evolving nuances of Balinese dance through an introspectively and contemplative crafted art video medium.Merging traditional elements with contemporary perspectives, Wardina’s piece boldly deconstructs familiar paradigms to reveal the subtle, often overlooked tensions between cultural identity, the sanctity of spiritual erfore, and the relentless march of globalization.
Bali 1928, vol. III – I Made Sarin dancing gandrung & ngibing accompanied by sekaa Ketapian Kelod
“Ambiguity” initiates a dialogue on the nuanced interpretation of movements in Balinese dance, highlighting the gradation between performance tailored for tourists and the untouched,sacred demeanor of traditional rituals.The piece exposes the intricate dynamic between the authentic,sacred rituals found in Balinese dance and their transformation into packaged performances designed for an international audience. Wardina invites a discerning contemplation of how these dances, once confined to the realm of religious and community expression, have now been repackaged – often at the cost of their spiritual and cultural core – to satiate the capitalist appetite.
Wardina’s piece interrogates the impact of these forces on the classification of dance within the Balinese context. He delves into the evolving distinctions that separate cultural practices from religious beliefs, challenging the audience to discern between the sacred, secular, and profane nuances in these traditions. As the performance now caters to economic motivations rather than cultural preservation, the artwork reveals the endangered sacred and aesthetic principles inherent to Balinese dance.
The complexity of “Ambiguity” is found not only in its visually rich narrative but also in the conversations itweaves, one that challenges the audience to consider the commodification of culture. The installation becomes a commentary on a world where artistry is no longer dictated solely by its creators but is influenced by economic demands and the gaze of cultural consumers.
This installation elevates the importance of dance as an intrinsic part of the Balinese people’s identity while also recognizing the multifaceted relationship between art,culture, and spirituality within an ever-evolving global landscape. Through its composite of visual and narrative elements, “Ambiguity” serves as a catalyst for societal introspection, igniting a collective awareness of the struggles traditional arts face amidst the currents of modernization and globalization.
Drawing from the storied imagery of Bali 1928, vol. III – featuring I Made Sarin dancing gandrung &ngibing accompanied by sekaa Ketapian Kelod, Wardina’s”Ambiguity” emerges as a significant ethnographic commentary. It serves as a reflective lens, urging a reconsideration of the principles guiding the dissemination and perpetuation of Balinese dance in an era marked by globalization.
Throughout the installation, deconstruction is employed as a method of uncovering and challenging the establishednorms, urging us to redefine the boundaries of what is deemed religious versus artistic within the sphere of Bali’s cultural output. Furthermore, Wardina’s work delves intothe ambiguous paradigms fostered in this modern era, where dancers navigate personal devotion (ngayah) set against a backdrop of serving either divine or cultural forces.
The juxtaposition of foreign tourists, with their modern Western-driven industrialized viewpoint, against the backdrop of Bali’s high-valued dance as a touristic commodity articulates a potent dialogue about valuation and ownership of cultural expressions. “Ambiguity” poignantly addresses the complex relationship between indigenous culture and external influences.
