Monday 30 March 2020

ARCL0113 Object Report: M.0016: Abelam Yam Mask

Figs. 1-2. Abelam yam mask, c. 1940. Abelam, East Sepik  Province, Papua New Guinea.  UCL Ethnography collections. Frontal view and reverse.
Description of object
The polychrome mask from the Abelam tribe in the East Sepik Province, Papua New Guinea measures approx. 330 x 230 x 96 mm (Wang, 2016), and is made up of three components:
1)     A hand-carved piece of softwood created by reductive technologies in the shape of an asymmetric oval, resembling a human face with a prominent browbone and pointed nose. It is convex on the polished front and concave on the rough back.
2)     The traditional ritual colours possessing magical powers: red, black, white and yellow. Repainting is evident, with remnants visible beneath the upmost layer. The pigments were produced by utilising materials in the surrounding environment, applied symmetrically in semi-geometrical forms. The colours contrast each other, creating a visually vibrant ensemble.
3)     A vine string tied to the puncture on top, used as an aid in attaching it to a yam. A piece has come off, housed in a separate bag.
Fig. 3. A piece of detached fibre from the mask.
Statement of significance
The mask is linked to the most integral part of Abelam life, ritual beliefs and spirituality: the yam cultivation traditions. Yams, believed to be “sentient beings with souls” (Scaglion, 1999: 214), carry clan ancestral spirits (gwaalndu) and define a man’s status. The greatest yams receive masks such as this, the calm man, which serves to symbolise and materialise this belief. The mask humanises the yam, but also “yam-ises” the people, such as men during the now-ceased initiations (UCL Anthropology, 2019). Each mask is an individual interpretation of the gwaalndu and similar masks never exist, making it a completely unique artefact.  
Following celebrations, masks are either repainted (Ethnology, 2017), abandoned or destroyed (Hill, 2001). The mask was collected by Phyllis Kaberry in 1939-1940 (Mercier, 2019), who later donated it to the Ethnography Collections. Due to the signs of use, it can be assumed the mask was obtained after the ceremonial period prior to further repainting. The mask is a rare artefact carrying social, religious and symbolic value that embodies the tribe’s traditions in the past, an era when the Abelam still practised isolated forms of spirituality prior the arrival or globalism, colonialism, cash-crop economy and Christianity (Coupaye, 2007).

 Fig. 4. (left)  A drawing illustrating the cracks (1), chips (2), scratches (3) and fraying string (4) on the front of the mask. Fig. 5. (right)   A drawing illustrating features on the back of the mask: white feathery substance (1), hole (2), chip (3), purple colouration (4), circular brown wood defect (5), Kaberry’s signature (6), and darkened spots indicated by colouring.
Brief condition assessment
The mask is in relatively stable condition, and it is likely much of the damage present was caused by the change of conditions it underwent upon being transported from a high-humidity high-temperature village to its current location. A number of vertical cracks, scratches to the surface, small holes, chips and fraying vine are notable on the mask, demonstrated by Figs. 4-5. The paint layer is extremely friable affecting the aesthetic integrity of the mask, most notably the intricate forehead design.

Coupaye, L., 2007. ‘The Abelam’ in Shadows of New Guinea: Art from the Great Island of Oceania, Peltier, P., and F. Morin [eds.], Paris: Somogy-Editions d’Art, pp. 70-87.
Ethnology, 2017. Yam mask by the Abelam people of Papua New Guinea in Ethnology. [Blogpost] Available at: https://ethnology.wordpress.com/2017/07/03/yam-mask-by-the-abelam-people-of-papua-new-guinea/
Hill, R., 2001. ‘Traditional paint from Papua New Guinea: Context, materials and techniques, and their implications for conservation’ in The Conservator, Vol. 25., No. 1, pp. 49-61.
Mercier, D., 2019. ‘On display until the end of April: Phyllis Kaberry (1910-1977), A Woman in the Field’ in UCL Ethnography Collection. [Blogpost] Available at: https://blogs.ucl.ac.uk/ethnography-collections/2019/03/18/on-display-until-the-end-of-april-phyllis-kaberry-1910-1977-a-woman-in-the-field/
Scaglion, R., 1999. ‘Yam Cycles and Timeless Time in Melanesia’ in Ethnology, Vol. 38., No. 3, pp. 211-225.
UCL Anthropology, 2019. Fieldwork with the Abelam [Video] Available at: https://www.youtube.com/watch?v=um47KwcTios
Wang, M.X., 2016. ‘A Yam Wooden Mask from the UCL Ethnography Collections’ in Conservations on Conservation of Cultural Heritage [Blogpost] Available at: http://uclconversationsonconservation.blogspot.com/2016/04/a-yam-wooden-maskm16a-from-papua-new.html

*All images by author. Please do not use without authorisation


Saturday 28 March 2020

Object Assessment: D.0013 - Wooden Aboriginal hunting club

Figure 1 - D.0013, Wooden hunting club from Australia, carved wood. L: 58cm, Wt: 338.5g

The object pictured, known among indigenous groups as a waddy or nulla nulla, has been carved from a single piece of hard, dense timber into an aerodynamic, cylindrical shape; from its bottom, pointed end it has been straightened along its shaft, then widens towards its head into a conical shape before tapering into an additional pointed tip. Its density and hardness would facilitate its use as a weapon or hunting implement, while its aerodynamism suggests that it may have been designed to be used as a projectile; ethnographic accounts have identified these objects’ uses as throwing sticks as well as clubs for close combat to settle internal disputes (Pardoe 2014, 118). There are however no obvious signs of use-wear on the surface, suggesting either it was collected prior to its use as a functional item, it was constructed to represent a similar looking object, or otherwise used ceremonially in some form. Typological differences seem to be commonplace among these objects; many examples are housed on online auction houses (Carter's n.d.) and located in private collections and show a variety of different forms and likely functions. 

Figure 2 - Image of surface under magnification, showing some splits in wood

Though there is limited information surrounding the club’s provenance, some inferences are possible when considering its collection history. It was part of a personal collection bequeathed to the Department of Anthropology by Grafton Elliot Smith, Head of Anatomy at UCL, upon his death in 1937. Circumstances surrounding the object’s acquisition are not clear; however, Smith was Australian (Blunt 1988), which gives some possible scope to infer that he bought or otherwise acquired the club during his return to his country of origin. These circumstances must be considered in context; Smith being an Australian of European descent, collecting from a country whose indigenous inhabitants underwent a systematic process of mistreatment and marginalisation. It is feasible therefore to consider the club as a signifier of colonial collecting practices and would benefit from the input of indigenous stakeholders in determining its validity as part of the collection.

Figure 3 - Other club types, manufactured by Arrernte people, Central Australia (Image 
available: https://commons.wikimedia.org/wiki/File:Arrernte_Keulen_EthnM.jpg)

In general, the club is in a good, stable condition, and is not in need of urgent conservation action. While there are several cracks in its surface these do not appear to be moving and will not likely actively deteriorate, taking its storage condition and current humidity and light controls inside the room into account. Both ends of the club are somewhat sharp, however natural wear of its ends have negated any specific danger in handling the object, as long as correct handling measures are routinely followed.


Australian Aboriginal artefacts: club, waddys and nulla (n.d.), Carter's Price Guide to Antiques.  Retrieved March 28, 2020, from https://carters.com.au/index.cfm/index/2221-australian-aboriginal-artefacts-club-waddy-nulla-nulla/
Blunt, M. J. (1988), Smith, Sir Grafton Elliot (1871-1937), Australian Dictionary of Biography. Retreived March 28, 2020, from http://adb.anu.edu.au/biography/smith-sir-grafton-elliot-8470
Pardoe, C. (2014), Conflict and Territoriality in Aboriginal Australia: Evidence from Biology and Ethnography, in M. W. Allen & T. L. Jones (eds), Violence and Warfare Among Hunter-Gatherers, Walnut Creek: Left Coast Press, 112-132.

Tuesday 24 March 2020


ARCL0113: OBJECT ASSESSMENT



A.20 SMALL NIGERIAN KNIFE AND SHEATH
This knife represents a complicated and largely unknown process that carried it from early 20th century Nigeria to the United Kingdom and eventually to the Ethnographic Collection. As a detailed, composite artefact with iron, leather and potentially skin, wood, and possible other media, it poses material and scientific questions. As an artefact that is part of a teaching collection, the narratives it embody are vital, and should continue to remain legible and interpretable to as broad a range of potential audiences as possible.

 
Left: The obverse side of the knife, as illustrated in the Center: showing what the decorative 
elements may look like under the corrosion and Right: the reverse side. 

For understanding the potential history of the knife, investigating the acquirer, G.T. Fox, and where he may have been based in Nigeria is necessary. George T. Fox (1880–1912) was a reverend working with the Cambridge University Mission in Northern Nigeria (Martin Groth, pers. corr. 2020). At that time, there was an active missionary presence across Northern Nigeria, including areas that were mainly controlled or inhabited by Ngas, Fulani, and Hausa peoples among others (Kwashi 2013, 170–1; Lugard 1906, 118–21). Rev. Fox was known to have been in Nigeria, in the area of what is now the Jos Plateau, for much of the time between 1907 and 1912, when he passed away in Kano (Kwashi 2013, 172; Martin Groth, pers. corr. 2020). Interestingly, Rev. Fox is cited as collecting mammalian specimens for the Natural History Museum in London, but not knives (Thomas 1912, 683). Thus the origins of this knife and how it came to enter the Ethnographic Collection at UCL are still unknown.


The obverse and reverse sides of the sheath.

What can be said is this: future investigations regarding the production methods could help clarify cultural identification, offer a better understanding of manufacture, and flag potential conservation concerns. The knife and sheath both appear structurally sound overall, but there are areas of what appears to be loss, degradation, and damage or use wear with each. Some of the most concerning features include the extensive, orange-brown corrosion on the blade, which partially obscures the decorative elements. This is likely a product of the knife having been stored within its sheath, where organic components would be in constant contact with the metal (Florian 2005). The green skin or leather decorative elements are also particularly degraded, which may be a result of manufacture. Despite these concerns, this artefact should still be safe for handling (with gloves), and further degradation may be slowed by storing the blade outside of the sheath.


An annotated map of Nigeria, showing Jos and the Panyam/Jos Plateau region, where Rev. Fox 
originally travelled, and Kano, where he passed away (Altatoron 2008; United Nations 2014).

Altatoron 2008. “Jos Plateau forest-grassland mosaic ecoregion map” (File:AT1010 map.png), 6 February 2008. Retrieved on 8 February 2020 from World Wide Web: https://commons.wikimedia.org/wiki/File:AT1010_map.png
Florian, M.-L.E. 2005. “Chapter 5: The mechanisms of deterioration in leather” In Conservation of Leather and Related Materials, M. Kite and R. Thomson (eds). Oxford: Butterworth Heinemann. Retrieved on 1 March 2020 from World Wide Web: https://www.dawsonera.com/abstract/9780080454665
Kwashi, B.A. 2013. “Chapter 15: The Church of Nigeria (Anglican Communion)”. In The Wiley-Blackwell Companion to the Anglican Communion, I.S. Markham, J.B. Jawkins, J. Terry, L. Nuñez Steffensen (eds). Chichester: Wiley-Blackwell. Retrieved on 21 January 2020 from World Wide Web: https://onlinelibrary.wiley.com/doi/pdfdirect/10.1002/9781118320815.ch15
Lugard, F.D. 1906. “No. 516: Northern Nigeria”. In Colonial Reports – Annual 1905–1906 (516), submitted by Sir F. Lugard to Colonial Office, Abinger Common, Surrey, 27 November 1906. Retrieved on 24 February 2020 from World Wide Web: https://libsysdigi.library.illinois.edu/ilharvest/Africana/Books2011-05/3064634/3064634_1905_1906_northern_nigeria/3064634_1905_1906_northern_nigeria_opt.pdf
Thomas, O. 1912. “LXXVI.—List of a third collection of mammals from Panyam, N. Nigeria, presented by the Rev. G. T. Fox”. In Annals and Magazine of Natural History, 9(54), 683–6. Retrieved on 21 January 2020 from World Wide Web: 10.1080/00222931208693185
United Nations 2014. “Nigeria” (Map no. 4228 Rev. 1, August 2014. Department of Field Support, Cartographic Section. Retrieved on 15 March 2020 from World Wide Web: https://www.un.org/Depts/Cartographic/map/profile/nigeria.pdf


ARCL0113 Objects Report- Cassowary Bone Dagger

Figure 1- Anterior view of object A.0106

Figure 2- Posterior view of object A.0106
The object is a bone dagger that comes from the Abelam tribe located in the Sepik region of Papua New Guinea. This object was collected by Anthony Forge, the notable anthropologist, in the 1960s and has been on long term loan to the University College London's Ethnography Collection for some time. The bone is from the skeleton of a cassowary bird, which is a native bird to New Guinea, Australia, and other surrounding islands (Animals.sandiegozoo.org, 2020). The dagger is 34.00cm in length, the width is 4.50cm at its thickest end (the handle/grip), and 1.50cm at the thinnest end (the blade). Its’ weight it around 9.85 kg. There are no signs of previous repairs, major cracks, or dents. There are, however, hints that the surface may once have been adorned with earth powdered pigments, based upon literary evidence and the dark deposits within the pattern's negative spaces. However, more tests would have to be conducted to prove this. The surface sheen of the dagger also points to the possibility that it had once been covered in a preservation consolidant or film. The patterns on the anterior surface fluoresce yellow-green under ultraviolet light, which rules out a number of consolidants. The bone may also just have an aged sheen to it, but more tests would need to be conducted to find out the source of the sheen and fluorescence. The dagger’s posterior is concaved and is semi-smooth. In the posterior condyle or round distinction at the joint end of a bone, a porous structure is observed, which is remnants of where marrow and blood vessels would have been. There are holes in the round joints of condyle which appear to be intentionally hand-made. 
The anterior patterns were engraved into the surface. The patterns hold spiritual and iconographical meaning to the Abelam people. The patterns most likely depict their ancestors and are strategically placed on the grip because  "physical contact with the designs was believed to provide supernatural reinforcement to the wielder (Newton, 1989, p. 309). The dagger itself holds a threefold purpose. Practically it is used as a weapon to stab victims in the neck, pelvis, or other major joints. Socially it is a status symbol among the men showcasing strength and prestige. Lastly, it has a spiritual purpose, for cassowaries are a major part of the Abelam’s religious beliefs and so it holds divine significance.
Preventive measures such as restricted light should be practiced so that the bone does not fade. Other measures should be having stabile temperatures and relative humidity settings in place so that the bone does not crack or break.

Animalsv.sandiegozoo.org. 2020. Cassowary | San Diego Zoo Animals & Plants. [online] Available at: <https://animals.sandiegozoo.org/animals/cassowary> [Accessed March 2020].

Newton, D., 1989. Mother Cassowary's Bones: Daggers of the East Sepik Province, Papua New Guinea. Metropolitan Museum Journal, 24, pp.305-325.   


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