Hofstra University Museum of Art: Spirit and Identity: Melanesian Works by Hofstra University

H o f s t r a U n i v e r s i t y M u s e um

Spirit and Identity:

Melanesian Works from the Hofstra University Museum Collections

H o f s t r a U n i v e r s i t y M u s e um

Spirit and Identity:

Melanesian Works from the Hofstra University Museum Collections February 18-August 29, 2014 David Filderman Gallery Curated by Kristy L. Caratzola Collections Manager Hofstra University Museum

Front cover credit: Oceanic, Melanesian, Abelam peoples, Papua New Guinea, Middle Sepik River, Maprik region, Nggwalndu Figure, (detail), 20th century, wood, polychrome pigment, 49.5 x 9.5 x 9 in. Hofstra University Museum Collections, Gift of Mr. and Mrs. Cedric H. Marks, HU73.83

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Additional exhibition funding provided by Astoria Federal Savings.

As the first Europeans arrived in the early part of the 16th century, they discovered that the peoples of the Oceanic/Melanesian region and nearby islands still relied upon bone, wood and primitive stone tools as implements. It was, in fact, Don Jorge de Menses, a Spanish navigator, who is credited with first discovering the region in 1526-27.2 In the 1920s famed American anthropologist Margaret Mead studied and wrote extensively about the peoples of what was then known as the New Guinea region, providing insights, often considered controversial, into the rituals, traditions and cultural mores of the Arapesh, or Sepik basin people.3 For most early inhabitants of the New Guinea region, and to some degree to this day, nature is seen as the repository of unpredictable and capricious elements. The ability to survive, as well as the ability to connect with the “living presence” of one’s ancestors to secure continuity from one generation to the next, is one essential element in the creation of the art and artifacts of these peoples. The art forms of Papua New Guinea (officially renamed in 1972)4 rely primarily upon sculpted forms in wood. Often the works are curvilinear with painted surfaces that frequently include geometric shapes. The Hofstra University Museum is most fortunate to have numerous works from the cultures of this region of the world, thanks to significant gifts from Cedric H. and Daisy Marks. We also thank Astoria Federal Savings for providing support that helped bring this exhibit to fruition. Curated by the Museum’s Collections Manager, Kristy L. Caratzola, this exhibition provides, for the first time, insights into the artistic and cultural output of the peoples of the Maprik region, Sepik River region, the Kiriwina Islands, and the Papuan Gulf, giving us a glimpse at just a few of the more than 200 cultures that have been identified in this region of the world.5

Beth E. Levinthal Executive Director

http://globaledge.msu.edu/countries/papua-new-guinea/history http://en.wikipedia.org/wiki/Margaret_Mead 5 www.pngembassy.org/culture.html 1, 2, 4 3

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vidence places the first human inhabitants of the Oceanic region at no later than 60,000 years ago. These early people, who may have migrated during an Ice Age from Southeast Asia, were hunters and gatherers who relied upon the forest environments for their food, while simultaneously practicing agricultural techniques with indigenous crops such as sugarcane, Pacific bananas, and yams.1

Brightly painted figural sculptures are essential to the yam harvest of the Abelam of northeastern Papua New Guinea. This prescribed series of horticultural processes, initiation activities and feasts ensures the continued prosperity of collective hamlets. Patrilineal clan spirits are honored through competitive cultivation of sacred long yams exchanged between initiated men belonging to sets of dually reciprocating family groups aligned by marriage. Abelam Yam Cult members are also responsible for executing the religious artworks positioned around the “korombo” house, which becomes the center of ceremonial activity during this season. The korombo is a sacrosanct structure revered as a powerful spiritual presence. Its exterior is characterized by a tall, steeply pitched thatched roof that hangs over the front side and extends down to the ground. This enclosure forms a canopy that covers an intricately painted triangular gable that gives shelter to senior initiated males, called “big men,” who meet in this congregational area. Abelam korombo are exclusively used for storing sacred long yams during the harvest and for staging “tambaran” initiations in the proceeding months. During the annual tambaran, candidates are exposed to mysterious enshrined objects that include painted sculptural interpretations of the primary ancestor, nggwalndu. Nggwalndu is represented throughout the korombo, taking the shape of full-length figures, large sculptural heads, monumental facade paintings, and as the building and displayed sacred long yams themselves. Individually carved nggwalndu are also understood as symbols of named male ancestors particular to each clan. Manifestations of this supernatural paternal being have multiple attributes that vary according to the medium to which they are applied. Combinations of these identifiable elements are prominent in the nggwalndu (HU73.83) from the Museum’s permanent collections and featured in this

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pirit and Identity: Melanesian Works from the Hofstra University Museum Collections examines a range of ethnographic artworks and objects created by distinct regional cultural communities indigenous to Papua New Guinea and the Islands of New Britain, Vanuatu and Kiriwina located in the Papuan Gulf of the South Pacific Ocean. Although traditional aesthetic styles vary across each society, commonalities are found in the practice of ancestor worship, the belief in spiritual intervention, and in the production and accumulation of sanctified objects. Sophisticated polychromed wooden figures, warrior shields and ritualized utilitarian objects express complex ideologies through abstracted human and animal forms complemented with colorful, geometric designs.

Shields made by the Sulka and Mengen peoples from the southeastern coast of New Britain Island are designed for dual use as both defensive weaponry and performance paraphernalia. A great number of these shields are rendered with a common formal structure and a variety of visual elements that abstractly translate perceived aspects of the natural world. The Sulka and Mengen typically fashion long boards from a single piece of wood, bordered with plaited rattan around the edges and additional caning wrapped around the center or woven around the curved ends. The fiber bindings that embellish the shield reinforce the board and help prevent splitting and damage from thrown projectiles or heavy use and wear. The large flat planes of the upper and lower lengths are decorated with a stylized figural or zoomorphic motif presented as a double image, with the latter portion inverted in color and orientation. The angular boss that extends from the center of the front surface allows the sunken handle on the reverse to be chiseled out at greater depth, thus providing a better grip and balance. Incised and painted compositions can be loosely derived as faces with features suggested by a composite of patterned gouge marks, organic lines, chevrons, diamonds, triangles, Xs, spots and concentric circles layered on top of larger areas of flat color.

The concept that venerated ancestors are mediators who guide, protect and provide a vital spiritual connection to their living descendents is one that is widely shared among Melanesian cultures. Additional comparisons are found in the method of empowering objects through the act of painting, which serves as a catalyst that enlivens the inanimate with otherworldly traits. Through this action, wooden sculpture, weapons and commonplace objects become the ceremonial figures, shields and hooks that offer unique access into the compelling, spiritual artwork of Papua New Guinea and Island Melanesia.

Kristy L. Caratzola Collections Manager

Practical forms are adapted into prestige objects through the selection of increasingly delicate natural materials, exaggerated or minimized scale, and ornate surface treatment. Developed through necessity, Iatmul suspension hooks functionally safeguard valuables from seasonal flooding and scavengers. The hook in this exhibit (HU73.82) depicts an anthropomorphic figure composed of a lightly weighted wood with a fine grain, carved and sanded to a smooth surface. In its original context, the handle protruding from the back of the head would be threaded with a fiber rope affixed to an exposed rafter. String bags woven by Iatmul women were

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then hung from the deeply curved projections at the lower portion of the hook and filled with sacral items or food stores. The utilitarian purpose of this hook is further transformed through pigmentation, reduced size, and the application of shell eyes. The large oval face is covered in a thick white pigment overlaid with black outlines around the eyes, down the bridge of the nose, across the closed mouth and painted in opposing circles on each cheek. When used within the chambers of an Iatmul men’s house, these hooks are meant to perform as an intermediary between initiated males and their forebearers who, when literally called upon, could give council on a range of societal issues. Of course, their advice is read through signs interpreted by big men.

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exhibition. Here, nggwalndu takes form as a full-length male figure carved from a single trunk of solid wood polychromed in bright orange overall and accentuated in yellow, black and white. The head is disproportionately larger than the tuber-shaped body of the crouching figure, with the minimally scaled arms and legs bent at extreme angles and held close to the body. Facial features are defined by triangular sections of alternating colors, banded lines, zigzags, dots and cross-hatching. This post-like sculpture is adorned with a rounded headdress that supports two birds mirroring one another. Species of hornbill and cassowary are the types most frequently depicted in Melanesian art and symbolically tie to the history of Abelam head hunting and warfare.

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Middle Sepik River, Maprik region Nggwalndu Figure, 20th century Wood, polychrome pigment 49.5 x 9.5 x 9 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.83

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River, Maprik region Standing Male Figure, c. 1950s Wood, polychrome pigment 42.25 x 6 x 7 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.87

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River, Maprik region Standing Ancestral Figure, c. 1950s Wood, polychrome pigment 58 x 8.5 x 3.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.84

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River, Maprik region Human Head and Bird Post for Yam Ceremony, c. 1950s Wood, polychrome pigment 39 x 5 x 14 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.88

Oceanic, Melanesian Papua New Guinea, Burui District Standing Male Figure, 20th century Wood, polychrome pigment 24.25 x 7.25 x 4.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.103

Oceanic, Melanesian Papua New Guinea, Sepik River Standing Ancestral Male Figure, 20th century Wood, polychrome pigment, raffia fiber, shell 23 x 7.5 x 6.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.80

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Maprik region Yam Mask, 20th century Woven rattan fiber, pigment 4 x 10.25 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.56

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River, Maprik region Yam Mask, 20th century Woven rattan fiber, polychrome pigment, balsa wood 20.5 x 10 x 11.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.76

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River, Maprik region Baba Mask, 20th century Woven rattan fiber, polychrome pigment 12.75 x 14.5 x 10.25 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.78

Oceanic, Melanesian Papua New Guinea, Sepik River, Maprik region Baba Mask, 20th century Woven rattan fiber, pigment 15 x 9 x 12.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.58

Oceanic, Melanesian, Iatmul peoples Papua New Guinea, Middle Sepik River, Maprik region Suspension Hook, c. 1950s Wood, polychrome pigment, shell 17.25 x 6 x 2 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.82

Oceanic, Melanesian Papua New Guinea, Maprik region Dancing Banner, 20th century Wood, polychrome pigment 48 x 8.5 x .5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.81

Oceanic, Melanesian Papua New Guinea, Sepik River Adze, 20th century Wood, pigment 21.5 x 12 x 1.75 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.90

Oceanic, Melanesian Papua New Guinea, Sepik River Spear Thrower, 20th century Wood, pigment, fiber 38.5 x 5.5 x 1 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.60

Oceanic, Melanesian Papua New Guinea, Papuan Gulf Food Bowl, 20th century Ceramic, pigment 7 x 9 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.96

Oceanic, Melanesian Papua New Guinea, Sepik River Food Bowl, 20th century Ceramic, pigment 7.25 x 8.5 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.94

Oceanic, Melanesian, Kerewa peoples Papua New Guinea, Papuan Gulf Ancestral Board, Gope, 20th century Balsa wood, pigment 54.5 x 11.25 x 1 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.75

Oceanic, Melanesian, Sulka peoples Papua New Guinea, New Britain Shield, 20th century Balsa wood, polychrome pigment, rattan fiber 66 x 9 x 5.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU66.74

Spirit and Identity:

Masks

Melanesian Works from the Hofstra University Museum Collections

Exhibition Checklist Figural Sculpture

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River Standing Ancestral Figure, c. 1950s Wood, polychrome pigment 22 x 8 x 8 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.79

Oceanic, Melanesian Papua New Guinea, Burui District Four Figures in Ceremonial Squatting Position, 20th century Wood, polychrome pigment 20 x 11 x 11.25 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.89

Oceanic, Melanesian Papua New Guinea, Maprik region Standing Female Figure, 20th century Wood, pigment 41 x 6 x 6 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.51

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River Mountain Parrot, c. 1950s Wood, polychrome pigment 14 x 4.25 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.98

Oceanic, Melanesian Papua New Guinea, Vanuatu (New Hebrides) Ancestral Figure, 20th century Wood 24.5 x 7.5 x 7.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.99

Oceanic, Melanesian, Abelam peoples Papua New Guinea, Sepik River Standing Male Figure, 20th century Wood, polychrome pigment 24 x 3.75 x 2.75 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.85

Ceremonial Weapons and Utilitarian Objects

Oceanic, Melanesian, Massim peoples Papua New Guinea, Kiriwina Islands (Trobriands) War Club, c. 1950s Wood, pigment 34.25 x 5.25 x .75 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.92

Oceanic, Melanesian Papua New Guinea, Sepik River Carved Figure, 20th century Wood, pigment 18.5 x 5 x 3.25 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.61

Oceanic, Melanesian Papua New Guinea, Sepik River, Maprik region Mask, 20th century Woven rattan fiber, pigment Hofstra University Museum Collections 15 x 10 x 16 in. Gift of Mr. and Mrs. Cedric H. Marks, HU82.59

Oceanic, Melanesian Papua New Guinea, Sepik River Adze, 20th century Wood, pigment 21.5 x 12 x 1.75 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.90

Oceanic, Melanesian Papua New Guinea, Sepik River, Maprik region Mask, 20th century Woven rattan fiber, pigment 15 x 9.5 x 15.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.57

Oceanic, Melanesian Papua New Guinea, Sepik River Spear Thrower, 20th century Wood, pigment 38.5 x 5.5 x 1 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU82.60 Oceanic, Melanesian Papua New Guinea, Sepik River Ceremonial Sword, 20th century Wood, pigment 42 x 4 x 1.25 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.93

Exhibition Checklist

continued

Ceramic and Wooden Vessels

Oceanic, Melanesian, Sulka peoples Papua New Guinea, New Britain Shield, c. 1950s Balsa wood, polychrome pigment, rattan fiber 81 x 12 x 3 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.73

Oceanic, Melanesian Papua New Guinea, Papuan Gulf Food Bowl, 20th century Ceramic, pigment 7 x 9 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.96

Oceanic, Melanesian, Sulka peoples Papua New Guinea, New Britain Shield, c. 1950s Balsa wood, polychrome pigment, rattan fiber 78.5 x 10 x 1.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.74

Oceanic, Melanesian Papua New Guinea, Papuan Gulf, Siassi Islands (Umboi) Food Bowl, c. 1950s Wood, pigment 2.75 x 23 x 8.75 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.97

Oceanic, Melanesian Papua New Guinea, New Britain Shield, 20th century Balsa wood, pigment, rattan fiber 76 x 10.5 x 4.25 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU66.73

Oceanic, Melanesian Papua New Guinea, Sepik River Food Bowl, 20th century Ceramic, pigment 7.25 x 8.5 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.94

Oceanic, Melanesian Papua New Guinea, New Britain Shield, c. 1950s Balsa wood, polychrome pigment 84 x 8 x .5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU66.72

Oceanic, Melanesian Papua New Guinea, Sepik River Food Bowl, 20th century Ceramic, pigment 4.75 x 6 in. diameter Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.95

Oceanic, Melanesian Papua New Guinea, New Britain Shield, c. 1950s Balsa wood, polychrome pigment 66 x 7 x 2.5 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU66.75

Ancestral Shields Oceanic, Melanesian, Kerewa peoples Papua New Guinea, Papuan Gulf Ancestral Board, Gope, 20th century Balsa wood, pigment 54.5 x 11.25 x 1 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU73.75

Oceanic, Melanesian Papua New Guinea, New Britain Shield, 20th century Balsa wood, polychrome pigment 76 x 9.125 x 3 in. Hofstra University Museum Collections Gift of Mr. and Mrs. Cedric H. Marks, HU66.76

HOFSTRA UNIVERSITY Stuart Rabinowitz President Andrew M. Boas and Mark L. Claster Distinguished Professor of Law Herman A. Berliner Provost and Senior Vice President for Academic Affairs Lawrence Herbert Distinguished Professor HOFSTRA UNIVERSITY MUSEUM Beth E. Levinthal Executive Director Karen T. Albert Associate Director of Exhibitions and Collections Caroline S. Bigelow Senior Assistant to the Executive Director Kristy L. Caratzola Collections Manager Tiffany M. Jordan Development and Membership Coordinator Nancy Richner Museum Education Director Renee B. Seltzer Museum Educator Marilyn Zucker Museum Educator Graduate Assistant Frantz Lucien Jr. Graduate Student Staff Lauren Chessari Sierra Ortega Lindsay Ralbovsky Undergraduate Assistants Roberto Hernandez Nicholas Stonehouse Julia Szaniawska Caroline Wilkins

Hofstra University Museum of Art: Spirit and Identity: Melanesian Works

Articles inside

In the 1920s famed American anthropologist Margaret Mead studied and wrote extensively about the peoples of what was then known as the New Guinea region, providing insights, often considered controversial, into the rituals, traditions and cultural mores of the Arapesh, or Sepik basin people