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

   

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

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 Bamana people 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 entryway.

With real-time communication, social networking and economic globalization, the internet of the 21st century fosters seamless and nearconstant 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.

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

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

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. 

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

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

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.

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

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.

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

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 narrowstrips 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

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

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

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

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

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, 1963Tlingit 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

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

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

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 nonNatives. 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

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

 

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

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

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.

       

 

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

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, 1946Acoma 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

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

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 potterymaking 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

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.

 

  

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

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.

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

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

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

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

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 (twodimensional 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.