Reclaiming The Healing Arts of The Ancient ... - Wacana Seni

68Wacana Seni Journal of Arts Discourse. Jil./Vol.11. 2012There is, in other words, space for opposition in Chiba's readings and in the readings ofSoutheast Asian women's works, I offer in this article. They only go to show that the structurethat I inhabit intimately is not monolithic and is instead riddled by fractures and contradictions.It is from such gaps and fissures that I may find the spaces for forming empowering bonds andcommunities and for enacting maneuvers that interrupt official versions of history.Let me now present my article by telling three stories. One took place in 1997 in Bali andanother in Bangkok in 1995. The other happened in Manila in 2004.STORY 1: RE-IMAGI(NI)NG SITAThe year was 1997, and the place was Ubud, Bali, the last leg of our research in Indonesia,which started in Jakarta, Bandung and Yogyakarta in Java. One of the first women I met wasNi Made Sri Asih, whom I intercepted after her class with young girls at the Seniwati ArtGallery for Women – which was at that time the only gallery exclusively for women artistsin the places I visited. (Perhaps it still is the only one of its kind in Southeast Asia untiltoday). Before the interview, I saw a photo of one of her works at one of the catalogues atSeniwati, which appeared at first to be totally ordinary, as it was rendered in what I thoughtwas "typical" Balinese style. Upon closer look however, I was to be proven wrong.Hanoman's Task (1996) exhibits the characteristics of the Pita Maha school of Ubud, one ofthe competing schools of style and technique of Modern Balinese painting. While they maylook alike on the surface, modern Balinese paintings are complex products of several stylisticschools, which are hybrids of precolonial and modern aesthetics brought about by colonial artacademies, tourism and migrations, among others (Djelantik 1990). The stamp of Pita Maha