The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

Papua New Guinea's tradition and culture has accepted the European concept of contemporary art since explorers, traders and missionaries came to the country. But it has always had its own concept of traditional art. In a way, all traditional art is contemporary. Europeans introduced materials such as dyes and fabrics that have replaced traditional materials because of their durability and ready availability. Europeans also introduced their own morality. The Motu-Koita tribes around Port Moresby and westwards were strongly influenced by the churches; loincloths were given to men and women covered their breasts, discarding their traditional attire. However, while maintaining traditions and cultural values is very important, the marriage of contemporary and traditional art has been easy and readily accepted. Traditional ceremonies such as those associated with marriages, births, deaths and initiation are considered sacred, but they too have been affected by the changes. Specific and detailed translation of many rituals is forbidden, as their sense of mystery and power would be lost. The death ritual, Guma Roho, prepared by Wendi for the Asia-Pacific Triennial, was a widespread ceremony practised by the Motu-Koita people. However, it became less common, especially in the Motuan villages such as Hanuabadu, Pari, Tubusereia, Tatana, Baruni and others on the outskirts of Port Moresby. In Motu, guma means charcoal and roho means to remove. It is the removal of ceremonial mourning material and the symbolic end of mourning. Three to four days of feasting and dancing involving families, friends and relatives takes place. Before European settlement, women painted themselves with charcoal and men grew their beards. The churches soon abolished these practices and introduced the wearing of black fabric to symbolise mourning. In Papua New Guinea, black is associated with the dead, but it is not used to tattoo grass skirts, to which dyes are applied in dribs and drabs. Wendi has therefore combined traditional grass skirts and the Western use of black to signify the continuing importance of guma roho. Wendi has the mixed blood of Asians, Europeans and Motuans. She represents the contemporary Papua New Guinean in her upbringing, which blends three different cultures. Although her cultural beliefs are very Motuan because of her mother's influence, Wendi has introduced her Western knowledge to merge the contemporary and traditional. Wendi CIIOULAI Lives and works in Papua New Guinea and Melbourne, Australia In honour of her mother's tribe, Wendi has not only introduced black, but has also symbolised her own special status in her community. While maintaining the traditional craft of making grass skirts, the artist also has a right to her own particular patterns, a right that only male members had in traditional society. Motu-Koita society is patrilineal, and only men have the right to design the patterns to be applied. Women are the grass skirt makers. Wend i's use of black, combining Western and traditional symbolism, at the Second Asia-Pacific Triennial legitimises ownership of this colour combination by the artist and her family. The type of change that Wendi has brought about through her use of black to decorate grass skirts is . not uncommon in Papua NewGuinea. It is common to see traditional finery blended with Western fabrics. In many areas women do not expose their Egu Rami 1995 Mixed media silkscreen fabric with sago palm breasts and usually wear black tops. This is because of Western missionary influence and has become a common practice. The ritual to be performed at the Asia-Pacific Triennial will be appreciated by the many Motu– Koita people who live in Brisbane. Too many of their sacred rituals have been lost forever, and are no longer seen by many Motuans in the villages, let alone by Australians. Queensland has the largest Papua New Guinean population in Australia. These residents will support the Asia-Pacific Triennial and will admire the new interpretations of tradition that it brings. After all, Papua New Guineans have a history of contemporary art. OliveTau Davis, President, Victorian PacificIsland Council,Melbourne,Australia A RT I s T s: PA c I FI c I 111