Oceania

April 15, 2008

Where tourism meets cultural heritage

Reblogged from the NY Times (via Associated Press), April 10, 2008:

Easter Island: Statue Vandal Fined $17,000

Arteasterislandap < Chilean Investigative Police released this photo showing the damage to the right earlobe. (AP Wirephoto via CNN)

A Finnish tourist who chipped an earlobe off an ancient statue on Easter Island two weeks ago for a souvenir is being allowed to go home after paying a $17,000 fine and agreeing not to return for three years, the police said. At the request of prosecutors, he also wrote a public apology for damaging the 13-foot-tall moai, as the statues are known.

Previously reported more fully on CNN.com/World.

March 17, 2008

Shreyas and Mina Ajmera Gallery of Africa, the Americas and Asia-Pacific

Diablada_3 The Shreyas and Mina Ajmera Gallery of Africa, the Americas, and the Asia-Pacific, opening on April 5, 2008, will be the first permanent home for the Royal Ontario Museum's collections from these regions in over 30 years.

From ROM's site:

This gallery reflects the ROM’s vast and diverse collections that represent the artistic and cultural traditions of indigenous peoples from Africa, the American continents, the Asia-Pacific region and Oceania. This is the first permanent home for these collections in over 30 years, with many of the 1,400 artifacts on display for the first time.

Ranging from large and dramatic ceremonial masks and colourful robes to archaeological objects such as ceramics and basketry, the collections were gathered from the late 19th century to the present and represent some of the Museum’s founding collections. The artifacts reveal aspects of everyday life, clothing, commerce, ceremony and art of indigenous cultures from around the world. Divided into four geographic areas, this gallery is rich with symbols of heritage and identity that continue to have meaning today.

ROM's site also features a number of behind-the-scenes photographs of the installation.

Pictured above: Diablada dance mask (papier-mâché), Bolivia, c. 1955. [source]

March 13, 2008

Getty Buys Gauguin's Severed Head

Goaspan

Photo: Monica Almeida/The New York Times. Mark Leonard, Senior Conservator of Painting at the J. Paul Getty Museum, cleans the surface of the painting "Arii Matamoe."

via NYTimes:

Published: March 12, 2008

LOS ANGELES — The J. Paul Getty Museum announced Tuesday that it had acquired “Arii Matamoe,” an 1892 painting by Paul Gauguin that has been in a private collection in Switzerland for decades and has been exhibited publicly only once since 1946.

The museum would not identify the seller or say how much it paid for the work. Getty officials said the painting was in good condition and would probably go on display next month after cleaning and modest restoration.

Another painting by Gauguin from the same period, “Te Poipoi” (“The Morning”), was purchased by a Hong Kong collector in November at auction at Sotheby’s for $35 million, or $39.2 million including the buyer’s premium.

Created during Gauguin’s first extended stay in Tahiti, “Arii Matamoe,” whose title Gauguin translated as “The Royal End,” depicts the severed head of a Polynesian man resting on a white cushion set on a low table or serving platter. A mourning nude female figure crouches nearby, framed by skull motifs on the wall behind her. In the background, other figures rest outside the house.

While the painting may have been loosely inspired by the death of the former Tahitian king Pomare V, just after Gauguin’s arrival in Tahiti in 1891, it does not depict an actual person or even common Tahitian death rites, said Scott Schaefer, the senior curator of paintings at the Getty.

Rather, Mr. Schaefer said, Gauguin probably created the painting “to shock Parisians” when it was exhibited in 1893 at Durand-Ruel’s gallery. The only recent public viewing of the painting was in 1998 as part of a Gauguin exhibition at the Fondation Pierre Gianadda in Martigny, Switzerland. Mr. Schaefer said the painting had had only three or four owners in its history. It was moved from Paris to Geneva in 1941, he said, was sold during World War II and once subsequently to a private collector there, where it has remained.

Michael Brand, the Getty’s director, said the acquisition was “one of the key moments in the history of our collection.” The museum owns three other works by Gauguin: “Eve (The Nightmare),” a transfer drawing from 1899 or 1900, the artist’s later Tahitian period; “Portrait of a Tahitian Girl,” a black chalk drawing from 1892; and a wood sculpture, “Head With Horns,” from 1895-97.

Elizabeth Childs, a Gauguin scholar who is chairwoman of the department of art history and archaeology at Washington University in St. Louis, described “Arii Matamoe” as a major painting in which the artist uses “a wonderful mélange” of motifs and symbols from Tahitian, Javanese, French, Peruvian and other cultures.

“There are enough references here that it is clear that Gauguin was remaining interested in proving himself to a Parisian art market,” Ms. Childs said, even after he retreated to Tahiti.

Though the subject matter, the public display of a severed head, had no specific reference in Tahitian society, the death of Pomare V might be relevant to the work, Ms. Childs said. Pomare had overseen the annexation of Tahiti as a French territory, and his death left the French as the only real power there.

February 29, 2008

Online journal contents: Pacific

Rss_icon The following list contains articles recently published in electronic journals on Pacific studies. To access the full-text of the articles you must be at an institution with subscriptions to the journals (including within the Metropolitan Museum) or access WATSONLINE remotely (read how here).

January 29, 2008

Aboriginal archive's new DRM: Cultural Solution?

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via BBC News,  Tuesday, 29 January 2008 (thanks Nicole!):

Aboriginal archive offers new DRM

A new method of digital rights management (DRM) which relies on a user's profile has been pioneered by Aboriginal Australians.

The Mukurtu Wumpurrarni-kari Archive has been developed by a community based in Australia's Northern Territory.

It asks every person who logs in for their name, age, sex and standing within their community.

This information then restricts what they can search for in the archive, offering a new take on DRM

Dr Kimberly Christian, who helped to develop the archive, told BBC World Service's Digital Planet programme that the need to create these profiles came from community traditions over what can and cannot be seen.

"It grew out of the Warumungu community people themselves, who were really interested in repatriating a lot of images and things that had been taken from the community," she said.

"You find this a lot in indigenous communities, not just in Australia but around the world... this really big push in these communities to get this information back and let people start looking at it and narrating it themselves."     Where to look

Dr Christian, who is an assistant professor based at Washington State University, stumbled across the idea of the archive by chance after meeting a group of missionaries who had digitally archived photos of the Warumungu community since the 1930s.

After loading them onto her laptop, she took them back to Tennant Creek and set up a slideshow - where she noticed that people turned away when certain images came up on screen.

For example, men cannot view women's rituals, and people from one community cannot view material from another without first seeking permission. Meanwhile images of the deceased cannot be viewed by their families.
   

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Offline website

"The way people were looking at the photos was embedded in the social system that already existed in the community," she said.

"People would come in and out of the area of the screen to look when they could look."

This threw up issues surrounding how the material could be archived, as it was not only about preserving the information into a database in a traditional sense, but also how people would access it depending on their gender, their relationship to other people and where they were situated.

Dr Christen and her team of software developers came up with what is described as "a website that's not online", containing photos, digital video clips, audio files, digital reproductions of cultural artefacts and documents.

The system has also been designed with a "two-click mantra" in mind, making the content easy to access for those with low computer literacy skills.

Images are arranged in their own categories, with content tagged with restrictions.

The project believes it has established a cultural solution as well as an opportunity for Aboriginals to collate much of what was once lost. The hope of the project's designers is that as culture and traditions change, history can be rewritten and changed by people themselves.

January 23, 2008

Pacific Islanders’ Ancestry Emerges...

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Fig.1: Populations Included in This Study

(A) HGDP-CEPH population locations. The two Pacific groups are boxed.

(B) Pacific population locations. Our population samples are blue; the 2 HGDP-CEPH Melanesian “Oceanic” groups are red.

via NYTimes:

Pacific Islanders’ Ancestry Emerges in Genetic Study
By JOHN NOBLE WILFORD
Published: January 18, 2008

The ancestral relationships of people living in the widely scattered islands of the Pacific Ocean, long a puzzle to anthropologists, may have been solved by a new genetic study, researchers reported Thursday.

In an analysis of the DNA of 1,000 individuals from 41 Pacific populations, an international team of scientists found strong evidence showing that Polynesians and Micronesians in the central and eastern islands had almost no genetic relationship to Melanesians, in the western islands like Papua New Guinea and the Bismarck and Solomons archipelagos.

The researchers also concluded that the genetic data showed that the Polynesians and Micronesians were most closely related to Taiwan Aborigines and East Asians. They said this supported the view that these migrating seafarers originated in Taiwan and coastal China at least 3,500 years ago.

The findings were described in the online journal Public Library of Science Genetics (www.plosgenetics.org) by researchers led by Jonathan S. Friedlaender, professor emeritus of biological anthropology at Temple University. He was assisted in the data analysis by his wife, Françoise R. Friedlaender, an independent researcher. Other participants included scientists in the islands and at the Marshfield Clinic Research Foundation in Marshfield, Wis.

“Our analysis,” the scientists wrote, “indicates the ancestors of Polynesians moved through Melanesia relatively rapidly and only intermixed to a very modest degree with the indigenous populations there.”

Dr. Friedlaender of Temple said in an interview that the evidence was “substantial” and “solves a number of issues about the migration and settlement of Pacific people.”

In particular, he and other anthropologists not involved in the study said, the genetic research supported the “fast train” hypothesis. Increasing archaeological and linguistic evidence in recent years has suggested that ancestors of Micronesians and Polynesians had moved through Indonesia and Melanesia without having any significant contact there, culturally or genetically.

An alternative argument, the “slow boat” hypothesis, which had some support from male Y chromosome studies, raised the possibility that Polynesians were primarily Melanesians who had ventured on in their outrigger canoes. And a few anthropologists despaired of ever solving the mystery. Theirs was the “entangled bank” hypothesis.

The new genetic research, said Patrick V. Kirch, an anthropologist at the University of California, Berkeley, who is an authority on Pacific cultures, was “overwhelming biological evidence for a clear population movement out of Southeast Asia and Taiwan to Polynesia.”

Dr. Kirch, who did not participate in the genetic study, said that it reinforced research showing that Polynesian speech patterns were unrelated to Melanesian languages, suggesting — along with discoveries of the distinctive Lapita pottery across the Pacific — links to Taiwan and China, not Melanesia. “The combination of evidence shows we really can read this history,” he said.

As Dr. Friedlaender said, “If it wasn’t exactly an express train, it was pretty fast, and very few passengers climbed aboard or got off along the way.”

In the research, scientists examined more than 800 genetic markers known to be useful in distinguishing the ancestry of people. These involved mitochondrial DNA, passed down through females, and the Y chromosomes in males. Previous investigations along these lines had been conducted on a much smaller scale, Dr. Friedlaender said.

The new test results were repeatedly analyzed with a software program recently developed to classify genetic similarities and variations among different populations.

Primary support for the study was provided by the National Science Foundation, the Wenner-Gren Foundation of Anthropological Research, the National Geographic Society and the National Institutes of Health.

Further research to confirm the history of the Pacific diaspora, Dr. Friedlaender said, would require an expansion of genetic tests among people in the Philippines and Indonesia, regions that the migrants presumably passed through after leaving Taiwan more than 3,500 years ago, ultimately reaching as far as Hawaii and Easter Island. The Melanesians, on the other hand, probably arrived on their islands about 35,000 years ago, sometime later than the Aborigines reached Australia.

Years ago, a reporter who visited the Marshall Islands asked an aging Micronesian chief where his people came from long, long ago. “We have always been here,” he replied. Now, if it matters to them, his descendants have been given a more scientific answer.

January 14, 2008

Boomalli Aboriginal Artists Co-op Presents "Hand in Hand"

Shigeyuki_kihara_pic
above: Shigeyuki Kihara

Boomalli Aboriginal Artists Co-operative
presents artwork & performances from SistaGirl, Queenie, Takatapui, Fa'a Fafine, Gay, Lesbian and Transgender artists at both Boomalli situated in Leichhardt, and Performance Space @ carriageWorks in Eveleigh, Sidney, Australia.

Hand in Hand

Curated by Jenny Fraser & Shigeyuki Kihara
Aboriginal, Torres Strait Islander, Maori, Samoan, Niuean and Fijian artists from Oz and beyond, celebrate Mardi Gras 2008.

Participating Artists:
Sionelagi Falemaka
Jenny Fraser
Dianne Jones
Shigeyuki Kihara
Gary Lee
Dan Taulapapa McMullin
Arone Raymond Meeks
Tracey Moffat
Clinton Nain
Moana Nepia
Rea
Jeffrey Samuels
Claudine Sartain
Darrell Sibosado
Salote Tawale
Niwhai Tupea
Adrian Wills

+++

Boomalli
55-59 Flood Street
Leichhardt, NSW 2040
AUSTRALIA

Postal Address:
PO Box 176, Westgate NSW 2048
tel: +61 (0)2 9560 2541
fax: +61 (0)2 9560 2566
Email: boomalli@gmail.com

Performance Space
245 Wilson Street
Eveleigh NSW 2015
AUSTRALIA

Phone  02 8571 9111
Fax      02 8571 9118

Administrator
Tallulah Kerr: admin@performancespace.com.au

Media & Communications
Rosie Dennis: media@performancespace.com.au

{The word Boomalli is taken from 3 Language/tribal groupings  Gamailerio,  Bundgulung and the Wiradjuri

Making a mark is not only about art it is about expressing a repressed voice within the history of Australia, exhibiting and promote Aboriginal art on our own terms.

It has only been within the last 30 years that Aboriginal art has been taken out of a sterile ethnographic museum context and recognized as an aestetic and cultural expression as unique as the landscape that it often depicts.

Boomalli is a resource centre for Aboriginal artists as well as the wider artistic community and continues to make a mark on art and culture in Australia today.}

January 04, 2008

AAOA: Best of the "Best of" Lists

Oceanicgalleries

The AAOA galleries and objects just kept appearing in the end-of-year flurries of "Top Ten" lists. First, some unmitigated hyperbole from Jerry Saltz via New York Magazine (12/17/07), re-posted in Artnet Magazine (1/3/08):

ECSTASY MACHINE
You can have your Prado, your National Gallery, your Hermitage. New York’s magnificent Metropolitan Museum of Art is not only the finest encyclopedic museum of art in the United States. It is arguably the finest institution of its kind in the world. [...]

from the list:

Gospel

2. Ethiopian Illuminated Gospel, late 14th-early 15th century.

This illuminated bible is open to a full page illumination (one of 24) of the entry of Christ into Jerusalem. The image shows a Mesopotamian-like Jesus atop a donkey. He is surrounded by the 12 apostles. Each sports a brilliant yellow halo. All hover around him on a rich green ground and look at us with wild Picasso-like eyes, pulling us in on some spiritual-religious tractor beam. The space in this painting is flat, inventive, fragmented, Byzantine, visionary and captivating all at once. The geometry, composition and intense color give this illumination enormous ornamental and formal power.

..........................................

Baining

4. Papua New Guinea, Headdress Effigy (Hareiga), New Britain, Chachet Baining people, late 19th-early 20th century.

This 15-foot-long object is so powerful I sometimes imagine it has to be strapped down to prevent it from levitating through the roof of the museum into outer space and creating a force field all its own around the earth. This enormous puppet-headdress made by the Chachea Baining people of New Britain, Papua New Guinea, looks like a tree trunk with a massive swollen head. In addition to a well-formed vulva, tiny ears, stumpy legs and crooked arms, this figure sports tattooed eyes, eyebrows and a gapping mouth. She seems to hover and preside over this hall of the Met like an extraterrestrial empress emitting waves of visual, psychic and erotic power.

..........................................

Stick

5. Marshall Islands Navigational Chart (Rebbilib), late 19th-early 20th century.

This grid made of coconut midrib, sticks and fiber by the sailors of the Marshall Islands looks like something Mondrian, Richard Tuttle, Joaquin Torres Garcia or Paul Klee might have made. It is not an abstract work of formalist art. It is a tool, a map and navigational chart that records wave activity, underwater currents, ocean swells and the best ways to guide a vessel safely to shore from sea. Whatever you see it as, imagine if our maps to the moon were constructed as lyrically and physically as this.

and via The Huffington Post:

Culture Zohn: Ten Treasures of 2007
By Patricia Zohn. Posted December 21, 2007 | 02:35 AM (EST)

Number 8. Last year, the Metropolitan Museum of Art re-installed the Greco Roman galleries to much fanfare. But for my money (or rather Michael Rockefeller's), the most breathtaking gallery I've been in in a long time (and which would be touted as THE museum architectural space in any other new venue) is the central gallery for Melanesian art in the re-done Oceanic wing of the Met, capped, literally, by the ceiling from a ceremonial house of the Kwoma people of New Guinea.

20071221ceilingsized

More than 80 feet long and 30 feet wide, the ceiling is composed of more than 270 individual paintings, commissioned from a group of Kwoma master artists in the early 1970s. Fully installed for the first time, art and religion have met their most sacred space at the museum, an enthralling, soaring gallery which makes you HIGH!

 

Maori Mummy's Return...

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Rouen Town Hall, via Associated Press: A drawing of the mummified, tattooed head of a Maori warrior at the Museum of Natural History at Rouen in Normandy.

via NYTimes, Arts, Briefly:

No Homecoming for Preserved Head

Published: January 3, 2008

A French court has barred the proposed repatriation of the mummified and tattooed head of a Maori warrior, Agence France-Presse reported. Last year a museum in Rouen, Normandy, where the head had been held since it was donated by a French collector in 1875, decided to return it to New Zealand as an “ethical gesture of respect” for the Maori people. But the French culture ministry intervened, arguing that the relic was part of France’s cultural heritage. On Dec. 27 an administrative court, in effect, blocked the transfer when it ruled that authorities in Rouen had failed to consult a scientific committee before withdrawing the head from the museum’s collection. Before their trade was outlawed, preserved heads of warriors with facial tattoos were popular with 19th-century European collectors.

more coverage:

French Debate: Is Maori Head Body Part or Art? - New York Times
PARIS, Oct. 25 — Since 1875, the mummified, tattooed head of a Maori warrior has been part of the permanent collection of the Museum of Natural History at ...
http://www.nytimes.com/2007/10/26/world/europe/26france.html 

French ministry blocks return of mummified Maori head ...
PARIS: For 132 years, the mummified, tattooed head of a Maori warrior has been part of the permanent collection of the Museum of Natural History in the city ...
http://www.iht.com/articles/2007/10/25/europe/journal.php

Full Coverage French city vows to return Maori head - Newstin
A French court has barred the proposed repatriation of the mummified and tattooed head of a Maori warrior. ... No Homecoming for Preserved Head A French ...
http://www.newstin.com/sim/us/37034523/en-009-000793060 

BBC NEWS | Europe | France stops Maori mummy's return
A French court has blocked a museum's efforts to return the mummified head of a Maori warrior to New Zealand. The tattooed relic was acquired by a museum in ...
http://news.bbc.co.uk/2/hi/europe/7061724.stm   

New Zealanders in Belgium: Mummified head of Maori warrior from France
Mummified head of Maori warrior from France ... The mayor of a French city appears determined to return a tattooed and mummified Maori head to New Zealand, ...
http://newzealandersinbelgium.blogspot.com/2007/10/mummified-head-of-maori-warrior-returns.html

January 03, 2008

Upcoming Public Programs at The Museum

Illustrated Talks and Performances

Arts and Dances of Oceania and Native North America: Illustrated Talks and Performances will be held Saturday, January 12 from 2:00 to 3:30 p.m. The program will begin with lectures by Eric Kjellgren, Evelyn A.J. Hall and John A. Friede Associate Curator, Arts of Africa, Oceania, and the Americas, and Amy Silva, Museum Educator. The lectures will be followed by traditional dance performances from Oceanic and Native North American cultures.

No reservations are required. The event takes place in the Grace Rainey Rogers Auditorium.

Related links:

Image: Female Figure. Ha'apai Islands, Tonga, early 19th century. The Metropolitan Museum of Art, New York. The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.1470).

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Multicultural Winter Benefit: An Evening of Many Cultures

Thursday, January 24: 7:00–10:00 p.m.
Festive or Traditional Attire

The Multicultural Audience Development Initiative celebrates its 10th anniversary with a gala event. Join us for a reception, live music, and an international supper in the Temple of Dendur, along with viewings of several Met galleries and the special exhibition, Eternal Ancestors: The Art of the Central African Reliquary.

Purchase Benefit tickets to this event online. For more information please call 212-650-2525 or email audience.development@metmuseum.org.

Your ticket to an unforgettable evening helps support essential programs for the benefit of all our audiences. If you are unable to attend, please consider making an online donation toward the Museum's Multicultural Audience Development Initiative. Any gift amount is greatly appreciated.

Image: Sculptural Element from a Reliquary Ensemble: Seated Female (The Pahouin or Black Venus). Fang peoples, Betsi group; Gabon, 19th century. Musée Dapper, Paris 2891. Ex colls.: Georges de Miré, Paris; Louis Carré, Paris, 1935; Sir Jacob Epstein, London; The Carlo Monzino Collection, Lugano.

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New Met Podcast Episode: Ananse the Spider

The first of four new storytelling audio programs focusing on legends, myths, and other stories related to works in the Museum is now available. The first episode, Ananse the Spider, produced for younger audiences ages 7 to 12, features an African folktale and is inspired by a linguist staff (oykeame) in the Museum's collection. Narrated by actor Ronnie Washington.

The Met Podcast also features exclusive audio commentary on our world-renowned special exhibitions, as well as curatorial insights into individual masterpieces, artists' discussions of their work, and explorations of a wide variety of art-related topics.

Subscribe to receive new episodes automatically or access an archive of past ones. For more information, see Met Podcast.

Image: Linguist Staff (Oykeame), 19th–20th century, Ghana; Akan, Asante. The Metropolitan Museum of Art, New York. Bryce Holcombe Collection of African Decorative Art, Bequest of Bryce Holcombe, 1984 (1986.475a–c).

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