Whose Voice Section 1 | UNI Museum @ Rod Library

Displaying 1 - 12 of 12

	Catalog #	Name	Description
1	2000.2.1	Platter	This is a wooden decorative sago platter of Asmat origin, likely produced in Papua New Guinea in the late twentieth century. It features elaborately carved decorations, particularly around the center and periphery. The entire piece is unpainted and maintains a very dark brown color. At the center of the piece is an oval platter rimmed with elaborate geometric patterns. Either end terminates in a pointed head, the bottom one of which has suffered damage. Protruding from each end of the platter is a large male human figure, as denoted by the characteristic phallic imagery. Both figures stand with their feet resting on the platter and their arms resting on their hips. Each figure features different carvings along their body, possibly denoting different individuals or community affiliations. The figures’ faces are simply carved with a great deal of emotion present in their features. Platters such as this hold a largely ceremonial role in Asmat society. Compared with other sago platters which served a practical purpose in everyday life, this piece is very clearly an object reserved for special occasions. It is plausible that during the age of headhunting, this platter would have been used to serve the brains of fallen enemies at a ceremonial dinner in the community house, the jeu. The practice of headhunting was banned by foreign missionaries in the late twentieth century, at which point the consumption of Capricorn beetles largely supplanted the consumption of human brains as the ceremonial meal. It is unclear whether this particular piece would have undergone a transformation in usage such as this, or if it remained unused after headhunting was phased out. The dark coloration of the exterior is indicative of long exposure to smoke inside a home, suggesting that it may have been out of practical use for a prolonged period of time. Colors: Brown, Black
2	2000.2.10	Platter	This is a ceremonial wooden Asmat sago platter produced in Papua New Guinea in the late twentieth century. It features a large oval platter capped with a handle decorated in the image of a human head. The piece is painted in variations of red, white, and black pigments, with many portions retaining only fragments of the original paint. In the center of the plate are two stylized heads, both of which point away from the handle. The head itself bears simplistic characteristics with red painted eyes, mouth, and ears. The head is painted in black and the base of the face in white. Color in Asmat society is very important and is often associated with mysticism and magic. White is called mbi and is produced by the crushing and burning of mussel shells found in the river. Red paint is called wasah and is made from mixing different river clays, while black is produced as a byproduct of ash and charcoal. Different combinations of colors denote different ideas such as strength, fertility, and mystic power. Platters such as this were typically produced for both the everyday consumption of roasted sago palm and Capricorn beetles in the community house, called the jeu. In ceremonial instances, however, they would also often be used to consume the brains of enemies killed in headhunting raids. The brains were collected in order to avenge a death in a particular community and were widely believed to give the consumer the deceased’s power. The practice was banned by foreign missionaries in the late twentieth century, at which point Capricorn beetles took the place of human brains as the ceremonial meal. The head designs on this particular piece may point to its use in headhunting rituals at some point in time. Colors: Red, White, Black, Brown
3	2000.2.15	Platter	This is a wooden sago platter carved by the Asmat cultural group of Papua New Guinea during the late twentieth century. It features an oblong decorated platter capped with a handle decorated in the image of a human head. The main body is carved with symmetrical geometric designs commonly found in Asmat art of this type, with inset portions painted in variations of red, white, and black pigments. The upper and lower portions of the piece have suffered an erosion of their original white paint, leaving a layer of patina buildup present. The handle itself is decorated with a protruding chin, shallow eyes, and wide mouth. The eyes and mouth are painted in red, while the face structure is painted in a worn white. The chin and top of the head are painted black, and the nose remains unpainted. The head features a close-cropped hairstyle and detailed ears. Colors in Asmat culture are widely considered to have magical properties associated with them. White is called mbi and is created from the crushing and burning of river mussel shells. Red pigments are called wasah and are created from the mixing of clays from riverbeds, forming a deep rust color. Different combinations of color denote different ideas within Asmat society such as strength, fertility, and mysticism. Sago platters form a staple of Asmat ethnographic art and are important in understanding Asmat cultural history. Prior to the intervention of outside missionaries in the late twentieth century, platters would commonly have been used in the ritual of headhunting. In headhunting rituals, slain enemy brains would be served at ceremonial occasions within the community house, the jeu. After this practice had been phased out, Capricorn beetles and roasted sago palm supplanted the function of platters such as this. Many are often also repurposed later in their lives as paint mixture basins, evident by the large amounts of white mbi residue on the hollowed surfaces. Colors: White, Red, Black, Brown
4	2000.2.16	Carving, ancestor	This is a wooden Asmat ancestral carving made from light brown sago wood. It depicts a human figure standing with a platter in both hands and a cassowary beak between his legs. The entire piece is painted in white mbi and red wasah pigments, with the white used for the body surface and the red used for the accent lines. The base of the figure features the head of a cassowary pointed upwards and situated between the figure’s feet. The beak itself features characteristic circular eyes, notched nose, and elongated beak. The tip of the beak is attached to a platter which is held between the figure’s hands at the hip. The figure himself is simply detailed. The face features a wide mouth painted black with a jutting chin, pointed nose, and prominent brow line. The eyes are painted red and the top of the head is painted in black. Color is believed to have magical properties in popular Asmat belief. White is called mbi and is made from crushing and cremating mussel shells found in riverbeds. Red wasah is created from the mixing of different clays at upstream villages. Both are magical and symbolize ideas such as power, strength, fertility, and mysticism. Ancestor worship is central to Asmat cultural and religious belief. The ancestors are considered to be a part of the living world and play an integral role in the interconnectedness of humans to the natural realm. Honoring the ancestors comes in the form of carvings, made to represent individual ancestor figures for ceremonial purposes. Many carvings are produced for festivals and community building dedications. When a member of society dies, they are produced so that the spirits which embody them may protect the spirit of the deceased. When the function of carvings has been fulfilled, they are often discarded in the rainforests so that their spirits can rejuvenate the sago trees. Colors: Brown, White, Red
5	2000.2.22	Platter	This is a wooden sago platter carved by Asmat ethnographic artists in Papua New Guinea during the late twentieth century. It features an oblong platter body capped with a handle decorated in the style of a human head. The curved surface features elaborate carvings of sago tree fronds painted in variations of red, white, and black pigments. The reverse hollowed surface features a large deposit of worn white pigment with a cross section painted in bright red. The head itself is very simplistic, with little feature definition. The mouth, eyes, and ears are painted in red, while the rest of the face bears only some remnants of white pigment which has since faded with time. There is considerably little patina, with only paint fragments found throughout the piece’s surface. Color plays an important role in Asmat society and carried across tribal distinctions. White is known as mbi and is created by the crushing and burning of river mussel shells. Red is called wasah and is created by mixing various different clays found in upstream riverbeds. Black is a base color, formed from ash and charcoal byproducts. Color in Asmat society is widely believed to have magical properties, with different patterns denoting ideas such as strength, fertility, and mysticism. Prior to the intervention of foreign missionaries in the late twentieth century, platters such as this were often associated with the practice of headhunting. After headhunting raids had been performed, a fallen enemy’s brain matter would be served in ceremonial means in the community house, the jeu, on platters. This ritual was widely associated with rejuvenation and fertility ideals. After this practice was phased out, the consumption of Capricorn beetles and roasted sago palm took over the functionality of platters. As their lives went on, platters were sometimes transitioned to serving as basins for the mixing of pigments for further decoration. Asmat carved objects are intended for long use, meaning that everything has a practical application over time. Colors: White, Red, Black, Brown
6	2000.2.26	Platter	This is a wooden Asmat platter carved in the shape of a dugout canoe, likely produced in Papua New Guinea in the late twentieth century. It is entirely unpainted and features a very dark brown coloration throughout. The sides are decorated with elaborate geometric zig-zag patterns, terminating at either end with a head carved into the prow. At the center of the canoe are two heads facing upwards. The features on all four of the heads on display are simplistic, with recessed brows and protruding noses. The sides of the piece have suffered some wear over the years but overall remains in excellent condition. Due to the appearance of head imagery, it is likely that this piece was produced during the time of headhunting in Asmat society. Before foreign missionaries suppressed the practice in the late twentieth century, headhunting was a common means of avenging death in communities. Death was never unnatural, either the result of hostile spirits or magic attacks from an enemy tribe. Headhunting raids were performed to collect the heads of enemies in order to restore balance to communities. The brains of headhunted foes were often served as food at ceremonial gatherings after a death in order for the consumer to be granted the dead foe’s power. Platters such as this were used to serve the brain matter before the banning of the practice. After headhunting’s suppression, platters were transitioned into serving roasted sago palm and Capricorn beetles as a replacement for human brain matter. Colors: Black, Brown
7	2000.2.27	Shield	This is a large wooden Asmat war shield produced in Papua New Guinea in the late twentieth century. It features elaborate geometric carvings across its surface and stands over five feet tall. The sides are decorated with zig-zag patterns and straw tassels at equidistant points. The interior features symmetrical patterns painted in combinations of white, red, and black pigments. The top of the shield is painted in a bar of red and a bar of black pigment. The bottom of the shield is painted only in black. There are twelve tassels total, each strung through the sides of the piece and knotted. War was incredibly common in Asmat society throughout history. Hostile tribes would battle one another in headhunting raids as a means of enacting vengeance for death in communities which were perceived as unnatural occurrences. The production of shields was both practical and ceremonial. Practical war shields would be made to protect individual warriors during raids and to intimidate their opponents. The paint and patterns on shields were often associated with magical properties and would be used in order to frighten other warriors. Ceremonial shields were produced for thumping in the ground at festivities and community rituals, such as funerals and initiations. Each shield is carved by the individual who uses it, given them a personal attachment quality. They are often highly stylized and decorated. They are prime examples of the high quality of craftsmanship found in all aspects of Asmat artistic culture. The shape and style of shields also varies drastically by region, and no two shields are the same.
8	2000.2.32	Shield	This is a large wooden war shield carved by the Asmat people in Papua New Guinea in the second half of the twentieth century. It is composed of lightweight brown sago wood, which has been treated and painted with various pigments of red, white, and black. The base color for the surface is white, while accents and designs have been painted in red and black. The top of the piece is pointed, with an ornamental triangular cap. The bottom of the piece shows degradation of colors and wear from being planted into muddy soil during use. The surface features beautiful geometric shapes and patterns which denote ancestry figures and magic wards. The rear surface of the piece features remnants of red and white pigments around a small handle. The piece is a perfect example of the exquisite level of craftsmanship found in Asmat cultural art. War in Asmat society was very common and ritualistic in nature. Hostile tribes would meet one another to perform headhunting raids and other forms of combat in order to resolve disputes and to balance spiritual scales disturbed by unnatural deaths in their communities. Warfare was a means of enacting vengeance for the deceased and as a means of appeasing angry ancestral spirits. Shields produced for war were highly important as both practical and ceremonial tools. In combat, they were used to protect the wielder and to frighten enemies. The designs carved on the surface represented the wielders’ ancestors and magic wards in ways that gave them protection and power. Ceremonial shields were produced for events such as building dedication ceremonies and funeral rites. Asmat wielders would thump the shields into the ground as part of these rituals, resulting in the degradation of paint layers on many shields in museum collections. Each shield was carved by its wielder, giving them an incredible personal significance. They are pieces intended to tell stories of their ancestors and to demonstrate their dedication to honoring ancestral spirits. The design and shape of shields vary widely by region, and no two are exactly the same. Colors: Red, White, Black, Brown
9	2000.2.64	Drum	This is a large ceremonial wooden drum of Asmat origin carved from sago wood. It stands quite tall and bears intricate carving decorations on its exterior. It features no paint and is dark brown with traces of smoke-induced patina. The drum forms an hourglass shape which culminates in a covered aperture at the top covered with lizard skin. The side of the piece features an elaborately carved handle with swirling geometric patterns and stylized cassowary beaks. The exterior of the main body features several raised carvings, symmetrical on the top and bottom. Inset into the wood are square-shaped carvings which frame the raised decorations. Drums in Asmat society are highly associated with the popular origin myth of the Asmat people. Legend tells that originally there was a single human named Fumeripits. Fumeripits became lonesome and so he carved the likeness of humans from the wood of the sago trees around his home. But the forms were lifeless logs, with no emotions and no movement. So Fumeripits carved a drum and beat it to give his carvings life. This story, with variations based on community, forms the basic understanding of how people were brought into creation in Asmat culture. In the modern day, drums are carved by hand from a single sago tree trunk by a single artist. They are used during the dedication ceremonies for a jeu (community house) and are central to daily life in Asmat society. When not in use, drums are placed above fire pits in homes, where they are preserved by the smoke. Over time, this smoke accumulates a thick layer of patina which gives drums a very dark coloration. Because of the sophisticated construction of drums, pieces such as this are intended to be used for a very long period of time before being retired. Colors: Brown, Black
10	2000.2.67	Carving	This is a large Asmat bis pole topper made from sago wood. It features the images of five human figures intertwined with stylized imagery of hornbill beaks, symbolising the importance of the animal in Asmat ancestral worship practices. The piece is painted entirely in a white and red mixture of paints, with white mbi used on the bodies of the figures and red wasah used in the inset accent portions. The bottom of the piece is curved where it would originally have attached to a much larger pole. The top of the piece is formed by a single human figure whose body is the beak of a hornbill. The base is comprised of two human figures looking across from one another, while the middle is comprised of two figures oriented in the same direction. There are a total of 17 hornbill beaks found in the piece. The white paint found on the piece is called mbi, and is created by crushing and cremating mussel shells found on riverbeds. The red pigment is called wasah and is made from mixing different colors of clay found in upstream villages. Color in Asmat society is said to have magical properties, and different combinations of color are associated with such ideas as strength, fertility, and mysticism. Bis poles are used throughout much of Asmat culture and play a vital role in ancestral worship and funerary practices. When a member of the community dies, the other members erect statues depicting the deceased and their ancestors outside the home. These carvings are traditionally done by family members and are believed to embody the spirits of the deceased’s ancestors, who protect the spirit of the deceased until their death has been avenged. Because death in Asmat society is considered to always be unnatural, headhunting raids were widely carried out prior to the late twentieth century in order to restore balance to grieving communities. Once balance had been restored, the carvings, including bis poles, would be discarded in swamps and rainforests so that the spirits could rejuvenate the sago trees which give Asmat communities life. Pieces such as this would have been placed at the top of the bis pole pointed outwards, but are not always carved as a part of the larger pole. Colors: Brown, White, Red
11	2000.2.90	Carving, ancestor	This is a wooden Asmat ancestral carving produced in Papua New Guinea in the late twentieth century. It depicts a human figure standing over the decapitated head of a foe, most likely the result of a successful headhunting ritual. The entire piece is unpainted and consists of very dark brown wood. The figure stands with joined feet atop which rests the head of the fallen victim. The upper figure is hunched over the head with the hands holding a tool or weapon between them. The eyes of the standing figure are sunken, with similar sunken facial features. The decapitated head has a look of no emotion and features plain characteristics. Headhunting was an integral part of life in Asmat culture until the late twentieth century. Before foreign missionaries suppressed the practice, many Asmat communities used headhunting as a means of avenging deaths of their members. Death in Asmat society is always unnatural in nature. It is believed to be the result of hostile magic, evil spirits, or unseen attacks by an enemy. In order to resolve the imbalance in society caused by a death, family members of the deceased are encouraged to participate in headhunting rituals. Once an enemy head has been brought back, it is put on display for spiritualistic purposes. The cycle of retaliation and vengeance was perpetual in Papua New Guinea until headhunting was phased out before the turn of the millennium. Carvings such as this likely depict the aftermath of a successful headhunt and are produced both as a commemoration of the event and as an appeasement of the spirits. Colors: Brown, Black
12	2000.2.93	Carving, ancestor	This is a wooden Asmat carving depicting two ancestral figures, likely produced in Papua New Guinea in the late twentieth century. The piece is entirely unpainted and maintains a dark brown coloration throughout. There are two figures, both of whom hold heads in their hands. At the bottom of the piece is an upside-down head on which rests the legs of the first figure. The second figure is sitting atop the first figure’s head and is also holding an upside-down head in the hands. The figures are simplistic in design, but feature characteristics which would suggest that they are female. This carving may have been produced for a funerary event in which an individual in a community was honored with rites upon death. Death in Asmat society is always unnatural, the result of either hostile spirits of magical attacks from an enemy tribe. In order to resolve the imbalance caused by deaths in communities, family of the deceased undertake headhunting raids against their enemies. Once the enemies’ heads have been brought back, balance is believed to have been restored. This carving may have been produced during such an event, as indicative of the decapitated heads on display in the figures’ arms. Carvings such as this also depict the spirits of the deceased’s ancestors in order to shield the deceased from attacks by hostile spirits. Once the headhunting has been completed, such carvings are often discarded in the rainforests to rejuvenate the sago trees with their spirits. The practice of headhunting was dominant in many Asmat societies, but was banned by foreign missionaries in the late twentieth century. Colors: Black, Brown