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

22 №1 NEIGHBOUR INTRODUCTION George Telek and Australian David Bridie draw on the research of local historian Gideon Kakabin, exposing audiences to the historical events that shaped the century (1875–1975) for the Tolai, including occupation by three colonial powers and three volcanic eruptions. During this time, important cultural practices were retained and transformed, local political movements such as the Mataungan Association emerged, and moves were made towards independence. 9 The cavernous physical space of the harbour of Rabaul, created by volcanic eruption, lies at the metaphoric heart of the a Bit na Ta installation. Its depth and mountainous surrounds provided the impetus for opportunist colonial occupation, however, it is also the inspirational site of dramatic geological transformation and local self‑determination. INDEPENDENCE AND THE CONTEMPORARY In Australia, discussions about Papua New Guinea’s history of independence are often dominated by sensational accounts of its failings, characterised by stories of political corruption, lawlessness and ongoing social tensions, culminating in tales of witch burnings, tribal warfare and violent clashes. 10 While Papua New Guinea continues to face very real challenges, there is also much reason for hope. During the nation’s 40-plus years of independence, a strong constitution, judicial system and respect for parliamentary democracy has resulted in this period being free from the successive military coups marring the history of other developing countries. With a rapidly growing economy, Papua New Guinea is playing an increasingly important role in regional forums and on the international stage. As Sean Dorney observed recently, one of Papua New Guinea’s greatest attributes, guaranteed by its constitution, is the freedom afforded to the press, the judiciary and the population-at-large to address the problems the country faces. 11 Papua New Guinea’s artists participate fully in such dialogues, providing often unflinching perspectives of their time and place. In the period leading up to and following independence in 1975, the country’s cultural producers in fact played a key role in helping to shape and articulate the nation’s image and history. 12 Pioneering Papua New Guinean artists included in this exhibition — Timothy Akis, Mathias Kauage and Jakupa Ako — began to exhibit works reflecting the influence of new urban lifestyles and technology around this time. Playwrights Nora Vagi Brash and John Kasaipwalova created plays that toured to villages around Papua New Guinea, examining the legacy of the Australian administration and questioning the country’s socio-political direction. Writers Sir Vincent Serei Eri, Sir Rabbie Namaliu, Sir Albert Maori Kiki and Bernard Narokobi, after publishing some of Papua New Guinea’s first novels, literary essays and philosophical propositions, went on to become its political leaders. 13 It was also during this period that the country’s creative producers began to have an international voice, with many exhibiting and performing on the global stage. 14 As evidenced in this exhibition, the popular arena ‘cultural’ shows introduced by Australian administrators in the early to mid twentieth century were part of a project of nation-building showcasing Melanesian culture and spirituality to new audiences. 15 Musicians celebrated the richness of traditional instruments and song, transforming them with new rhythms, and the humble string bag, or bilum, moved beyond its traditional locales and uses to incorporate designs based on symbols of national identity, such as the Papua New Guinean flag; it was then worn and recognised in urban centres throughout not only Papua New Guinea, but the world. However, not all change has been viewed positively. In 2000, author Regis Stella, writing about the new millennium, lamented the local production of images of Papua New Guinean culture for consumption by tourists, arguing that it led to the ‘commodification of culture and, indeed, national identity’. 16 It is true that the production of symbols of culture for sale has contributed to the exoticisation of people and place — and, in some cases, resulted in a decrease and even a loss of production of other indigenous forms and images — however, many artists engage with the market and tourism in complex ways. In fact, with limited infrastructure for the sale of art, even the most successful Papua New Guinean artists, such as Mathias Kauage and Martin Morububuna, have used markets and festivals to sell their work and support their practice. Research relating to tourist art since the 1980s provides numerous examples of agency amongst indigenous producers. 17 Speaking recently about the carvings created by Iatmul men in the Sepik River region, for example, anthropologist and curator Dr Carol Mayer noted that the artists were self-consciously engaged not only in creating sources of livelihood, but in creating contemporary identities for themselves through the production of carvings sold to tourists travelling up the river on cruise ships. 18 Distinctly contemporary, the carvings Commander Leo and Adam and Eve , both 2011, by Sepik artists Joseph Kandimbu and Lucas Tangun, respectively, support this observation. They offer new concepts of self and culture and bring together symbols drawn from kastom (customary law, government and religion, such LUCAS TANGUN Adam and Eve 2011 Image courtesy: Alcheringa Gallery, Victoria, British Columbia