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For generations of anthropologists, the Baining people have presented a challenge, because of their apparent lack of cultural or social structure. This group of small-scale horticulturists seems devoid of the complex belief systems and social practices that characterize other traditional peoples of Papua New Guinea. Their daily existence is mundane and repetitive in the extreme, articulated by only the most elementary familial relationships and social connections. The routine of everyday life, however, is occasionally punctuated by stunningly beautiful festivals of masked dancers, which the Baining call play and to which they attribute no symbolic significance. In a new work sure to evoke considerable repercussions and debate in anthropological theory, Jane Fajans courageously takes on the "Baining Problem," arguing that the Baining define themselves not through intricate cosmologies or social networks, but through the meanings generated by their own productive and reproductive work.
Includes detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia.
This introduction to the art of tribal peoples of North America, Africa, and the South Pacific does not briefly cover the hundreds of artistic traditions in these three vast areas but rather studies in depth thirty-six art styles within all three areas using the methods of art history, including stylistic analysis and iconographic interpretation. Emphasis is on the art in cultural context and as a system of visual communication within each tribal area. Where appropriate for a more complete understanding of the art, data from archaeology, ethnology, linguistics, religion, and other humanistic disciplines are included.Among the peoples and cultures whose art is studied are the Haida, Kwakiutl, and Tlingit; the Hohokam and Mongollon, the Anasazi and Hopi; the Dogon and Bamana of Mali; the Asante of Ghana; the Benin, Yoruba, and Ibo of Nigeria; the Fan, the Bamum, and the Kuba of Central Africa; Australian aboriginal and Island New Guinea art; Island Melanesia art; central and eastern Polynesia; Hawaii and the Maori in Marginal Polynesia.The format of the text and selected illustrations is based on seventeen years of teaching African, North American Indian, and South Pacific art to undergraduate and graduate students at Herbert H. Lehman College (CUNY), New York University, and Columbia University. The book is intended for art history and anthropology students and the interested lay reader or collector. The detailed notes at the end of the book are for further study, research, and understanding of the tribal art style under discussion.
Hoarding New Guinea provides a new cultural history of colonialism that pays close attention to the millions of Indigenous artifacts that serve as witnesses to Europe's colonial past in ethnographic museums. Rainer F. Buschmann investigates the roughly two hundred thousand artifacts extracted from the colony of German New Guinea from 1870 to 1920. Reversing the typical trajectories that place ethnographic museums at the center of the analysis, he concludes that museum interests in material culture alone cannot account for the large quantities of extracted artifacts. Buschmann moves beyond the easy definition of artifacts as trophies of colonial defeat or religious conversion, instead employing the term hoarding to describe the irrational amassing of Indigenous artifacts by European colonial residents. Buschmann also highlights Indigenous material culture as a bargaining chip for its producers to engage with the imposed colonial regime. In addition, by centering an area of collection rather than an institution, he opens new areas of investigation that include non-professional ethnographic collectors and a sustained rather than superficial consideration of Indigenous peoples as producers behind the material culture. Hoarding New Guinea answers the call for a more significant historical focus on colonial ethnographic collections in European museums.
An engaging explanation of Oceanic art and an important gateway to wider appreciation of Oceanic heritage and visual culture
Ethnographic Artifacts: Challenges to a Reflexive Anthropology examines anthropological practice and product, confronting issues of representation and the power of discourse in the lives and practice of both those doing research and of those being researched. Using eight case studies by ethnographers who share extensive research experience in the Pacific, the volume outlines "the trouble with ethnography" so representative of the end of this century, where ethnography itself is perceived as a codification of contested relations. Ethnographic Artifacts takes a unique approach to the social life of ethnography. The editors identify three domains in which ethnographic artifacts are given meaning: as text, as object, and as a historically contrived representation of the community in the public sphere. By allowing that analysis of the life of ethnography is important in all three of these domains, appreciation moves beyond narrow rhetorical and textual concerns. The volume provides a multi-faceted means for the reflexive understanding of the production, distribution, and reception of ethnography. Its goal is not mere documentation but rather the assessment of the ethical dimensions of the discipline's practice in a globalizing world. By melding ethical concerns with reflection on the text and the object itself, Ethnographic Artifacts adds dimension to the now well-established reflexive literature. Contributors: Niko Besnier, Jonathan Friedman, Michael Goldsmith, Sjoerd R. Jaarsma, Grant McCall, Mary N. MacDonald, Judith Macdonald, Toon van Meijl, Marta A. Rohatynskyj.