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The University of Washington Libraries collaborated with Anthropology Ph.D. student, Evi Sutrisno, who was conducting her dissertation field research on Chinese Indonesian Confucianism, to digitize the rare and fragile Sino-Malay literature owned by two temple libraries in Java. The first project was conducted in Boen Bio (Wen Miao) – a Confucian temple of Surabaya, East Java – in 2010-2011. The temple was founded in 1907 and had a collection of religious books and magazines in Chinese and Malay languages in its abandoned library. The second project was conducted in the Hok An Kiong temple, Muntilan, Central Java in 2014-2016. The temple was founded in 1898 and had became the religious, social and learning space for the Chinese in the area. As in the case of Boen Bio, the Hok An Kiong also has an abandoned library, where popular Sino-Malay novels and magazines were collected.
Between 1967 and1998 Confucian practices and Chinese identity were severely repressed under the Indonesian New Order regime, so these materials were hidden away in the corners of dark and humid storage rooms to avoid state confiscation. Due to climate conditions, biological pests, and lack of appropriate storage facilities, the collection was in great danger and in urgent need of preservation.
These projects are parts of a larger effort to identify materials in all known collections belonging to temples and private collections in four cities: Jakarta/Tangerang, Bandung, Solo, and Pontianak, where the Confucian communities during the period of 1900s to 1940s were vibrant. The first project consists of about 5,000 pages scanned from the collections of the Boen Bio temple and three other private collections in Surabaya. The second digitizes about 12,500 pages from the collection of the Hok An Kiong temple in Muntilan. Each project has been done in collaboration with other scholars and the temple communities who are interested in preserving the precious documents and history of the Chinese-Indonesians. For the second project, Evi Sutrisno would like to thank Sutrisno Murtiyoso of Tarumanegara University, Jakarta, Endy Saputro of State College for Islamic Studies, Surakarta and Elizabeth Chandra of Keio University, Tokyo for their supports and collaborations. Thanks also to Laurie Sears for her decision to provide funding.
Retracing and recovering their lost stories can be a difficult process. Very few women of Chinese descent are recorded in historical accounts of Indonesian modern art or in the collections and archives of Indonesian cultural institutions. Despite such obstacles, the importance of bringing to attention the forgotten stories and transnational experiences of women who held fluid cultural identities, however fragmentary, should not be overlooked. Not only are transnational women’s histories human histories after all, but their retelling also unveils the intersecting structures of patriarchy and nationalism that have for so long limited historical perspectives.
(Portrait of Oei Sian Yok, photograph taken in 1953.)
The difficulty of the process, and the elusiveness of women’s stories, means that it can feel remarkably fortuitous to come across their names in scholarship. My first encounter emerged from conversations with an academic mentor, who directed me toward the recently translated writings of a Chinese-Indonesian art critic, Oei Sian Yok (1926-2002). Between 1956 to 1961, Oei wrote hundreds of articles reviewing both international and Indonesian exhibitions for the Jakarta-based Star Weekly magazine, under the pseudonym Pembantu Seni Lukis Kita (Our Art Servant). At the time of publishing, the Chinese community in Indonesia faced discriminatory legislation that sought to address their ambiguous nationality status. Notably, the signing of the Sino-Indonesian Dual Nationality Treaty between China and Indonesia in 1955 forced Chinese Indonesians to choose to remain as citizens of just one country. In following years, the Chinese minority in Indonesia continued to suffer from repression and violence during the New Order era, which sought to efface all aspects of Chinese culture and language. Such a position of precarity can be discerned in Oei’s articles, which appeared to pave an alternative way of appraising art that overturned the binary antagonism between colonial and anti-colonial viewpoints. Contrary to the incendiary rhetoric of an Indonesia-centric, nationalist historiography of art, Oei wrote:
“When we listen to foreigners talking about our own country, sometimes we don’t recognize what they say as something of our own anymore. They often hear or see something that we couldn’t perceive, because we have taken things around us for granted, as being ordinary; foreigners might rediscover things for us because they see with the “other eyes”.”
Here in Oei’s writings, in which she acknowledges and affirms the contributions of “foreign eyes” to the Indonesian artistic imaginary, we glimpse a genealogy of transnational thinking in Indonesian art criticism. Implicit in her writings, is the provocation that the very idea of Indonesia as a modern nation has, and may very well continue to be, shaped by those who occupy ambiguous, transnational positions in the country—the internal “other”.
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