No.1 Neighbour: Art in Papua New Guinea 1956-2016

116 №1 NEIGHBOUR MAKING MEN For centuries, the theatre of inter-community warfare has been practised in the Highlands of Papua New Guinea. Imagine the sight and sound of 200 warriors barrelling down a hill: flashes of vivid colour from the feathers of spectacular headdresses and brilliantly painted faces and bodies adorned with patterns marking identity would glisten in the sunshine, seizing their opponents’ attention to put them off their game. In this scenario, shields not only protected the vulnerable body, but assisted in identifying tribes and distracting or overwhelming the enemy. The vibrant naturalistic and geometric designs decorating shields were often associated with particular spirits, magical properties, or paths and streams indicative of territory when viewed en masse. The customary creation and use of shields within the ‘theatre of war’ existed relatively undisturbed until the late 1940s, when, by mandate of the Australian administration, ‘Pax Australiana’ — the pacification, control and civilisation of indigenous peoples — was instituted. 1 Spectacular battle shields hewn with stone axes and decorated with natural pigments were outlawed. However, they were made readily available to avid collectors, who were attracted by their highly stylised designs. Similarly, they were part of the cultural finery on display at competitive intergroup gatherings, such as the annual Goroka and Mount Hagen shows. In such arenas, the shield continued to operate as a marker of a group’s social unity, potency and strength. The process involved in becoming a warrior — the ongoing creation of weapons and shields and the spiritual acquisition of knowledge to ensure success on the battlefield — now no longer possessed the significance of the pre-1940s era. The effects of colonisation and the securing of political independence saw the expression of masculinity shift. Inter-tribal warfare has re-emerged in the Highlands as a significant cultural practice since independence, and young Highlander men have accordingly sought new ways to define themselves, by initiating conflict scenarios, as well as forms of shield decoration articulating more modern forms of identity, community and belonging. 2 Text, logos and iconography, including English and Tok Pisin (pidgin English) words, are now incorporated into traditional shield designs. Some of the most iconic include beer company logos (SP beer) and comic book heroes, such as the Phantom and Superman. Kaipel Ka’s Six 2 six 1993 shield features a popular design and refers to a lifestyle among young Highlander men: they fight from 6am to 6pm and drink alcohol the remaining hours of the day (6pm to 6am). With the advent of high-powered firearms, the production of shields declined rapidly. By the late 1990s, most combat involved guns, making traditional shields obsolete. For the young Highlander men who created the shields in this exhibition, these works initiated a process allowing them to interact with their peers, forming important relationships and alliances. These expressions of masculinity depict arenas of commercial and popular cultural influence, as well as the social ills of the period, as young Highlander men battle to find new ground on which to forge their identity. 1 John Connell, Papua New Guinea: The Struggle for Development , Routledge, London, 1997, p.280. 2 These practices have also often revolved around a growing culture of drinking, involving gangs of young males railing against an alienating society. SHIELDS: FORGING AN IDENTITY RUTH M c DOUGALL UNIDENTIFIED ARTIST SP No.1 Bia 1990 PP.114–15 Collecting the Gallery’s commission of the Palingawi (Freshwater crocodile) mask from Kanganamun, East Sepik, November 2011 / Photograph: Martin Fowler