Anthropology Artifacts Collection | Wheaton College Archives & Special Collections

Collection Overview

Title: Anthropology Artifacts Collection

ID: WC-Anth/Main

Extent: 0.0

Scope and Contents of the Materials

The anthropology artifacts collection contains a wide range of items that document the material culture from around the world and was received as gifts. The artifact descriptions were created from existing information created near the time of acquisition as well as research conducted by students.

Box and Folder Listing

Item 29: All-036 -- Tumbuna (ancestor figure), Nambunda (carving) (Leigh N. d., Silverman 1996:30 49)

A medium sized colored chip carving of a bearded human form with a crocodile tail and headdress.

References Cited: Errington, Fredrick and Deborah Gewertz. 1987. Cultural Alternatives and A Feminist Anthropology: An Analysis of Culturally Constructed Gender Interests in Papua New Guinea. Cambridge: Cambridge University Press.

Leigh, Carolyn. N.d. Art Pacific Guide to Sepik River Carvings. Accessed September 2006. http://www.art pacific.com/artifacts/nuguinea/sepikriv/sepikmrv.htm.

Meyer, Anthony J. P. 1996. [1995] Oceanic Art, Vol. 1. Edison, NJ: Knickerbocker Press.

Reptile Gardens. N.d. Jungle Outpost Gallery. Accessed October 2006. http://www.reptile gardens.com/outpostgalleryih.html.

Silverman, Eric Kline. 1996. The Gender of the Cosmos: Totemism, Society, and Embodiment in the Sepik River. Oceania 67(1):30 49. Silverman, Eric Kline. 2004 [2001]. Masculinity Motherhood and Mockery: Psychoanalyzing Culture and the Iatmul Naven Rite in New Guinea. Ann Arbor: University of Michigan Press.

Stewart, Gloria. N.d. [1972] Introduction to Sepik Art of Papua New Guinea. Melbourne: Tripart Marketing Pty. Ltd..

Additional Information: Kaeppler, Adrienne L., Christian Kaumann, and Douglas Newton. 1997 [1993]. Oceanic Art, translated by Nora Scott and Sabine Bouladon with collaboration of Fiona Leibrick. New York: Harry N. Abrams Incorporated Publishers.

Culture: Iatmul

Culture Area: Sepik Ramu cultural linguistic area

Date Acquired: [Unknown]

Dimensions: 90 cm tall

Donor: [Unknown]

General Area of the World: Oceania, Papua New Guinea

Material: Wood, clay, shells, bilum string, and coloration (red clays and charcoal)

Outline of Cultural Materials Code: 531, 532, 778, 881

Outline of World Cultures Code: [undetermined]

Use and Background: This carved figures shows extensive stylistic similarities with figures All087, All117, All292, and All296. The key identifier of this style is the method of carving known as chip carving and the rows of parallel grooves on the face, chest and in some cases on the back and arms (Leigh N. d.). These marks resemble body painting patterns used for various ceremonies and correspond to the scars that Iatmul boys receive during initiation rituals (Leigh N. d., Stewart N. d.). The scars represent both the scales of the crocodile and the wounds received from a crocodile attack (Stewart N. d., Meyer 1996). The crocodile is revered in this region because of its connection with powerful crocodile spirits (wainjiimot) and the origin of the world (Errington and Gewertz 1987, Meyer 1996, Silverman 1996:30 49, Silverman 2004). The tale on this figure further confirms the connection with crocodile spirits. This carving either represents a crocodile spirit or an ancestor who is closely associated with that type of spirit (Leigh N. d., Reptile Gardens N. d.). Figures like this are kept in the ngaigo (men=s ceremonial house) and demonstrate a particular lineage or person=s authority through the spirits of the ancestors or crocodile spirits (Errington et al. 1987, Silverman 1996:30 49, Silverman 2004). This figure most likely come from Mindimbit Village due to extensive stylistic similarities with figures from there (Leigh N. d., Reptile Gardens N. d.) and was possibly made specifically for use during male initiation ceremonies in a temporary isolation ngaigo but was more likely made for trade (Leigh N.d., Reptile Gardens N.d). Inter village and even inter tribal artifact trade existed long before Europeans came to the area (Stewart N. d.). However, in the past several decades, the frequency of art collecting expeditions to the region has created a cash market for carvings like this one (Leigh N. d., Reptile Gardens N. d., Stewart N. d.). Based on comparisons with similar carvings brought out of the area by art merchants, it is likely that this carving was made for that purpose (Reptile Gardens N. d.).