Art Beyond Europe: Oceania

1. Art Beyond Europe:Oceania

2. Themes • Controlling forces • Ancestors • Power (war) • Protection • Cycles (rebirth) • Clans • Religion

3. Vocab • Jamasj • Bisj • Mai • Malanggan • Bai • Mana • Pare • Manaia • Amalau

4. Background • Consists of four major groups: Melanesia (island of the blacks), Micronesia (small islands), Polynesia (many islands), and Australia (land to the south). • No documentary evidence of people’s arrival and departure. But evidence indicates inhabitants for over tens of thousands of years. • the entire area of Oceania came under European domination beginning in the 18th century.

5. Melanesia • Includes New Guinea, islands of Bismarck Archipelago, the Solomon Islands, New Caledonia and Vanuatu. • New Guinea is split up into Irian Jaya and Papua New Guinea • Asmat art comes from Irian Jaya. • Focused on the life forces which control “our” destiny • No death is accidental; magic killed the individual. • All death must be avenged by seeking out and destroying enemy. • Continued head-hunting practices until the 1960s.

6. Asmat Art: Background • Culture and arts revolve around mythological ancestral beliefs associated with competition, warfare, and head-hunting. • Included symbols of ancestors, animals and insects.

7. Asmat Art • Asmat war shield: “jamasj” (31-2) • provided physical and spiritual protection. • symbols inscribed in the shield could paralyze the enemy with such fear as to render them helpless • symbols also refer to head-hunting.

8. Ancestor poles: “bisj” (31-1) • mimics “taking of the head” • process is systematic and ceremonial • finished pole becomes a promise to avenge the death of the people. • village men go “head-hunting” in order to have an enemy head to put on pole. • symbols and figural poses reinforce the connection between the community and the tribal ancestors.

9. Malaangan Art • Austronesian-speaking peoples of the island of northern New Ireland in Papua New Guinea use elaborately carved polychrome sculptures known as malanggan • Honors the dead and initiate youths into adulthood • Vertical sculptures contain representation of ancestors • Flora and fauna indicate place of origin • Intricacy stems from use of silver like projections and geometric patterns

10. Comparison

11. Micronesia • Bai made by community • Geometric patterns used on roof and on narrative scenes (low relief) • Scene shows myths or stories • Inside also shows narratives

12. Comparison

13. Micronesia • Abstract figures • Represents Tino • Make up an amalau • Bigger figures make them more important • Geometric • Not very distinct gender, man has longer shoulders

14. Comparison

15. Polynesia

16. Polynesia: Background • Islands include: Cook Islands, Samoa, Tonga, Society Islands, Marquesas, Easter Island, Australs, Hawaii, and New Zealand. • Last area in the world to be colonized. Native groups began to arrive around 1000 BCE. • Role of artist in society: viewed as a professional, has rank and status, portray political themes. • Sculptural art to show war gods: Kukailimoku, King Kamehameha • Polynesians create art to support spiritual power, mana

17. KUKAILIMOKU (WAR GOD), TEMPLE IMAGE, HAWAII, 18-19TH CENT., 6’7” • Head almost one third of the size of his whole body • Open mouth, showing aggression; flexed body • Hawaiians began to put these god figures in semicircular rows within a temple • Expresses athleticism to show the power he beholds

18. MeleSitani, decorated barkcloth (ngatu) • Polynesias were specialized in making barkcloth, called tapa • Plays an important role in their culture: clothing, bedding, gifts • Art form of women especially

19. Australia

20. Australia: Background • Settlers began arriving around 30,000 BCE. British settled there in the 18th century. • Religious beliefs mainly about ancestors and creation myths; art and rituals changed gradually to reflect their beliefs of the existence of the universe. • Some art would reflect the importance of the hunt- hunter/gatherer society. • It was tradition for Aborginal tribes to recite creation myths with songs and dances. Art would serve as a significant prop in this act.

21. HUNTER AND KANGAROO, OENPELLI, AUSTRALIA, 1913, 4’3”X2’8” • Shows a hunter preparing to kill a kangaroo • No distinction between internal and external features of the figures- x-ray style • Served as a magical object for hunting, and to teach upcoming hunters

22. MawalanMarika, The Djanggawul Sisters, 1959 • Aboriginal bark painting • Depicts events from Yirrkalla Aborigines’ creation myth • Composition is divided into four panels • Illustrates two sisters in birthing position, water flowing, the artist singing songs on upper right

23. Oceanic Art Today • Carved mural that represents the Maori creation myth • Reusing native themes but adding own distinct style • Renewing culture

24. Works Cited • "Oceanic Art." Infoplease. Infoplease, n.d. Web. 18 Feb. 2014. • Nici, John B. Barron's AP Art History. Hauppauge, NY: Barron's Educational Series, 2012. Print. • Kleiner, Fres S., Richard G. Tansey, and Christian J. Mamiya. Gardner's Art through the Ages. Fort Worth, TX: Harcourt College, 2000. Print. • http://www.metmuseum.org/toah/hd/asma/hd_asma.htm • http://acravan.blogspot.com/2011/05/mnemotechnic-knotted-cords.html