Arts of the Milne Bay and the Trobriand Islands in Global Collections | Part I
Arts of the Milne Bay and the Trobriand Islands in Global Collections | Part I
Curated by Steven G. Alpert
Milne Bay, sometimes referred to as Massim, is the southeasternmost province in Papua New Guinea. This province extends easterly to embrace the Trobriand Islands, a chain of twenty-eight mostly palm-studded, low-lying coral atolls lying some ninety miles off the coast.
The Massim archipelago is well-known for its cultural diversity, creative synergy, elaborate mortuary cycles, and time-honored trading system. The latter, known as the 'Kula ring,' involves a complex system of exchange involving ritual currency and other items between eighteen culturally diverse island communities.
As many of our readers are aware, this attracted Bronislaw Malinowski, the founder of modern ethnology, to the Trobriand Islands, where he studied this system of exchange (1915-1917). As the pioneer of "Psychological Functionalism" (the study of how social institutions and practices function to meet basic human needs while maintaining a social order), Malinowski revolutionized and pioneered practices that became foundational to the methodologies of fieldwork in social anthropology.
Beyond an insightful description of the Kula system, his well-theorized approach and poignant observations pertaining to social structure, kinship, sexuality, magic, and the nature of human societies were profound for the time. While material from the Trobriand Islands had been gathered in significant quantities by colonial officials, traders, and missionaries before his stint there, Malinowski's extensive fieldwork, articles, and books may have indirectly assisted in further popularizing their production. The material culture from this area has long been collected and deposited in museums, as well as appearing in numerous academic and commercial publications.
This month, Art of the Ancestors celebrates the carvers of the Massim Archipelago and the Trobriand Islands, in the first of a series of future presentations on the arts of this area. Here, the artistic output is particularly intriguing as aspects of design are associated with the diaspora of Austronesian-speaking peoples, as well as with the repertoire of ancient curvilinear forms of Indonesian and Southeast Asian origin in combination with the visual geometry, sensibilities, and the traditions of the region's Papuan populations.
Such a stylistic blending is evident in a wide swath of items ranging from a powerful ancestral statue, a figurative canoe prow or an unusual house board to a double figured magical charm or an elegant, perfectly balanced adze or tricolored wooden hat to a pair of clubs whose designs are accentuated with inlaid chalk lime set against densely polished dark wood. However, when one thinks of wooden artifacts from Milne Bay and the Trobriand Islands, at least four categories of items immediately come to mind. These include the region's canoe's splash boards, ceremonial dance paddles, lime spatulas, and painted shields.
Trobriand sea-going outrigger canoes, especially the highly embellished ones used during Kula exchanges, often display a set of eye-dazzling splash boards (lagim). In utilitarian terms, lagim prevents seawater from swamping the vessel directly from its bow or stern ends. These highly ornamented vessels, including their lagim, play an important role in the social and ceremonial life of Trobriand Islanders. Sometimes of great beauty, splash boards were created without templates by the highest-ranking master carvers. Afterwards, to further decorate or enhance these boards, they were occasionally painted with natural colors and/or festooned with rows or gathered bunches of white cowrie shells. These were attached through perforations along the lagim's edges to increase its radiance.
Beyond the board's aesthetics, as the "face of the canoe", Lagim were also intended to protect a boat's crew, not only from watery surges, but from witchcraft and natural disasters, thereby ensuring a safe and successful journey. Four remarkable lagim from different English institutions are illustrated below. On three of the boards, the bulging extensions along the top sides of these splashboards recall the energy and motion of the ocean's radiating currents and rolling waves. Standing at the epicenter of these spiraling lobes is a humanoid figure generally referred to as bwalai by master carvers. This figure (or sometimes a pair of figures) is also the transferee or repository for spells that can enhance a boat's 'canoe magic.'
The first of these boards is from the Pitt-Rivers collection at Oxford University. It reflects the age, usage, loving repair, and animation associated with an early piece. The second one, from Cambridge University, is also dominated by its magical guardian, an inviting female figure with raised, splayed legs. Below the figure, the central motif is a crescent moon-shaped lime spatula (enali — when they are used in Kula exchanges). As a ceremonial item, this form of spatula is often fashioned from tortoise shells (as well as wood) and decorated with thorny oyster shells (Spondylus varius). They were not actually used, but spread as symbols of wealth and fertility in relationship-building exchanges.
The two other splash boards pictured are stewarded by the British Museum. The first is an elegantly rendered version of the conventional form described above while the remaining lagim is a forceful rendition of a sea eagle spreading its wings. It has been written that "just as the sea eagle dives down to take its prey, so do the tokula (Kula exchange partners) plunge upon Kula valuables." Both of these splashboards were collected by Malinowski during his sojourn there.
Other easily recognized items from Massim culture are their intricately carved dancing wands. These, like the side motifs on many splash boards, often depict a combination of stylized birds (i.e., hornbill, frigate bird, and sea eagle) commingling with serpent-like creatures. They are known as kaydiba and were danced during events when unmarried men could display their bravado and energy before an audience arrayed with single women. Three superior wands are depicted. Of special beauty is a finely carved example from the Otago Museum in New Zealand that depicts on each of its blades a hornbill intertwined with a twisting phallic-like serpent.
Perhaps the items that survive in the greatest numbers are Massim's lime spatulas (kena) with finials in the form of human-like figures, animals, and/or interlocking designs. The bulk of these spatulas are carved from darkly grained ebony or other carefully chosen local hardwoods. These were traded, presented, bartered, or sold throughout the region. When made for their own consumption, elaborately carved patterns tended to reflect a user's rank or social status.
While now vanishing, the habit of chewing betel nut was once popular from the east coast of Africa, and throughout South and Southeast Asia, Indonesia, and all the way into many parts of Melanesia. A standard quid's components include a slice of the Areca palm nut, the leaf of the betel pepper vine, and slaked lime — that, when properly combined, can produce a slightly astringent high or sense of well-being. In some areas, quids are enhanced by using a wad of tobacco or a small amount of gambier (Uncaria gambir is a plant that contains a mild alkaloid along with a host of medicinal properties). The paraphernalia used by different groups to hold this custom's materials and to prepare these quids is often well-decorated and deeply personalized.
Arguably, among all the sets of containers and tools pertaining to betel nut-chewing cultures, Massim lime spatulas (kena), when artistically superior, are perhaps in a class of their own. The only equivalent to these, i.e., in Indonesia, in terms of quality or creative variants, would be the chopping and licking spatulas of the Balinese or Sasak peoples of Lombok. To encapsulate the quality of carving and the emotive intelligence of a Massim lime spatula, the torso of a fine kena is illustrated with compressed avian designs neatly placed above its breasts.
Two other spatulas are also featured. The first is a fine rendition of a squatting man holding a drum that is decorated with inlays of white chalk lime, red ochre, and cut strips of palm leaf. Notes from the British Museum state that it was collected by Henry O. Forbes during his expedition of 1884-88 to New Guinea. The late scholar, Harry Beran, attributed this spatula to being an early work of the now-famous wood carver/artist Mutuaga (c. 1860-1920). It is illustrated (Plate 53) in his well-researched book, Mutuaga: A Nineteenth-Century New Guinea Master Carver (1996). The second lime spatula from Milne Bay is also attributed to Mutuaga. It is a slightly later rendition, ca 1885-1890, of the previous item that also appears in Beran's book (Plate 56). Before entering the British Museum, it was formerly in the Beasley collection and, prior to that, belonged to the London Missionary Society (LMS). Mutuaga began to gain renown beyond his own village and local community through the auspices and patronage of an English missionary, Charles Abel, who co-founded a station in Milne Bay for the LMS in 1891. Today, Mutuaga is famous for his figurative lime spatulas and pedestaled free-standing statues. He is one of the few artists from this region where we can attach an individual creator's name to his works.
No introduction of Massim and the Trobriand Islands would be complete without discussing their shields. Three are reproduced here, but one type is of particular interest for its striking motifs painted in black and red on a white background. These shields, known as vayola, adhere to a convex pear shape. They are relatively small and fashioned from light acacia wood for nimble movement. When one thinks of a shield tradition with exquisite line drawing and painterly designs, as opposed to a combination of colorful renderings that are accentuated with applied materials, incision work, etching or raised carving, two standout shield traditions from this general area immediately come to mind: the painted shields of various Dayak tribes of Borneo, and vayola from the Trobriand Islands.
Nearly every museum that has Oceanic collections has at least one example of this shield type. Our illustration is taken from the British Museum, which posts thirteen well-painted vayola in their online collection. While these shields are ubiquitous in terms of their numbers, the meanings of their designs are still keenly debated, even though they have been published many times since the late 19th century.
At first glance, the most immediate theme to an outsider's eye is the graphic micro-exposure of female genitalia. Its 'labia' often includes parallel representations of the 'red snake' motif, which is said to be the personification of war magic on Kiriwina Island. Above and surrounding such sexual neon is a distinct X-ray figure, constructed of various smaller design components. Some scholars have posited that the overall design might represent a flying witch. Mulukuausi, as she is known, is a much-feared and wrathful Specter in local mythology. "Trobriand Islanders traditionally understood magical power as residing in the belly. It has been further suggested that the center design on vayola (its vulva) represents the path by which a magician sends his power out into the world from inside the body."
Avians, aggressive hornbills, or sea eagles are also depicted on these shields, along with other creatures, including insects. Shield painters sought the feral or mythical powers of living creatures that could be associated with a specific trait: i.e., strength, speed, agility, or evasive movement — something extra that might make a warrior more successful and immune to injury in battle. The elegant rows of lines on either side of the center of these shields are referred to as their 'painted feathers' and are said to personify the ethos of a successful warrior further.
The imagery on such shields was most likely intended to create awe, to dazzle or even terrify onlookers. Vayola, while seemingly quite similar in design, do slightly vary from one another. Filling space, in this case using many inverted or floating 'E' shapes, tended to enhance the shield's lambency. In addition to these projected visual components, such designs may have been created to attract protective forces. No doubt, an accomplished vayola advertised its owner as a singular warrior who unmistakably stood out among a crowd of other combatants, dancers, or would-be champions.
— Steven G. Alpert, founder of Art of the Ancestors
1
Carved Wooden Canoe Ornament
Pitt Rivers Museum, University of Oxford
Before 1913
Massim, D’Entrecasteaux Islands, Goodenough Island
Cane plant, pigment
Field collected by Diamond Jenness
1913.88.259
2
Canoe Figurehead or Splash Board
Museum of Archaeology and Anthropology, University of Cambridge
19th century
Massim, D'Entrecasteaux Islands
Wood
Donated by Charles Cave
E 1896.7
3
Wooden Canoe Prow
The British Museum
Early 1900s
Massim
Milne Bay, Trobriand Islands
Wood
Field collected by Dr. Bronislaw Malinowski
Funded by Christy Fund in 1922
Oc,M.66
4
Model Canoe Prowboard
The British Museum
Massim
Milne Bay, Trobriand Islands
Wood, pigment
Field collected by Dr. Bronislaw Malinowski
Funded by Christy Fund in 1922
Oc,M.338
5
Canoe Ornament
Museum of Fine Arts, Boston
19th century
Massim, Trobriand Islands
Wood, pigment
Gift of William E. and Bertha L. Teel
1994.406
6
Canoe Ornament
The British Museum
1800-1918
Milne Bay, Trobriand Islands
Wood
Field collection by Dr. Bronislaw Malinowski
Donated by London School of Economics in 2012
2012,2037.8
7
Standing Figure
Museum of Fine Arts, Boston
Late 19th century
Massim, Trobriand Islands
Wood, pigment
Bequest of William E. Teel
2014.192
8
Wood Board with Human Face
The British Museum
19th century
Milne Bay, Trobriand Islands
Wood, pigment
Purchased from Count Dominic de Grunne in 1976
Previously owned by W. D. Webster
Oc1976,02.2
9
Dance Paddle | Kaidebu
Otago Museum
Trobriand Islands
Wood, pigment
10
Dance Paddle
The British Museum
Massim
Milne Bay, Trobriand Islands
Field collected by Dr. Bronislaw Malinowski
Wood, fiber, pigment
Funded by Christy Fund in 1922
Oc,M.2
11
Dance Paddle
The British Museum
Massim
Milne Bay, Trobriand Islands
Wood, pigment, cotton, fiber
Field collected by Dr. Bronislaw Malinowski
Funded by Christy Fund in 1922
Oc,M.22
12
Figurative Lime Spatula
The British Museum
Massim
Milne Bay, Trobriand Islands
Wood, fiber
Donated by Mrs. A. Chapman in 1926
Oc1926,0208.4
13
Ceremonial Axe
The Metropolitan Museum of Art
Mid-to-late 19th century
Massim
Wood, stone, fiber
The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979
1979.206.1526
14
Figurative Lime Spatula
The British Museum
Massim
Milne Bay, South Cape
Wood, palm leaf, pigment
Donated by Henry Ogg Forbes in 1892
Oc,+.5919
15
Figurative Food Spatula
The British Museum
Before 1875
Massim
Milne Bay
Wood, pigment
Donated by Captain John Moresby in 1875
Oc.9200
16
Figurative Lime Spatula
The British Museum
1880-1895
Massim
Milne Bay
Wood
Donated by Irene Marguerite Beasley in 1944
Previously owned by Harry Geoffrey Beasley
Ex-collection: London Missionary Society
Oc1944,02.1901
17
Head Ornament / Hat
The British Museum
Before 1890
Massim
Milne Bay
Wood, pigments
Field collected by Theodore F. Bevan
Donated by Sir Augustus Wollaston Franks in 1890
Oc,+.4622
18
Clubs with Human Faces and Zoomorphic Motifs
The British Museum
Left:
Before 1882
Massim
Milne Bay
Wood, lime
Filed collected by R. B. Bristed
Donated by Sir Augustus Wollaston Franks in 1882
Oc,+.1600
Right:
Before 1875
Massim
Milne Bay
Palm wood, lime
Donated by Sir Augustus Wollaston Franks in 1875
Oc.9158
19
Shield with a Figure and Bird Heads
The British Museum
Before 1888
Massim
Milne Bay
Wood, fiber, cowrie shells, cane, pigment
Field collected by Henry Ogg Forbes
Donated by Sir Augustus Wollaston Franks in 1888
Oc,+.3853
20
Painted Shield
The British Museum
19th century
Massim
Milne Bay
Wood, rattan, paint
Donated by Charles Price in 1886
Oc1886,1015.20
21
Shield
The British Museum
Late 19th century
Massim
Milne Bay, Trobriand Islands
Wood, ochre, cane, acacia wood
Field collected by William Whitten
Donated by Sir Augustus Wollaston Franks in 1893
Oc,+.6315
All artworks and images presented in this feature are the property of their attributed museums.