Lecture: Collecting in the field
Speaker: Chris Boylan (www.chrisboylan.com.au)
Date: Thursday 30th September 2010
Time: starts 7.30pm, followed by drinks.
Place: Galleries 27 and 28 Cork Street.Mayfair, London , W1S 3NG, United Kingdom
Admission: free
Comments:
Chris Boylan gives a colourful and in depth lecture on the challenges of collecting tribal art in the depths of Papua New Guinea.
Chris has spent his life collecting and travelling to the furthest corners of this amazing region. His experiences of sourcing highland shields should make this lecture well worth the visit.
13 July 2010
The Ainu of Hokkaido
Name: Ainu
Living Area: Hokkaido Island in Japan , and Sakhalin and Kuril Islands in Russia
Population: >200.000
Language: Ainu
Comments:
The Ainu (アイヌ, Aynu アィヌ), also called Ezo in historical texts, are indigenous people or groups in northern Japan and Russia . Historically they spoke the Ainu language and related varieties and lived in Hokkaidō , the Kuril Islands, and much of Sakhalin . Most of those who identify themselves as Ainu still live in this same region, though the exact number of living Ainu is unknown. This is due to ethnic issues in Japan resulting in those with Ainu backgrounds hiding their identities and confusion over mixed heritages. In Japan , because of intermarriage over many years with Japanese, the concept of a 'pure Ainu' ethnic group is no longer feasible. Official estimates of the population are of around 25,000, while the unofficial number is upwards of 200,000 people.
Until the twentieth century, Ainu languages were also spoken throughout the southern half of the island of Sakhalin and by small numbers of people in the Kuril Islands . All but the Hokkaidō language are extinct, with the last speaker of Sakhalin Ainu having died in 1994; and Hokkaidō Ainu is moribund, though there are ongoing attempts to revive it.
Ainu culture dates from around 1200 AD and recent research suggests that it originated in a merger of the Okhotsk and Satsumon cultures. Active contact between the Wajin (the ethnically Japanese) and the Ainu of Ezochi (now known as Hokkaido ) began in the 13th century. The Ainu were a society of hunter-gatherers, who lived mainly hunting and fishing, and the people followed a religion based on phenomena of nature.
During the Tokugawa period (1600–1868) the Ainu became increasingly involved in trade with Japanese who controlled the southern portion of the island that is now called Hokkaido . The Bakufu government granted the Matsumae family exclusive rights to trade with the Ainu in the Northern part of the island. Later the Matsumae began to lease out trading rights to Japanese merchants, and contact between Japanese and Ainu became more extensive. Throughout this period Ainu became increasingly dependent on goods imported by Japanese, and suffered from epidemic diseases such as smallpox.
The turning point for Ainu culture was the beginning of the Meiji Restoration in 1868. A variety of social, political and economic reforms were introduced by the Japanese government, in hope of modernising the country in the Western style, and included the annexation of Hokkaido
Their most widely known ethnonym is derived from the word ainu, which means "human" (particularly as opposed to kamui, divine beings), basically neither ethnicity nor the name of a race, in the Hokkaidō dialects of the Ainu language; Emishi, Ezo or Yezo (蝦夷) are Japanese terms, which are believed to derive from the ancestral form of the modern Sakhalin Ainu word enciw or enju, also meaning "human". Today, many Ainu dislike the term Ainu because it had once been used with derogatory nuance, and prefer to identify themselves as Utari (comrade in the Ainu language). Official documents use both names.
The Ainu were distributed in the northern and central islands of Japan, from Sakhalin island in the north to the Kurile islands and the island of Hokkaidō and Northern Honshū, although some investigators place their former range as throughout Honshū and as far north as the southern tip of the Kamchatka Peninsula in what is now Cape Lopatka. The island of Hokkaido was known to the Ainu as Ainu Moshir, and was formally annexed by the Japanese at the late date of 1868, partly as a means of preventing the intrusion of the Russians, and partly for imperialist reasons.
Well-known by: men's beards.
Never shaving after a certain age, the men had full beards and moustaches. Men and women alike cut their hair level with the shoulders at the sides of the head, trimmed semicircularly behind. The women tattooed their mouths, and sometimes the forearms. The mouth tattoos were started at a young age with a small spot on the upper lip, gradually increasing with size. The soot deposited on a pot hung over a fire of birch bark was used for color. Their traditional dress was a robe spun from the inner bark of the elm tree, called attusi or attush. Various styles of clothing were made, and consisted generally of a simple short robe with straight sleeves, which was folded around the body, and tied with a band about the waist. The sleeves ended at the wrist or forearm and the length generally was to the calves. Women also wore an undergarment of Japanese cloth.
In winter the skins of animals were worn, with leggings of deerskin and in Sakhalin , boots were made from the skin of dogs or salmon. Both sexes are fond of earrings, which are said to have been made of grapevine in former times, as also are bead necklaces called tamasay, which the women prized highly.
Their traditional cuisine consists of the flesh of bear, fox, wolf, badger, ox or horse, as well as fish, fowl, millet, vegetables, herbs, and roots. They never ate raw fish or flesh; it was always boiled or roasted.
Their traditional habitations were reed-thatched huts, the largest 20 ft (6 m) square, without partitions and having a fireplace in the center. There was no chimney, only a hole at the angle of the roof; there was one window on the eastern side and there were two doors. The house of the village head was used as a public meeting place when one was needed.
Instead of using furniture, they sat on the floor, which was covered with two layers of mats, one of rush, the other of flag; and for beds they spread planks, hanging mats around them on poles, and employing skins for coverlets. The men used chopsticks when eating; the women had wooden spoons.
Some words in Ainu language:
hello: Irankaratte
thank you: Iyayraykere
my name is ___: Kurehe anakne ___ ne
how are you?: Eiwanke ya?
© Text and images: Wikipedia
11 July 2010
The Novruz
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© Iran Museum of Anthropology ( The Iranian Cultural Heritage, Handicrafts and Tourism Organization |
Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity.
© Text and videos: UNESCO
9 July 2010
Wilfred Thesiger in Africa - A Centenary Exhibition
Wilfred Thesiger in Africa: A Centenary Exhibition
4 June 2010 – 5 June 2011, Pitt Rivers Museum, Oxford (United Kingdom)
This exhibition is the first to explore Thesiger’s lifelong relationship with Africa. He undertook river explorations, wartime service and travels in Ethiopia, political service in the Sudan, travels in the Atlas Mountains of Morocco, and numerous journeys on foot in Kenya and Tanzania. From 1978 Thesiger lived for nine months of each year in Maralal, Kenya, before retiring permanently to England in 1994. Wilfred Thesiger took over 17,000 photographs in Africa, around two-fifths of his entire photographic output, all of which he donated to the Pitt Rivers Museum. Spanning fifty years, the photographs exhibited here document his development as a photographer, in particular as a portraitist. ‘Ever since my time in Northern Darfur,’ Thesiger wrote, ‘it has been people, not places, not hunting, not even exploration, that have mattered to me most.’ Although also known for his romantic landscape images, Thesiger saw these as secondary, ‘a setting for my portraits of the inhabitants’.
This exhibition is also a celebration of the people Thesiger photographed and the diverse cultures they represent. From the Afar (Danakil), Konso and Boran of Ethiopia, the Nuer and Dinka of Sudan, the Berbers of Morocco, and the Samburu and Maasai of Kenya and Tanzania, this exhibition offers historical glimpses of some of the most fascinating cultures and places on the African continent.
4 June 2010 – 5 June 2011, Pitt Rivers Museum, Oxford (United Kingdom)
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| ©Pitt-Rivers Museum |
Probably the greatest traveller of the twentieth century, and one of its greatest explorers, Sir Wilfred Thesiger (1910–2003) is most famous for his journeys in Arabia and his sojourns among the Marsh Arabs in Iraq. Yet fifty of Thesiger’s seventy years travelling, exploring and living in remote places were spent in East and North Africa. Born in Addis Ababa, where his father served as British Minister in charge of the Legation, he lived there until 1919, when his family returned to England. Longing to return to Ethiopia, in 1930 Thesiger received a personal invitation to Ras Tafari’s coronation as Emperor Haile Selassie, and his life of travel and adventure had begun.
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| ©Pitt-Rivers Museum |
This exhibition is also a celebration of the people Thesiger photographed and the diverse cultures they represent. From the Afar (Danakil), Konso and Boran of Ethiopia, the Nuer and Dinka of Sudan, the Berbers of Morocco, and the Samburu and Maasai of Kenya and Tanzania, this exhibition offers historical glimpses of some of the most fascinating cultures and places on the African continent.
7 July 2010
Zapotec pottery ancestor figure
Name: Zapotec ancestor figure
Origin: Oaxaca Valley, Mexico
Date: 200 BC - AD 800
Museum: British Museum
Dimensions: 25 cm height, 27 cm width
Comments:
Offering vessels like this one have been found in the tombs of high-ranking Zapotec lords and noblewomen in the Oaxaca Valley in Mexico.
Zapotec nobles were buried in tombs set around the central plaza of their capital at Monte Albán, which was founded in the 6th century BC and flourished between the 3rd and 7th centuries AD. This imposing site was located on the top of a hill with views of the Oaxaca Valley and surrounding mountains. The supporting population, which at its height numbered around 25,000, lived on the terraced slopes in the valley below.
Royal ancestor worship was the focus of Zapotec belief and ceremonial practice and the powerful figures depicted on offering vessels - or funerary urns as they are also known - are thought to represent these ancestors rather than deities. The importance of ancestry lies in the Zapotec use of genealogy and ancestral lines to pass on power and wealth.
Figures like this have been found inside tombs, positioned alongside bodies, as well as in niches in the walls. They've also been found buried in the floors of ceremonial centres, seemingly as offerings.
The figure on this example wears a mask and headdress representing the depicted ancestors' potent supernatural force. The chest ornament features a glyph or sculpted symbol of a day in the 260-day Zapotec ritual calendar.
The exact use and purpose of these vessels is unknown. The container, or urn, itself - usually a cylindrical vessel hidden behind the sculpted figure - may simply have been used to hold perishable offerings, as remains have been found inside.
© Photos and text: British Museum
Origin: Oaxaca Valley, Mexico
Date: 200 BC - AD 800
Museum: British Museum
Dimensions: 25 cm height, 27 cm width
Comments:
Offering vessels like this one have been found in the tombs of high-ranking Zapotec lords and noblewomen in the Oaxaca Valley in Mexico.
Zapotec nobles were buried in tombs set around the central plaza of their capital at Monte Albán, which was founded in the 6th century BC and flourished between the 3rd and 7th centuries AD. This imposing site was located on the top of a hill with views of the Oaxaca Valley and surrounding mountains. The supporting population, which at its height numbered around 25,000, lived on the terraced slopes in the valley below.
Royal ancestor worship was the focus of Zapotec belief and ceremonial practice and the powerful figures depicted on offering vessels - or funerary urns as they are also known - are thought to represent these ancestors rather than deities. The importance of ancestry lies in the Zapotec use of genealogy and ancestral lines to pass on power and wealth.
Figures like this have been found inside tombs, positioned alongside bodies, as well as in niches in the walls. They've also been found buried in the floors of ceremonial centres, seemingly as offerings.
The figure on this example wears a mask and headdress representing the depicted ancestors' potent supernatural force. The chest ornament features a glyph or sculpted symbol of a day in the 260-day Zapotec ritual calendar.
The exact use and purpose of these vessels is unknown. The container, or urn, itself - usually a cylindrical vessel hidden behind the sculpted figure - may simply have been used to hold perishable offerings, as remains have been found inside.
© Photos and text: British Museum
3 July 2010
The enemy god - A yanomamö film
FILM REVIEW
Yai Wanonabälewä: The Enemy God is a feature-length dramatic motion picture set in the Amazon rainforest. The film gives voice to a group of indigenous rainforest people to relate their own dramatic story. The film is made in partnership with Yanomamö communities in Amazonas province in the rainforest of Venezuela and proceeds from the film will go to benefit those communities as directed by Yanomamö leaders.
Yai Wanonabälewä: The Enemy God began with a request from a group of indigenous Yanomamö (or Yanomami), in order to find somebody that would allow them to tell their version of the history of their communities in the Amazon rainforest. After years of violence and fear, they want to tell the world about the new ways of peace and hope that they have discovered for their people. It is the story of a significant group, led by a respected headman whose Spanish name is Bautista. It is a true story.
Bautista Cajicuwa and his K'ekchi' fellow villagers acted as themselves in the film.
The Enemy God project is a multi-faceted initiative to raise awareness and involvement on behalf of indigenous people groups. Through The Enemy God project audiences will:
•See the self-determined transformation of an indigenous culture while preserving and honoring their uniqueness in their Creator’s eyes.
•Hear from and meet leaders from indigenous groups in the Amazon and other regions.
•Discover opportunities to partner with indigenous groups through short & long-term service, training, and advocacy.
•Partner with individuals an organizations dedicated to the empowering of indigenous groups all over the world.
See the film's webpage.
Yai Wanonabälewä: The Enemy God is a feature-length dramatic motion picture set in the Amazon rainforest. The film gives voice to a group of indigenous rainforest people to relate their own dramatic story. The film is made in partnership with Yanomamö communities in Amazonas province in the rainforest of Venezuela and proceeds from the film will go to benefit those communities as directed by Yanomamö leaders.
Yai Wanonabälewä: The Enemy God began with a request from a group of indigenous Yanomamö (or Yanomami), in order to find somebody that would allow them to tell their version of the history of their communities in the Amazon rainforest. After years of violence and fear, they want to tell the world about the new ways of peace and hope that they have discovered for their people. It is the story of a significant group, led by a respected headman whose Spanish name is Bautista. It is a true story.
Bautista Cajicuwa and his K'ekchi' fellow villagers acted as themselves in the film.
The Enemy God project is a multi-faceted initiative to raise awareness and involvement on behalf of indigenous people groups. Through The Enemy God project audiences will:
•See the self-determined transformation of an indigenous culture while preserving and honoring their uniqueness in their Creator’s eyes.
•Hear from and meet leaders from indigenous groups in the Amazon and other regions.
•Discover opportunities to partner with indigenous groups through short & long-term service, training, and advocacy.
•Partner with individuals an organizations dedicated to the empowering of indigenous groups all over the world.
See the film's webpage.
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