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Exhibition script:
Traditions & Encounters: Arts of Africa, Oceania and Native
North America
Permanent collection galleries
Open 2009
Memorial Art Gallery of the University of Rochester, NY Curator:
Jessica Marten, Assistant Curator
Educator: Marlene Hamann-Whitmore, Curator of Education
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The reinstallation of the Africa, Oceania, Native North America
galleries was made possible thanks to the following contributors:
UNDERWRITERS This installation is underwritten by donors to the
Gallery’s Tribute Fund. Underwriting for the educational
installation is made possible by Dominion and two anonymous donors,
with additional support from Thomson Reuters and Hammer Packaging.
SCHOLARS AND LENDERS Traditions and Encounters: Arts of Africa,
Oceania and Native North America Africa: William Siegmann, PhD.,
Curator Emeritus of African and Oceanic Art, Brooklyn Museum of
Art; Christine Kreamer, PhD., Curator, National Museum of African
Art; Drs. Robin and Michael Weintraub; Roy Seiber, PhD., Research
Scholar Emeritus, National Museum of African Art; Edward Lifshitz,
Curator of Education, National Museum of African Art Oceania:
Robert J. Foster, PhD., Professor of Anthropology and Chair of the
Department of Visual and Cultural Studies, University of Rochester;
Drs. Robert and Nancy Foster; Deborah Gewertz, PhD., G. Henry
Whitcomb Professor of Anthropology and Chair of Anthropology and
Sociology, Amherst College; Fred Errington, PhD., Distinguished
Professor of Anthropology, Trinity College; Robert Welsch, PhD.,
Assistant Professor of Anthropology, Franklin Pierce University;
Kathy Leacock, Curator of Collections, Buffalo Museum of Science
Native North America: Janet Berlo, PhD., Professor of Art
History/Visual and Cultural Studies, University of Rochester;
Margaret Blackman, PhD., Professor of Anthropology, State
University of New York at Brockport; G. Peter Jemison, Historic
Site Manager of Ganondagan State Historic Site; Vee and George
Angle; Alan and Nancy Cameros; Steve E. Henrikson, Curator of
Collections, Alaska State Museum; Aldona Jonaitis, PhD., Director
Emerita, University of Alaska Museum of the North and Professor of
Anthropology, University of Alaska Fairbanks CONSULTANTS Barbara
Moore, conservator; Kathy D’Amanda, designer; Nic Minetor, video;
Bob Davidson, Exhibits and More
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TITLE WALL LABEL Willie Cole, 1955 – America Sears Ross tji wara
(mother and child), 2002 Bicycle parts Maurice R. and Maxine B.
Forman Fund, 2006.40 This unique sculpture links the art in this
gallery with the American art in the adjacent galleries. Willie
Cole’s work explores areas of overlap and intersection among
African, American and African American
cultures. Cole makes his art from the reused detritus (otherwise
known as garbage) of contemporary life. In this sculpture of old
bicycle parts, the artist reinterprets the tji wara (also spelled
chi wara) masks of the Bamapeople of Mali. An example of the kind
of female antelope chi wara mask that inspired Cole can be found on
the other side of this entrywa
na
y. With real-time communication, social networking and economic
globalization, the internet of the 21st century fosters seamless
and near-constant encounters across time and cultures. By
Africanizing or ritualizing common western objects, Cole embraces
and examines these encounters as he comments upon contemporary
society. Look for other works by contemporary artists in this
gallery.
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AFRICA CENTER CASE Olowe of Ise, ca. 1875 - ca. 1938 Yoruba
Culture, Nigeria Veranda Post, 1910-1914 Wood, pigment Marion
Stratton Gould Fund, 71.13 A royal wife stands with her hands
resting on the heads of her twin daughters who hold their breasts
in a Yoruba gesture of greeting, devotion and humility. This post
was carved to decorate a courtyard veranda in the palace of the
Ogoga of Ikere, one of the kings of Yorubaland. The courtyard
served as an official area where the king received important
visitors and conducted affairs of state. It was important that he
show off his wealth, power and sophistication in this space. This
veranda post was carved by one of the most renowned sculptors in
Africa, Olowe of Ise. His sculptures were so beautiful that some
people believed Olowe harnessed the power of spirits who carved for
him. Elaborate hairstyles and scarification patterns (look at the
royal wife’s back) demonstrate Olowe’s technical mastery and
reflect Yoruba standards of beauty. Traces of layered pigments
indicate that these were once brightly painted and regularly
refurbished.
Included on label rail Veranda posts in the palace of the Ogoga
of Ikere, 1968
AFRICA PLATFORM 1 LABEL RAIL #1 Bamana Culture, Mali 20th
century Crest Mask: Female Antelope (Chi Wara) Wood, cane, shell,
yarn, brass Gift of Isabel C. Herdle, 93.14 Bamana Culture, Mali
20th century Crest Mask: Male Antelope (Chi Wara) Wood, fiber,
metal Marion Stratton Gould Fund, 69.107
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In many cultures, gods and spirits take the form of animals.
Selected for their physical or behavioral traits, features of
different animals are combined to create mythical creatures whose
symbolic powers are greater than those of ordinary beasts. These
antelope crest masks combine the curved horns of an antelope, the
curious snout and scales of a pangolin (a kind of anteater) and the
squat body of an aardvark—all animals that dig up the earth. This
makes them fitting representations of Chi Wara, the supernatural
being the Bamana believe taught humans to farm. These masks were
worn in male/female pairs during dance performances in the fields
that taught and encouraged good farming. Today, because of
conversion to Islam and a variety of social changes due to
westernization, the Chi Wara masquerade is now performed for
entertainment and cultural pride. The small pieces of red cloth
attached to the snout of the male Chi Wara (on the right) may have
originated in the woolen bandages imported by the French during the
First World War. In Bamana culture, red is the color of danger and
is often restricted to men of certain status.
Included on label rail Chi Wara masquerade, 1905-1906
Senufo Culture, Côte d'Ivoire 20th century Champion-Cultivator
Staff Wood, fiber, cowrie shells, beads, sacrificial materials
Marion Stratton Gould Fund, 71.64 During the annual hoeing contests
of the Senufo, the farmer with the most agricultural prowess wins
the champion-cultivator staff for one year. The voluptuous and
regal figure, the epitome of Senufo beauty, is posted in the ground
during competition to watch over and spur on the contestants. These
contests are more than simple agricultural competitions; they weave
a rich tapestry of art forms—drumming, singing, dancing, and
sculpture—to turn back-breaking labor into an inspiring community
ritual. The shiny area visible near the figure’s eye is likely
residue from the ritual application of oil, a sacrificial offering
made to the powers embodied in the staff.
Dogon Culture, Mali 20th century Granary Door or Shutter Wood,
iron Marion Stratton Gould Fund, 70.63
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For hundreds of years the Dogon have lived along a very steep
cliff called the Bandiagara Escarpment in buildings made of clay
with thatch roofs. Doors like this, still in use by the Dogon,
secure access to the variety of food stuffs stored in their granary
buildings. The repetitive shapes on this door are stylized
representations of male and female ancestors, and the cone-shaped
elements on the left refer to fertility and the female breast. This
imagery encourages abundance in life and crops and reflects values
held by agricultural communities.
Bamana Culture, Mali 20th century Door Lock Wood, metal Marion
Stratton Gould Fund, 69.71 This is a door lock of the Bamana
people. Inside the lock, metal pins attach the horizontal and
vertical elements. A metal key must be inserted into the hole
between the creature’s shoulders to release the pins in the lock.
But in truth, the functional value of a Bamana door lock is
secondary to its spiritual value. An individual determined to break
into a house with a sculpted door lock would find it an easy
matter. Bamana door locks are primarily meant to protect a home
against malevolent spirit forces seeking entry. This lock is in the
form of a crocodile or water iguana. In Bamana mythology, these
lizards are representatives of Faro, a powerful and beneficent
deity who protects against sorcery.
Senufo Culture, Côte d'Ivoire 20th century Rhythm Pounder
(Deble) Wood Marion Stratton Gould Fund, 69.72 In many African
societies, life on earth is seen as part of a continuum that
permits movement between the spirit and earthly worlds. As
ancestors are in a position to assist the living, they must be
respected and attended to. The rhythm pounders of the Senufo
originally functioned as communication devices in calling the
spirits of ancestors to participate in funerals. Held by the upper
arms, the rhythm pounder’s thick base is thumped into the earth in
rhythm with the sounds of chants, drums and rattles.
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AFRICA PLATFORM 1 - AOA CASE 3 Senufo Culture, Côte d'Ivoire
20th century Helmet Mask (Waniougo) Wood Marion Stratton Gould
Fund, 70.22 The sharp edges and angular forms of this double-faced
mask (waniougo) result in a fierce and expressive presence. A
fearsome appearance is desirable as waniougo’s role is to frighten
away evil spirits wishing to harm a Senufo village at times of
particular vulnerability, for example at funerals. Their appearance
in nighttime masquerades enhances the otherworldly presence of
these “firespitter” masks; embers or burning grass are held in
front of the mouths through which the wearer blows to creating a
dramatic shower of sparks into the night sky. Waniougo combines the
features of crocodiles (teeth), hippos (tusks), warthogs (upper
tusks) and chameleons (two are visible on the top). In order to
empower the mask before the ceremony, the cup held by the
chameleons is filled with magical materials and the mask freshly
painted with spots.
Included on label rail Waniougo masquerade
AFRICA PLATFORM 1 LABEL RAIL #2 Dan Culture, Liberia and Côte
d'Ivoire 20th century Face Mask (Bu gle) Wood, metal, pigment,
sacrificial materials Marion Stratton Gould Fund, 70.24 To the Dan,
a carved mask holds no power until it has been activated. A nail in
the top of the forehead is sometimes a sign of spiritual
activation, animating a previously inanimate object. The nail in
this mask might also have functioned simply to secure pieces of the
dance costume to the mask. The most important art to the Dan are
the masks that embody powerful spiritual forces called gle. These
wild, unpredictable bush spirits yearn
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to participate in the ordered realm of the village. Bu gle are
war masks. Their bulging eyes and sharp angular features speak of
an aggressive nature that is reflected in a rough and vigorous
dancing style. Dan Culture, Liberia and Côte d'Ivoire 20th century
Face Mask (Gegon) Wood, raffia fiber Marion Stratton Gould Fund,
69.69 Gegon is the bird masquerade; the dancer wears a tall
cylindrical hat covered with feathers and mimes the pecking or
flying movements of birds. In Dan mythology the toucan bird was the
first being created and the bringer of oil palm, an important food
source for the Dan.
Dan Culture, Liberia and Côte d’Ivoire 20th century Face Mask
with Hinged Jaw (Bu gle) Wood, metal, monkey fur, sacrificial
materials Marion Stratton Gould Fund, 69.21 This mask originally
had a hinged jaw that has broken off and is now covered with a
patch of monkey fur. Masks like this are believed to embody
spiritual beings capable of settling disputes with clear
impartiality. By clattering the upper and lower jaw together the
mask voices his judgments. The metal eye rims obscure the human
eyes beneath and enhance an already penetrating glare. The thick
crust visible on the surface is the result of sacrificial materials
that have been “fed” to the bu gle – an appropriate way to control
the powers of the mask.
AFRICA PLATFORM 1 – AOA CASE 4 Dyimini Culture, Côte d’Ivoire
20th century Face Mask Wood, pigment Marion Stratton Gould Fund,
70.21 Dyimini masquerade functions within Poro, the men’s secret
association that provides the traditional educational, religious,
and social training for young men. Masks used in Poro are
restricted to men; for the most part, women are forbidden to see
and use these carvings and to learn the
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secrets of this powerful society. The mask’s linear
scarification patterns and elaborate hairstyle are expressions of
traditional Dyimini ideals of beauty. The raised serrated edge that
frames the face depicts a stylized beard, a symbol of wisdom and
authority achieved with age and experience. Marka Culture, Mali
20th century Face Mask Wood, brass, iron, fiber Gift of Nancy
Watson Dean, 93.37 As human sweat leaves a recognizable patina or
surface appearance on wood, evidence of use is visible on the back
of this mask. It was likely performed by males in Marka men’s
association (jow). These masquerades are performed to help
coordinate community labor projects, provide entertainment to the
public and teach young men how to take on their adult
responsibilities.
AFRICA PLATFORM 1 – AOA CASE 5 Mende Culture, Sierra Leone 20th
century Helmet Mask (Sowei) Wood Marion Stratton Gould Fund, 72.52
The only occasion upon which it is acceptable for women to wear
masks in Africa is during the ceremonies of the Sande society in
Mende culture. Sande society, which includes all Mende women,
wields a great deal of political and social power. Sowei is the
Sande society’s guardian spirit and as such has a forceful,
aggressive dance style that is enhanced by an imposing body
covering of black raffia fibers. The carved mask embodies ideal
Mende womanhood: a high clear forehead (intelligence); downcast
eyes (servility); small mouth (discretion); neck rings (health) and
scarification (physical beauty). The elaborate hairstyle reflects
the importance of social bonds between women as it takes many hands
to create such a look.
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Included on label rail Sowei masquerade, 1968-1970
AFRICA – INSET CASE Asante Culture, Ghana 20th century
Fertility Doll (Akuaba) Wood General Acquisitions Fund, 67.31
Fertility is a universal human concern that has long been a central
issue in Africa where the infant mortality rate remains high to
this day. An akuaba is a fertility talisman meant to aid an Asante
woman yearning to become a mother. The horned hairdo of this akuaba
is that of a priestess and indicates the child, if allowed to live,
will become a priestess dedicated to a goddess. Normally it is not
necessary to dedicate a child; this is more common among older
women who had already lost several children.
Asante Culture, Ghana 20th century Fertility Doll (Akuaba) Wood,
beads, fiber Gift of Mrs. Nathaniel T. Whitcomb, 84.20 Akuaba are
affectionately bathed, dressed, fed and carried by women as they
would a living child. Their slight, flat shape is designed to be
carried on a woman’s back in her cloth wrapper. When the woman’s
child survives childhood, the akuaba is sometimes placed in a
shrine as an offering of thanks to the god responsible. Almost all
of these fertility dolls are female as the Asante are a matrilineal
society and most women wish for daughters to carry on their family
line.
Asante Culture, Ghana
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20th century Female Figure with Child Wood, iron, sacrificial
materials Marion Stratton Gould Fund, 70.62 This is likely a
representation of the Asante Queen Mother, a female relative of the
king who has the authority to nominate his successor. The infant’s
dependence on the mother for nourishment and protection symbolizes
the kingdom’s dependence upon the Queen Mother for guidance.
Associated with earth goddesses, agriculture and fertility, this
Queen Mother figure was probably kept as part of a fertility shrine
where sacrificial offerings were made (remnants of eggshell still
remain on her surface). Scholars are confused by the weapon in the
mother’s hand and think perhaps it was added at a later date.
Edo (Bini) Culture, Benin Kingdom, Nigeria 17th-18th century
Head Fragment Clay Marion Stratton Gould Fund, 65.25 This small
head fragment from the Benin culture in Nigeria is the oldest
African object in the Memorial Art Gallery’s collection. It was a
part of the great royal court art of Benin and likely represents
one of the deceased kings (Oba) or attendants. The Benin believed
the Oba was both a deity and a human ruler. The Benin kingdom was
known for its very fine brass casting and this small clay head may
have served as a casting form for a shrine figure.
Baule Culture, Côte d’Ivoire 20th century Spirit Figures (Blolo
Bian/Bla or Asye Usu) Wood Marion Stratton Gould Fund, 71.19 &
69.33 The Baule believe each person has a spirit spouse
(husband=blolo bian, wife=blolo bla). The presence of a
troublesome, jealous spirit spouse can result in illness or
misfortune. A carving can be commissioned to ensure the spirit’s
protection and good will. These extremely private sculptures are
kept hidden in the owner’s bedroom where they are attended to and
anointed with oil. Raised scarification patterns represent Baule
standards of beauty and identity, while their contained posture and
introspective expression reflect social virtues of tradition and
decorum.
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Bush spirit figures (asye usu) are carved when an uncivilized
bush spirit forms an attachment to a human and makes trouble in
their life. Asye usu can only be appeased by a sculpted figure kept
enshrined and placated with offerings that, over time accumulate in
a thick crust. This surface (often cleaned off when the sculpture
is sold) is the only way to distinguish between a spirit spouse and
a bush spirit, as in all other ways they look the same. For this
reason, it is impossible to know if these figures are spirit
spouses or bush spirit figures. Asante Culture, Ghana 20th century
Stool Wood Anonymous gift, 62.24 In many African cultures, objects
(such as carved figures and masks) can act as physical surrogates
for spirits wishing to communicate and interact with the living.
Stools are central objects in Asante spirituality. The Asante
believe the stool used in life houses the owner’s soul in death.
This is based in the story of The Golden Stool that descended from
the heavens to land in (and thereby legitimize) the lap of the
first Asante king. The Asante saying goes, “A man with no stool is
a man with no dignity.”
Yoruba Culture, Nigeria 20th century Twin Figures (Ere Ibeji)
Wood, fabric, cowrie shells, metal, beads Lent by Drs. Robin and
Michael Weintraub, 9.76a-bL, 10.76.1a-bL & 2a-bL The Yoruba
have one of the highest rates of twinning in the world. Twins are
endowed with powerful attributes, both auspicious and dangerous.
Due to the high mortality rate of twins, when one or both dies,
Yoruba mothers procure small wooden statues (ere ibeji) to house
the spirits of the deceased. If there is a single ibeji, it is
likely that one twin died and one survived. If there are two ibeji
figures, then it is likely that both twins died. Wealthy women
clothe their ere ibeji in beaded or shelled vests. Cowrie shells
are a traditional form of money in many West African cultures.
Yoruba Culture, Nigeria 20th century Twin Figures (Ere Ibeji)
Wood, pigment, beads, cowrie shells, fiber, sacrificial
materials
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Marion Stratton Gould Fund, 65.9.1 & .2 Surface accumulation
and signs of wear are common as ibeji figures are cared for in the
same manner as a living child and are handled, clothed, washed, fed
and honored with dances and songs. Lyrics from a Yoruba song
explain how the care of ere ibeji can control the potentially
negative influence of twins’ spirits, “Abuse me and I shall follow
you home. Praise me and I shall leave you alone.” Subsequent
generations inherit the care of ere ibeji from their ancestors.
Guro Culture, Côte d'Ivoire 20th century Heddle Pulleys Wood, horn,
fiber R.T. Miller Fund, 53.75.1 & .2 Hand looms are
traditionally used by West African men in weaving narrow-strips of
cloth. While the heddle pulley is a crucial functional element of
the loom, the elaborately carved figure is not. These decorative
figures, which fell out of fashion at the end of the last century,
were made beautiful simply for the delight and pleasure of the
weaver. The human compulsion to beautify functional objects is
explained simply by a Guro artist who said, “We cannot live without
such beautiful things.”
Chokwe Culture, Angola and Democratic Republic of the Congo 20th
century Double Cup Wood R.T. Miller Fund, 51.112
Yaoure or Baule Culture, Côte d'Ivoire 20th century Spoon Wood
Gift of Gertrude Herdle Moore, 64.102
Ogoni Culture, Nigeria 20th century Face Mask with Hinged Jaw
(Elu) Wood, pigment, fiber Marion Stratton Gould Fund, 72.53 The
white face of this Ogoni mask is associated with the youthfulness
of
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benevolent spirits. As positive forces, elu are entertainers and
are performed by young men on multiple occasions throughout the
year. These unusually small masks perch on the front of the
dancer’s face attached to a woven head piece. The mask is further
animated when the dancer, clenching in his teeth a stick attached
to its back, opens and closes the hinged jaw. The bowler hat is
typical of this type of mask, as elu often depict hairstyles and
fashions current at the time. In the early 20th century when this
mask was carved, the Ogoni were involved in trading palm oil (for
cooking) and gained exposure to this European style. These bowler
hats became desirable prestige items for the Ogoni.
Photo on slant wall next to mask Elu mask dancer during a yam
harvest festival in Tai, 1992 Barbier-Mueller Collection book File
name “Ogoni” Saved to V:\Curatorial\Ethnographic Gallery
reinstallation 08-09\scanned book images\Africa\Barbier-Mueller
Coll Asante Culture, Ghana 20th century Goldweights Brass R. T.
Miller Fund, 53.76.1 & .2 Fueled by rich deposits of gold, the
Asante engaged in extensive trade relations with European and
African nations. Buyers and vendors used brass weights such as
these to counterbalance gold dust on scales. Each Asante family had
their own set of brass pieces. Unsurprisingly the vendors’ weights
were often too heavy and the buyer’s weights too light. Many
goldweights represented local proverbs with social or moral
meanings that served as ethical reminders during the sometimes
fraught ordeal of gold-weighing. If these two weights were
associated with proverbs, the cultural associations have been lost
to us.
AFRICA PLATFORM 2 – AOA CASE 6 Kuba Culture, Democratic Republic
of the Congo 20th century Shoowa Velvet, ca. 1900 Raffia
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Marion Stratton Gould Fund, gift of Molly Stern Estate and Mrs.
Harmar Brereton, by exchange, 92.79 Kuba people are renowned for
their shoowa velvet, the creation of which is strictly divided
along gender lines; men weave the cloth and women do the
needlework. This incredibly time-consuming process can take several
months to a year to reach completion on one panel. These panels are
not made into clothing, but rather treated as currency and valued
as treasured personal objects.
Teke Culture, Democratic Republic of the Congo 20th century
Necklace Brass Gift of Isabel Herdle in memory of Marjorie
Wildenhain, 68.106 Originally worn only by Teke chiefs, these
bronze necklaces became a kind of currency that was traded for
food, livestock and even wives.
Fur Culture, Sudan 20th century Bracelet Ivory Gift of Frans
Wildenhain in memory of Marjorie Wildenhain, 67.64 This delicate
ivory bracelet was worn by a Fur woman to enhance her beauty and
social status.
Western Pende Culture, Democratic Republic of the Congo 20th
century Pendant Amulet (Ikhoko) Ivory R.T. Miller Fund, 51.114 This
amulet was worn around the neck of a young Pende man beginning with
his initiation into the men’s secret society and remaining as a
part of his personal adornment for life. This face is a smaller
version of the masks worn during initiation and would later act as
a reminder to the wearer of the moral codes instilled in those
formative ceremonies.
AFRICA PLATFORM 2 LABEL RAIL
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Kota Culture, Gabon early 20th century Reliquary Figure
(Ngulu/Nguru) Brass, copper, wood Gift of Gertrude Herdle Moore and
Isabel Herdle in honor of Langdon Clay, 85.25 In the past, the Kota
venerated the bones of their most revered ancestors. The bones were
believed to embody their spirits which, if treated well, could aid
and improve the lives of the living. Kept in enclosed baskets,
these precious, sacred bones were guarded by reliquary figures like
this one.
Bamum Culture, Grasslands Region, Cameroon 20th century Crest
Mask Wood Marion Stratton Gould Fund, 71.20 This royal mask would
have been performed at night; the animals around its crown are
bats, nocturnal animals. The angular forms on the openwork cap
reference the Cameroon brown spider which is associated with the
high status of kings and the power of divination. This large spider
is a member of the tarantula family and lives in the ground near
the base of trees. In Cameroon the sacred earth spider has
supernatural wisdom and serves as intermediary between the living
and the buried dead. It is through these spiders that Cameroon
diviners communicate with their ancestors. Crest Masks are
different than face masks in that they are worn atop the head,
rather than in front of the face. The dancer wearing this mask
would have had his face concealed under a mask of see-through
fabric. The rest of his body would have been covered in a costume
of cloth.
AFRICA PLATFORM 2 – AOA CASE 7 Yaka Culture, Democratic Republic
of the Congo 20th century Crest Mask Wood, fiber, pigment Marion
Stratton Gould Fund, 72.54 Masks like this one are danced by young
Yaka men in celebration of completing a stage of their initiation
into manhood. These masks provide protection to the young,
vulnerable men as they enter into the challenges
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and responsibilities of adulthood. In particular, they are meant
to insure the young men’s virility for the future of the
community.
Included on label rail Yaka initiations masquerade, 1951 Makonde
Culture, Mozambique 20th century Crest Mask (Lipiko), circa 1950-60
Wood, human hair, pigment Transfer from Education Department,
2006.71 Makonde people are producing more masks and types of
masquerades now than ever before. This living, thriving tradition
favors innovation, so styles of mask and dance change continually.
Masked dancers perform before enthusiastic audiences for holidays
or important occasions in the village. This mask, from the 1950s or
60s is in the classic style favored by Makonde people today. The
style and design of facial tattoos are unique to the Makonde and
would have identified this face as belonging to a specific region
or tribe. Most Makonde tattooing ended in the 1960s, so only the
older generation wears the distinctive marks today. The specificity
of the shaved hairline and the scar on the scalp near the left
temple indicate that perhaps this mask was a portrait.
Included on label rail 87-year-old Pius [pee·yosh] is
one of the last Makonde tattoo masters, ca. 2008
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NORTHWEST COAST/ARCTIC – CENTER CASE Kwakwaka'wakw Culture,
British Columbia Mid 19th century Raven Dance Mask Wood, cedar
bark, pigment, fiber Marion Stratton Gould Fund, 64.111 This mask
represents Raven, one of the creatures most important to the
Kwakwaka’wakw people. Known to be quick learners, aggressive
defenders of territory, and very social with one another, ravens
have been a respected clan emblem for centuries. Raven masks are
worn during a portion of the hamatsa, an initiation masquerade for
young men. Following a choreographed sequence, with beaks
projecting upward and masks moving wildly from side to side, the
hinged lower jaw of the mask is manipulated with a cord. When the
cord is pulled, the mask responds with a loud clacking sound – the
“hap, hap” of the birds’ voices – adding to the dramatic effect of
the performance. Hamatsa is performed at Kwakwaka’wakw potlatches.
Potlatches are traditional cross-clan celebrations including
dancing, feasting and magnanimous distribution of gifts held to
honor births, marriages, deaths and other changes in social
relationships. Potlatches continue to this day, despite attempts to
ban them by both the Canadian and United States governments in the
late 19th century.
Included on label rail Hamatsa masks – Crooked-Beak and Raven;
potlatch given by T’lakwagila (W.T.Cranmer), 1983
NORTHWEST COAST/ARCTIC – AOA CASE 12 Preston Singletary, 1963-
Tlingit Culture, Alaska Tlingit Magic Hat, 2000 Blown and sanded
glass Loaned by Nancy and Alan Cameros, 2.2008L Like all of Preston
Singletary’s work, Tlingit Magic Hat fuses the traditional designs
of his Native Northwest culture with the modern materials and
techniques of contemporary art glass. Transformation themes,
shamanism and basketry patterns are among his many
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inspirations. Singletary based this piece on a centuries-old
Tlingit design (see photo below), yet here the enhanced crown
represents a killer whale fin.
Singletary grew up hearing traditional stories of Tlingit
culture from his great-grandparents. He started blowing glass
directly out of high school and developed his style and approach
through practical experience and by working with area artists, both
Native and non-Native. Currently a member of the Board of Trustees
at the Pilchuck Glass School, his work is included in museum
collections throughout the world.
"Representing Tlingit designs in glass felt like a logical next
step to me – and glass gives the work a permanence that wood can't
duplicate…I see my work as an extension of tradition and a
declaration that Native cultures are alive and developing new
technologies and new ways of communicating the ancient codes and
symbols of this land.” Preston Singletary
Included on label rail A chief’s hat, woven of spruce roots and
decorated at top with an ermine skin, from about 1850. Within the
Tlingit culture, many articles of clothing and personal adornment
included mythical or spiritual meanings or displayed the family
crests of their owners.
NORTHWEST COAST/ARCTIC WALL LABEL Tlingit Culture, Alaska
19th-20th century Chilkat Robe (Naaxéin) Wool, cedar bark, natural
dyes Gift of a friend of the Gallery, 68.35 Living along the
Chilkat River of Southern Alaska, the Chilkat people are a single
kwan, or geographical grouping, of the larger Tlingit culture. Male
and female clan leaders honor their ancestors, both human and
animal, by wearing Chilkat robes at festivals called potlatches and
other important events. The Chilkat robe (or naaxéin) is a woven
ceremonial cape traditionally worn and danced by the chief and
other important members of Tlingit society. When danced, the
motions of the performer include the dramatic manipulation of the
long fringe, further enlivening the animal forms on the robe. The
patterns on Chilkat robes represent animals important to Tlingit
clans. These designs manipulate and rearrange specific animal
forms, often adding additional faces and multiple eyes. This
Chilkat robe
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features a diving humpback whale in the center panel. The whale
is pictured both from above and in profile. Seated ravens shown in
profile fill the two side panels of the robe. The arrangement of
the overall design takes into account the position of these
individual components when the robe is worn.
Included on label rail Ancestral and modern-day regalia
combined, at the opening of the National Museum of the American
Indian, Smithsonian Institution, Washington, DC, 2004.
NORTHWEST COAST/ARCTIC WALL LABEL Nuxálk Culture, British
Columbia 19th century Mask Wood, pigment Gift of Isabel C. Herdle,
84.45 The Nuxalkmc (Nuxálk people) were once referred to as the
"Bella Coola." Their homeland and territory are located in and
around the Bella Coola valley on the central coast of what is now
known as British Columbia, Canada. A rugged inland area located 75
miles from the Pacific Ocean, the region features high mountains
rising steeply from the shores of inlets. Nuxálk traditional
stories are filled with fabulous beings, many human in form and
represented by masked performers in ceremonial dance dramas. Both
natural and commercial pigments were used in the decoration of
masks, and the characteristic blue, vermilion and black painting is
dramatic and distinctive. Very little is known about this large
mask that is too large to have been worn.
NORTHWEST COAST/ARCTIC - INSET CASE Puyallup Culture, Washington
19th-20th century Basket Cherry bark fibers Gift of Mrs. Henry A.
Strong, 22.20 Originally known as the S'Puyalupubsh, the Puyallup
Tribe is part of the Salish speaking people of the Pacific
Northwest. Living along the shores of Puget Sound, their
basket-making abilities are well-respected and tout a great variety
of types and construction techniques. The Salish made baskets for
cooking, storage, and sale to non-Native collectors. This
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example combines both geometric and human forms. Puget Sound
Culture, Washington 19th-20th century Clam Basket Cherry bark
fibers and mountain grass Gift of Mrs. Henry A. Strong, 22.32 This
basket from an unidentified Coast Salish group was probably used to
collect clams, mussels, small fish, seaweed and other saltwater
resources. The open twined container provided drainage and also
helped prevent mold and insect infestation when used for food
storage.
Shuswap Nation, Thompson River, Washington 19th-20th century
Basket Box Cherry bark fibers Gift of Mrs. Henry A. Strong, 22.27
Many traditional basket forms were reduced in size for sale to
non-Natives. The design of this small Thompson River Salish basket
with an attached lid was most likely based on a larger model
originally designed for storage.
Harrison River Culture, Washington 19th-20th century Basket
Cherry bark fibers Gift of Mrs. Henry A. Strong, 26.35 This coiled
basket with its rectangular base and flaring sides was a design
usually reserved for work baskets. The coiling technique was often
used to create baskets with geometric designs. Coiling begins at
the center of a basket’s base and grows upon itself in rounds, each
attached to the round before. The colored details are applied over
the coiled core by folding a strip of grass, bark, or other fiber
accordion-style under each sewing stitch on the outer surface of
the basket and fastening it securely.
Undetermined culture, California 19th-20th century Basket with
Lid Mountain grasses
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Gift of Miss Helen C. Ellwanger, 76.151a-b Whether for
gathering, carrying or storing, the forms of most baskets announce
their function. This lidded basket would have been ideal for the
tourist trade - small, easily transportable, and the perfect
container for trinkets. It’s made by the technique of coiling, with
bundles of grasses used as the foundation for the coils.
Undetermined culture, British Columbia 19th century Drinking Cup
Cherry bark Gift of Mrs. Henry A. Strong, 22.29
Haida Culture, British Columbia 19th-20th century Ceremonial
Paddle Wood, pigment Gift of Mrs. Nathaniel T. Whitcomb, 83.19 In
the traditional repertoire of canoe paddles, there were several
styles of blades and handles that were determined by the type of
water travel intended and by whether the paddles were made for men,
women, or children. This paddle was made for use in a dance; an
actual paddle would be longer. Ceremonial paddles are fairly
common, and still in use. Images of birds, symbols of great
strength and pride, are often used in the decoration of paddles and
on other items relating to a journey.
Tlingit or Haida Culture, Alaska or British Columbia 18th
century Comb Bone or horn Presented by the Rochester Historical
Society, 53.62 Combs were worn by shamans during curing ceremonies
as well as when they were not practicing. Decorated with both
spirit helpers and crest emblems, they were also used by chiefs and
women of status. Topped by the figure of a bird, this piece
contains many of the same design principles evident in the Chilkat
robe.
Nisga'a Culture (?), British Columbia 19th-20th century Grease
Dish
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Cedar, opercula (sea snail shell) Gift of Mrs. Nathaniel T.
Whitcomb, 83.18 The eulachon fish, a type of smelt with a very high
oil content, was dried then pressed for its oil. This oil (still
used today in cooking and flavoring) was placed in a grease dish on
the table, into which diners would dip dried fish and other
delicacies. This dish is decorated around the rim with opercula,
the highly prized ornamental part of a snail shell. Tlingit or
Haida Culture, Alaska or British Columbia 19th century Feast Spoon
Horn Presented by the Rochester Historical Society, 33.28 Feast
spoons were a prestige item brought out during special occasions to
serve soup or stew. This spoon was made of mountain-goat horn,
which was soaked and steamed, bent into shape, cooled in a mold,
and then carved. The handles of these spoons resemble totem poles,
with crest images carefully carved; here you see a raven and a
seal.
Haida Culture, Queen Charlotte Islands 20th century Man and
Woman in Canoe with Totemic Animals, ca. 1900 Argillite Gift of
Mrs. Nathaniel T. Whitcomb, 83.17
Argillite, a fine-grained sedimentary rock sometimes called
“black slate,” is mined in the Queen Charlotte Islands, the only
mineable source in North America. These small and easily
transportable sculptures were first made by the Haida in the early
19th century for trade with outsiders. Here the canoe is filled
with a raven, a bear and two human paddlers. The animals are
totemic figures, relating to matrilineal clans; the human figure
with longer hair may be a shaman. These sculptures are still being
made today in an array of figure groupings and materials.
Eskimo or Inuit Culture 20th century Snow Beater Wood Anonymous
gift, 77.203 Snow beaters were used to remove snow from clothing
before going indoors. An important accessory in the Arctic, they
helped to keep
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clothing from deteriorating in the humid atmosphere inside. Due
to the limited availability of wood in the region, most snow
beaters were carved out of ivory and are much narrower than the
wooden one on display here. However, groups that lived near the
mouths of rivers in the arctic (primarily Alaska) would have access
to driftwood, as would Yupik Eskimos living along the lower reaches
of the Yukon and Kuskokwim Rivers where there were stands of trees.
Davidee Piungitu, 1930 - Inuit Culture, Clyde River Polar Bear with
Shaman Soapstone Gift of Mrs. Harmar Brereton, 83.82 This piece is
relatively recent and may represent an inua or spirit/soul of a
bear in human form. A label on the bottom of the piece links it to
Canadian Arctic Producers (CAP), a government-initiated cooperative
established in 1965 to market the work of the aboriginal people of
northern Canada.
Tlingit Culture, Alaska 19th century Shaman Medicine Charm
Walrus ivory Gift of Mrs. Henry A. Strong, 22.5 The belief that
humans can draw power from the non-human world is a framework that
underlies many belief systems, and is especially strong in most
Native North American culture groups. Shamans played an especially
important role in this respect. Responsible for curing the sick,
controlling the weather, guaranteeing successful fish runs,
combating witches, and providing assistance during battle, shamans
moved freely between the human and spirit world. Tlingit shamans
often carried charms like this one. Each charm is unique and often
includes a multiplicity of figures. This charm is in the form of a
whale, with the rear assuming the form of a land otter, a highly
powerful spirit helper to the shaman.
Photo on slant wall next to medicine charm Shaman wearing
medicine charms
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Daniel Quanaluk, dates unknown Inuit Culture, Quebec Hunting
Scene, 1976 Soapstone Gift of Mrs. Harmar Brereton, 83.90
Eskimo or Inuit Culture 20th century Needlecase and Needle Bone
and leather Gift of Mrs. Edward K. Brown, 60.27 Traditional Inuit
clothing was carefully made and very well-fitted; its meticulous
construction served as protection against the harsh elements and
could make the difference between life and death. As a result,
sewing materials were both necessary and precious. Needles of polar
bear bone were often kept in needle cases made from carved bone or
ivory; needles can be threaded through the skin pull for safe
keeping.
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SOUTHWEST WALL LABEL Isabel John, 1933 – 2004 Navajo Culture,
Arizona Rug, 2004 Loaned by George and Vee Angle, 18.2009L The
current Navajo Nation covers 27,000 square miles over a large chunk
of Arizona, part of New Mexico and a section of Utah. Known as one
of the finest weavers of Navajo pictorials, Isabel John lived with
her family at Many Farms, Arizona. Navajo pictorials, a deviation
from traditional rugs showcasing geometric patterns, originated in
the mid-twentieth century and incorporate scenes from daily life.
John learned to weave from her mother and began weaving pictorials
in 1972. Using both vegetal and commercial dyes, and store-bought
as well as handspun wool from her own sheep, it often took her a
year and a half to make one rug. This rug illustrates the actual
weaving of a pictorial rug and the people and landscape that
inspired it.
Included on label Artist Isabel John at her loom
SOUTHWEST – AOA CASE 13 Al Qöyawayma, 1938 - Hopi Tribe, Hopi
Reservation, Arizona Jar, 1992 Clay Loaned by Nancy and Alan
Cameros, 15.2009L Al Qöyawayma is a member of the Hopi Coyote Clan.
Originally from Los Angeles, his path to pottery encompassed many
other areas. Following degrees in engineering and travel to New
Zealand as a Fulbright Fellow, he learned to make pots from his
aunt. His innovative ceramics are infused with a combination of
tradition-based imagery and original coil-based construction
techniques. This piece from his Mesa Verde series illustrates the
ancestral cliff dwellings of the Pueblo people.
"During the creative process I am privileged to be present,
watching as the unseen hands and the gift of the Creator's energy
flows into my work. For this I am deeply thankful. Do I pray when
forming pots? Certainly."
Al Qöyawayma
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Les Namingha, 1968 - Tewa-Zuni Tribe, Hopi Reservation, Arizona
Jar, ca. 2006 Clay, pigment Loaned by Nancy and Alan Cameros,
16.2009L Les Namingha is a member of the illustrious Nampeyo family
of potters and his work is influenced by both his Hopi and Zuni
background. Namingha received a degree in design from Brigham Young
University and combines his contemporary training with imagery that
reflects his traditional roots. Taught by his aunt, Dextra
Quotskuyva Nampeyo, his unique work incorporates thin walls, fine
finishes and family designs. One of a series of “mosaic” jars, this
vessel is decorated with a multitude of Hopi design elements in
detail.
Dorothy Torivio, 1946- Acoma Pueblo, New Mexico Vase, ca. 1995
Clay, pigment Loaned by Nancy and Alan Cameros, 17.2009L Dorothy
Torivio, a contemporary Acoma potter, is best known for her
exaggerated seed-pot forms made in a variety of sizes. She paints
her vessels freehand with a traditional yucca fiber brush, mentally
segmenting the form as she visualizes the stunningly mathematical
design. Her inspiration stems from traditional Acoma pottery, as
well as from the geometric patterns found on ancient Anasazi ware.
Here, the four-pointed diamond pattern represents the four cardinal
directions.
SOUTHWEST - INSET CASE Maria Martinez, 1887-1980 Popovi Da,
1923-1971 San Ildefonso Pueblo, New Mexico Jar, ca. 1960s Blackware
Bequest of Phyllis Clark, 2006.39 The name and work of Maria
Martinez is recognized far and wide. Learning the art of
pottery-making from her aunt, she began making pots with her
husband Julian Martinez several years after they were married. They
became well-known for their distinctive black-on-black ware, made
by combining designs that had been highly burnished (and appeared
glossy) with those that were slip-painted (and appeared matte).
Maria continued to produce pottery after Julian’s death in 1943,
collaborating
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with family members. This jar was made with her son, Popovi
Da.
Photo on slant wall next to pot Maria Martinez with pots Zia
Pueblo, New Mexico late 19th or early 20th century Jar (Olla) Clay,
pigment Gift of a friend of the Gallery in memory of Hildegarde
Lasell Watson, 78.44 Resistant to the pressures of fashion, the Zia
design vocabulary has changed little in over a hundred years. These
decorative compositions often consist of a mix of geometric forms,
rainbow bands (shown here encircling the neck), floral designs and
references to bird imagery. Note the abstracted feather design
repeated within several circles around the jar.
Anasazi Culture, New Mexico 10th – 12th century Jar Clay,
pigment Gift of Mrs. James Sibley Watson, 27.24 Once living in what
is now the Four Corners – where Utah, Colorado, Arizona and New
Mexico meet - the Anasazi were the ancestors of modern Hopi, Zuni
and other Pueblo peoples. Their accomplished forms were decorated
with both polychrome designs and the black-on-white patterns seen
here.
Acoma Pueblo, New Mexico late 19th or early 20th century Jar
(Olla) Clay, pigment Gift of Mrs. James Sibley Watson, 27.26
Typically thin-walled and light-weight, ollas were originally used
to carry and store water. As with most pueblo pottery, women
traditionally made the jars; they dug the clay, painted designs
using colors derived from plants or minerals and fired the pots.
This tightly-drawn overall
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geometric pattern is one of many variations in Acoma design, a
mark of potters responding to changing economic demands, and
bridging those demands with ties to their traditional forms.
Attributed to Nampeyo, 1860? – 1942 Hopi Culture, Arizona Early
Sikyatki Revival Bowl, circa 1900 Clay, pigment Gift of Mrs. Henry
A. Strong, 22.1 Nampeyo's name and her descendants are cultural
icons of Pueblo pottery. Belonging to the Hopi First Mesa pueblo,
she learned to make pots at an early age. She is credited with the
revival of Hopi pottery-making in the early 20th century, a result
of her great skill and innovative adaptations of traditional forms
and designs. The interior of this bowl is decorated with an image
of a kachina, a supernatural being embodied by masked dancers of
the pueblos.
Hopi Culture, Arizona 19th century Basket with lid Yucca palm
leaves, natural dyes Gift of Mrs. Henry A. Strong, 22.7 This deep
coiled basket is comprised of yucca fibers sewn over grass bundles.
The leaves of the yucca plant supplied a variety of hues suitable
for basket making, ranging from white to pale yellow to green.
Black dye was made from sunflower seeds combined with piñon gum and
ochre.
Zuni Pueblo, New Mexico late 19th century Jar (Olla) Clay,
pigment Gift of Mr. and Mrs. Harris K. Prior, 73.141 Focusing more
on design motifs and less on symmetry of form, a Zuni jar often
combines lyrical figures with geometric abstractions. This jar
depicts a distinctive Zuni design, a painting of a deer with a
heart-line: a red arrow of life or breath that extends from its
mouth to its chest.
Zuni Pueblo, New Mexico late 19th century Jar
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Clay, pigment Gift of Mrs. George B. Penny, 35.11 Santo Domingo
Pueblo, New Mexico late 19th or early 20th century Jar (Olla) Clay,
pigment Gift of Mr. and Mrs. Harris K. Prior, 73.140 One of the
largest of the Northern pueblos, Santo Domingo is between Santa Fe
and Albuquerque. The pottery produced there is distinguished by its
cream slip base and dark black geometric designs, with particular
attention paid to the negative spaces. The local clay is quite
elastic and lends itself easily to large forms. This piece presents
the hallmarks of an elegant and solid figure, rolled-out rim, small
neck and gracefully tapered bottom.
Apache Culture, Southwest United States 20th century Basket
(Olla) Willow shoots, natural dyes Gift of Mr. and Mrs. Gorham
Parks, 2004.27 The Apache people have long been known for their
exquisite basket work. Women made the baskets from thin sticks of
willow, cottonwood, or sumac which they collected, soaked and then
stitched together. Color was added with a variety of natural dyes.
This large olla, or jar-shaped basket, is decorated with human,
animal and geometric forms. Made for sale, it took a highly skilled
weaver to manage the geometric patterns and designs on such a large
basket, which required many months to complete and would have been
highly prized.
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OCEANIA – CENTER CASE Middle Sepik River Region, Papua New
Guinea, Melanesia 20th century Body Mask Cane fibers, shells,
feathers, pigment Marion Stratton Gould Fund, 73.138 In earlier
times, masks like this one were used in traditional initiation
ceremonies in which young boys became men. Skulls of ancestors
sometimes adorned the masks to reinforce their role as benevolent
ancestral spirits. The dancer would have looked out of the eyes of
the lower face and treated as handles the holes hidden below the
small patches of grass. As it was created in the 20th century, we
know this body mask was made by artists specifically for sale. Even
as social changes affect a culture, the traditional arts of a
people can become representations of ethnic identity and potent
symbols of familiar values and vaunted ideals of an earlier time.
This mask was made by people living on the Sepik River, the major
trade and communications artery of Papua New Guinea. Today, it is
on the Sepik that most westerners experience Papua New Guinea as
cruise lines travel up and down the river, stopping at villages
where local artists sell their work.
OCEANIA PLATFORM LABEL RAIL #1 Austral Island Culture, Polynesia
19th-20th century Ceremonial Canoe Paddle Wood Anonymous gift,
53.31 Based on the size and intricately carved surface it is
unlikely that this was ever used as a canoe paddle. Although
knowledge of their original function is lost, it is believed that
paddles like this may have been used to accentuate a dancer’s
movements during ritual performances. By the late 19th century
Austral artists recognized Westerners’ interest in the paddles fine
carving and craftsmanship and began making them for the market.
Tonga Island Culture, Polynesia 19th-20th century Ceremonial War
Club (Moungalaulau) Wood Gift of Isabel C. Herdle, 61.15
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Tongan warriors were so skilled that they often served as
mercenaries in the nearby islands of Fiji and Samoa. Heavy war
clubs like this one were their preferred weapons. The dense, hard
ironwood from which it was carved could deliver a powerful blow
without cracking. Tongan artists covered the surfaces of these
weapons with fine carvings of crosshatch, zigzag and herringbone
patterns occasionally broken by small human figures or crescent
shapes. Marquesas Islands Culture, Polynesia 19th-20th century
Stilt Step Wood General Acquisitions Fund, 67.38 Stilt steps such
as this one were footrests for stilt walkers. They were lashed
about two or three feet from the bottom of tall poles. Marquesan
men performed on stilts for entertainment and ritual occasions.
Accomplished stilt-walkers could perform somersaults and other
acrobatics. Audiences placed wagers on races, mock battles and
other competitions between opponents. The stocky figure is in the
form of Tiki, known generally throughout Polynesia as the wise and
potent creator of the human race. Shallow, carved lines recall the
tattoos that beautify the bodies of Marquesan women and men.
Arambak Culture, Middle Sepik River Region, Papua New Guinea,
Melanesia 20th century Hook Figure (Yipwon) Wood, shells Marion
Stratton Gould Fund, 70.82 This hook figure, or yipwon, is a 20th
century reproduction of old, powerful figures believed to guide and
assist tribes in hunting and warfare. The hooks represent ribs
which surround the central element of the heart. The large yipwon
were kept in the sacred space of the Men’s House where it acted as
a vessel to house primordial ancestral spirits. These spirits were
called into the yipwon prior to battle by a senior man who
activated the figure by rubbing it with powerful substances. If the
battle was a success, returning warriors smeared it with the blood
of their victims. Particularly effective yipwon were handed down
for generations.
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Kayan-Borbor Culture, Ramu River Region, Papua New Guinea,
Melanesia 20th century Slit-Gong Drum, ca. 1940 Wood, pigment Gift
of Dr. James G. Zimmer, 79.19 The spiritual lives of Melanesian
communities are dominated by Men’s Societies. The ceremonial Men’s
House is the sacred dwelling place of the clan spirits, treasures,
and of initiated men. Traditionally, slit-gong drums were located
at the center of the Men’s House and functioned as musical
instruments as well as a means of long-distance communication. A
range of tones and sounds could be produced depending on the style
of the beating stick and the varying thickness of the sides of the
drum. In parts of New Guinea, the sounds produced by slit-gong
drums were believed to be the voices of supernatural beings.
Hollowed from a massive single tree, the sides of this drum are
carved with a mix of butterfly, frog and fish motifs that are so
stylized they can be difficult to discern.
Era River Region, Papuan Gulf, Papua New Guinea, Melanesia 20th
century Spirit Boards (Gope) Wood, pigment Gift of James and Denise
Wasserstrom, 87.79, .84, .82 Traditionally, these spirit or gope
boards were considered dwelling places for individual spirits. Each
spirit was linked to specific parts of the land, river or sea
associated with the clan. They were kept in each clan’s cubicle
within the larger Men’s House along with other items such as human
and animal skulls meant to honor various spirits within their clan.
Their highly stylized imagery is believed to represent the way the
spirit looks. While the imagery reflects certain consistencies
within clans, their varied style and appearance reflects individual
artists’ representations of individual spirits. Despite
differences, every board has a face and a navel. The navel was
particularly important because it served as the access point
through which the spirit entered the board.
Included on label rail Gope boards and crocodile skulls,
1923
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OCEANIA– CASE 11 Iatmul Culture, Middle Sepik River Region,
Papua New Guinea, Melanesia 20th century Mask (Mai) Wood, shells,
tusk, hair, pigment Marion Stratton Gould Fund, 77.158 This mask
was made in the mid-20th century by an Iatmul artist after the
traditional mai masks danced by young initiated men and boys. Mai
masks were not worn directly over a dancer’s face, rather they were
attached to a large basketry piece that fit over his head and upper
body. To this piece were attached brightly colored flowers, feather
and leaves that disguised the human form below. Hidden below the
costume the dancer sang in falsetto through a bamboo tube which
helped to further transform his voice and presence. Four masks were
danced together in two pairs, one as a pair of brothers and one as
a pair of sisters. While the performances were public affairs, much
of the preparation before and activities during were veiled in
secrecy.
Included on label rail Mai mask dance
OCEANIA – PLATFORM LABEL RAIL #2 Waresi Culture, Upper Sepik
River Region, Papua New Guinea, Melanesia 20th century Spirit
Figure (Mindja) Wood, pigment Marion Stratton Gould Fund, 74.76 The
cultivation of yams was central to the lives of the Waresi people;
they served as both a ceremonial and staple food. The spirits
responsible for their growth (and by extension for the welfare of
the community) needed to be properly honored upon the harvest.
During the mindja-ma ceremony a basket containing yams was adorned
with two of these figures. Mindja were considered to be powerful
male water spirits who lived, and were sometimes visible, just
below the surface in lakes. This powerful otherworldly being
embodies the qualities of humans, plants and animals. The
simplified eyes, nose and mouth are based on the human face. The
painted diamond shapes symbolize banana leaves, and
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the projecting triangles that run down the bottom half of the
figure represent an undulating snake. Iatmul Culture, Middle Sepik
River Region, Papua New Guinea, Melanesia 20th century Gable Mask
Wood, pigment, shell Marion Stratton Gould Fund, 73.139 Gable masks
like this adorned the façades of Men’s Houses. Similar to gargoyles
in medieval churches, these figures were meant to ward off
troublesome spirits that can cause illness and spread mischief.
Gable masks embodied powerful female, ancestral spirits.
Abelam Culture, Maprik Region, Papua New Guinea, Melanesia 20th
century Yam Mask Grass, pigment Marion Stratton Gould Fund, 74.78
Abelam yam masks were never worn by humans. They are so small
because they were made to adorn the long yams grown by the Abelam
people of Papua New Guinea. These long yams, which were not eaten,
grow up to 6-9 feet and were exchanged between men as a form of
community building. An Abelam man’s prestige was measured in direct
proportion to the size of his yams. Special long yams with
anthropomorphic features were considered living supernatural beings
and were lavishly decorated with paint, feathers, shells, leaves,
and masks, and then publicly displayed. The interlacing between
solid bands refers to the caterpillar found on yam vines.
OCEANIA– CASE 10 The objects in this case are on loan from one
of the most significant collections of pre-contact Oceanic art in
the nation held at the Buffalo Museum of Science. This local
treasure is due largely to the skillful collecting of Chauncey J.
Hamlin, prior president of the Buffalo Society of Natural Sciences,
and his 1938 acquisition of the P. G. T. Black collection. Black
was one of the earliest westerners to visit Oceania. As an agent
for a company that supplied mission stations, he collected art as
he traveled throughout the area between 1886 and1914.
Balimo subdistrict, Papua New Guinea, Melanesia early 20th
century Zoomorphic Drum
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Wood, shells, feathers, pigment C8032. P. G. T. Black Collection
From the collection of the Buffalo Museum of Science, 20.2009L
Marshall Islands, Micronesia late 19th–early 20th century Sailing
Chart (Rebbelith) Wood, plant fiber, coral C12983. Museum Purchase,
1939 From the collection of the Buffalo Museum of Science, 21.2009L
Oceania is a sea of islands. The role of the ocean in the lives of
the people cannot be overstated. This sailing chart is in the
traditional style used by Marshallese sailors. Their navigation was
based on the way islands cause swells in the ocean. Their sailing
charts, used exclusively on land for study and memorization,
documented these patterns. This map depicts the swell pattern as
well as the islands (identified in text by modern scholars).
Raymond de Brum, a skilled Marshallese navigator explained, “By the
boat motion and the wave pattern a Marshallese sailor who has been
trained in this kind of navigation may know if he is 30 miles from
an island. He knows if he has lost his way, and by looking for a
certain joining of the waves, will be able to get back on his
course.”
Marquesas Islands, Polynesia late 19th–early 20th century Crown
Tortoise, clam and pearl shells, plant fiber C14684. Gift of
Chauncey J. Hamlin, 1934 From the collection of the Buffalo Museum
of Science, 22.2009L
Tufi subdistrict, Papua New Guinea, Melanesia early 20th century
Charm Boar tusk, plant fiber C11130. P. G. T. Black Collection From
the collection of the Buffalo Museum of Science, 23.2009L The human
impulse to embellish and beautify one’s body found expression in
many ways in Oceania. Body paint, tattooing, jewelry and masking
are all ways in which Oceanic people have adorned themselves. This
charm, suspended from the neck as a breast ornament, was a sign of
rank and prestige. In order to create such an ornament, a boar was
captured alive and two teeth were removed from its upper jaw. The
animal was kept in captivity until the tusks of the lower jaw
curved
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upwards, creating a complete circle. This symbol of status
showed the wearer had the wealth to feed, house and care for a
boar. Kairuki subdistrict, Papua New Guinea, Melanesia early 20th
century Earrings Rat tail, plant fiber C11201, C11203. P. G. T.
Black Collection From the collection of the Buffalo Museum of
Science, 24.2009La-b
OCEANIA – WALL LABEL John Siune, 1965 - Port Moresby, Papuan
Gulf, Papua New Guinea, Melanesia Prime Minister Inspecting the
Volcano at Rabaul, 1996 Acrylic paint on paper Loaned by Robert and
Nancy Foster In parts of Papua New Guinea, some people still live
traditional lifestyles. Yet in areas like the capital city of Port
Moresby, western ways—trucks, helicopters, computers and
cellphones—have infiltrated almost all aspects of life. In this
painting, John Siune depicts the Prime Minister and other officials
inspecting the volcano that destroyed the town of Rabaul in 1994.
The stylized heads visible on the side of the helicopter represent
these important men. In the foreground, three traditional masked
duk duk figures from the local ethnic group run away from the
scene. This meeting of old and new is described in the Papua New
Guinea language of Tok Pisin in the top left corner. John Siune and
the Simbu school of artists follow in the steps of Mattias Kauage.
Kauage adapted an art form foreign to his culture (two-dimensional
picture paintings) to comment upon contemporary life in Papua New
Guinea. For their sales, these artists rely heavily upon western
travelers to the capital city of Port Moresby.