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

Joeban Harry was born in 1962 on Thursday Island, which is part of the western cultural group of islands in the Torres Strait. However, Joeban Harry is an indigenous inhabitant of Yam Island, in the central island cultural grouping. He completed his primary education on Yam Island and secondary education on Thursday Island. Joeban Harry has resided exclusively in the Torres Strait, primarily on Yam Island. Although he is only thirty-four, his knowledge of Yam Island culture and tradition is extensive. This is recognised in his ability as one of the pre-eminent creators, on Yam Island, of a particular sculptural form unique to the Torres Strait. Although Joeban Harry has not received any formal art education, his sculptural ability has evolved directly as a result of his cultural knowledge. The sculptural form is known as a dance machine, or plaything in the vernacular, and is a tool for cultural identification and expression in a dance performance context. The act of producing a dance machine, however, is best described as bricolage rather than art. 1 The concept of art and artist, which is a recent development in Torres Strait culture, fails to encompass the intention of individuals such as Joeban Harry. The materials used in the construction of a dance machine are influenced by convenience, that is, to conserve time and effort, rather than by a conscious artistic choice. Invariably, individuals who produce dance machines are also composers, choreographers, lead singers and lead dancers.This multiplicity of Joeban Harry's role is evidence that the function of dance machines in Torres Strait culture has a utilitarian base, rather than an aesthetic base. Although aesthetics is important in the creation of a dance machine, it cannot be isolated from the performance context. The success of a dance machine is evaluated not only on its physical appearance, but also by the accompanying song rhythm, the dance and the flamboyant use of the object in dance. In the Torres Strait, dances are grouped according to gender.This gender division encompasses dance machines. Male machines are more likely to incorporate complex mechanical devices which are manipulated during the dance. Female machines are less complex or, as in the case of the female sik represented in this exhibition, have no mechanical device.The success of the latter machine is in the number of objects used and their uniform movement within the dance. Dance machines vary stylistically throughout the Torres Strait and each island is identified with particular designs. Although many machine styles are standardised because of tradition, this does not stifle design innovation. Composition of new songs Sik-o 1995 Tin plate, wood,synthetic polymer paint, feathers Individual machine 55 x84x2cm Collection: The artist and dances is continuous, with some being specifically produced for new styles of machine. The dance machine represented in this exhibition originates from Yam Island. Although a male sik is also used on the island, Joeban Harry is a creator of the female sik. The design of the female sik dates from the 1950s when the song and dance was first composed and performed. Originally, the machine was made from the frond of a coconut palm. In the 1970s, the use of the frond was replaced with Western manufactured material, such as scraps of tin plate, house paint and wood. The continued use of such material rests primarily with the convenience and malleability of working with such substances. 2 Since the 1970s, the design and materials used for the female sik have continued to develop. Joeban Harry's interpretation is the most recent to have evolved and is actively used in dance performances. The word sik can be translated directly as 'foam' and the machine represents sea spray (or foam) which is blown off the top of waves during stormy weather.The dance and song which accompanies the sik is entitled sik-o. The song narrates the period of the year when the sea current around Yam Island changes and begins to run to the east. The wind blows from the west, resulting in rough seas. The feathers represent the foam and the star in the middle of the bottom panel symbolises the morning star. Choreographed movements of the machine during the dance recreate the action of waves. This dance is intensely female, and the strength and beauty of the dance lies in the repetition of female dancers moving individual siks in unison. The production of dance machines invariably adds to the strength and continuation ofTorres Strait culture. Dance competitions between dance troupes from different islands encourages the production of new songs and dances. The use of dance machines is an important component of this competition, ensuring the maintenance of traditional languages through song and a pride in the culture through dance. Joeban Harry plays a pivotal role in ensuring the continuation of Torres Strait culture, traditions and, ultimately, the exciting evolution and innovation of new styles of dance machines. Tom ByraMixieMosby,Research Fellow, Conservation ResearchCentre,University ofMelbourne, Melbourne,Australia 1 A brico/eur, says L~vi-Strauss, is someonewho uses 'the means at hand', that is, 'the instrumentshe finds at his disposition aroundhim, those which are already there,which had notbeen especially concerned withan eye tothe operation for which they are tobe usedandto which one tries by trialanderror to adapt them, not hesitating.to change themwhenever it appears necessary .. : See Krim Benterrek, Stephen Muecke and Paddy Roe, Reading the Country- An Introduction to Nomadology, Fremantle ArtsCentrePress,Western Australia, 1984, p.148 Lindsay Wilson, Kerkar Lu-ContemporaryArtefacts of the Torres Strait Islanders, Departmentof Education,Queensland,1993, pp.46-9. ART I STS : PACI FI C 115