Documentation Report: Tatanua Dance Mask

(Object Number: 2714)

Leung Wing Shan

Johanna van Eldijk

Karl-Johan Cottman

Elisa Harrocks

Enkhnaran Sundev

2

Table of Contents:

Abstract.......................................................................................................................3

Introduction ................................................................................................................4

1] Description of the Object ......................................................................................6

1.1] Description .................................................................................................6

1.2] Condition ....................................................................................................8

2] The History and Biography of the Mask in New Ireland...................................10

2.1] When and Why the Mask was Created ....................................................10

2.2] The Masks ‘Original’ Value and Significance ...........................................13

2.3] Subsequent Value and Significance Prior to Being Collected..................14

3] From New Ireland to Gothenburg.......................................................................16

3.1] A Brief Colonial History of Melanesia .......................................................16

3.2] Ethnographic Collecting and its Potential Impact on New Ireland............17

3.3] The Acquisition of the Mask and The Collector........................................19

4] The Mask as a Museum Object: Storage, Intervention, Conservation............20

4.1] From 1908 – 2009....................................................................................20

4.2] February 2009 – Conservation.................................................................21

5] Previous Accessibility: Exhibition and Research.............................................23

5.1] Previous Interpretation and Accessibility of the Mask..............................23

6] The ‘Ideal’ Future of the Mask ............................................................................24

6.1] Ownership ................................................................................................24

6.2] Storage and Conservation........................................................................24

6.3] Accessibility: Display and Exhibition ........................................................25

6.3.1] Exhibition...............................................................................................26

Showcase .........................................................................................26

Lighting .............................................................................................28

Temperature and Relative humidity [RH] .........................................28

6.3.2] Digital Display........................................................................................28

6.4] Educational Potential................................................................................29

6.5] Potential Research ...................................................................................29

Appendices...............................................................................................................31

Selected Bibliography .............................................................................................34

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Abstract

In this documentation report, object #2714 in the collection of the Museum of

World Culture in Gothenburg is described and discussed. The object is a

Tatanua dance mask from northern New Ireland, Melanesia (present day Papua

New Guinea). It was collected by William A: son Grebst and purchased by the

former Ethnographic Museum of Gothenburg in 1908. During one hundred

years, it has been stored and only exhibited once. Due to previous storage

conditions that have affected the materials in a negative way, the mask is fragile

and must be handled with extreme care.

The information on the history of the mask in the museum catalogue is very

sparse. Therefore, this report is thought of as an outlining of how to understand

the dance mask as a cultural object and why it was collected. This is done

firstly, by describing the historical and intellectual context of the acquisition of

the mask in terms of the colonial history of Melanesia and dominating

anthropological theories of the early 20th century. Secondly, a description of the

use and purpose of the mask in its original cultural context is provided: the ritual

ceremonies in Melanesia called Malagan.

In relation to the fragility of the mask and its biography, recommendations are

made for the future of the mask. Here, digital display is put forward as the most

preferable alternative.

4

Introduction

Object #2714 in the collection of the Museum of World Culture (MWC), Gothenburg,

is a Tatanua dance mask from northern New Ireland in Melanesia (present day

Papua New Guinea) that was collected and sold to the former Ethnographic museum

of Gothenburg in 1908. At that time, New Ireland was a German colony (under the

name of New Mecklenburg) and the period is characterized by an increasing

European presence in the region and interest in its material culture.

The historical context is an important aspect for us when confronting this object and

putting this report together. Another equally important aspect of this report is to

describe the use and purpose of the mask in its original cultural context: the

important ritual ceremonies in Melanesia called Malagan. We think the historical

context of the acquisition and its ‘original meaning’ is equally important to consider

discussing a museum object and its potential future.

The mask has only been displayed once during a small-scale exhibition about ritual

objects of the Malagan ceremonies that took place between 1991 and 1993, which

means that it has been kept in storage for almost one hundred years. Therefore, one

5

obvious purpose of this report is to discuss how, and under what circumstances, this

mask could be made more accessible to a larger audience. To do this, the biography

of the object is crucial. We believe that the history of the object is central for its

potential use and educational value. However, in the case of this object the physical

condition is another aspect that has to be taken into serious consideration. Due to

the variety of materials of the mask and the poor condition of some of them, the

handling and exhibiting of the mask must be done very carefully. The extensive

space that is given to the description of the condition of the mask should therefore be

seen as a way to establish its future potential.

6

1] Description of the Object

1.1] Description:

Name of the institution documenting the object:

The Museum of World Culture, Gothenburg

Country: Sweden Institution where the object is located:

The Museum of World Culture, Gothenburg

Owner institution name: The Museum of World Culture, Gothenburg Accession number: 2714 Gen. number: 5526 Acquisition or accession method:

Purchase

Acquisition or accession date: 1908 Acquisition source: Herr W. A:son Grebst Permanent location of object: Storage of the Museum of World Culture,

Gothenburg Image: See above Object category by form or function:

Dance mask

Object name: Tatanua dance mask Local name: Tatanua Name in other language: --- Material: ! Plant fibre; cane (probably).

! Woven cotton (probably machine made).

! Wood (Alstonia villosa); cotton and wool

7

threads.

! Lime; coconut shell; sea shell.

! Unknown colour pigment (red, white and

black).

! Unknown plant fibre (possibly coconut).

! Painted-black wooden plinth with three

nails under jaw (added for previous

exhibition use).

! Metal wiring (possibly copper) on the

right hand side of headband to

strengthen original stitching.

! Sea Shell (Operculum turbo petholatus).

Technique: Stitching, painting, carving Dimensions: ! Weight: 829g;

! Height: 44 cm;

! Depth: 35 cm,

! Width 19 cm;

! Diameter: 83 cm

8

1.2] Condition:

As the mask is composed of different materials, each material is in a different

condition. We have grouped the materials into ‘poor’, ‘fair’ and ‘good’ in order to

make it easier to identify the materials most at risk:

Poor condition:

Red thread: (probably wool, tied to the frame at the top of the mask)

Suffered badly from previous insect attack, presumably moth, which has left

insect excrement on the mask (frass). Hardly any wool remains on the left

side of the mask.

Lime: (a mixture with plant fibre and lime of a finer sort than the fibre on the

head of the mask). The lime layer, on both sides of the mask is in poor

condition, fragile, and in parts crumbling. The main threat to lime seems to

be carbon dioxide, which means that clean air is a vital part of the masks

environmental requirements.

Dark brownish fibre: (Probably cotton threads, on both upper sides of the

mask as side hair panels)

There are fewer threads on one side, which can possibly be a result of the

iron used in the preparation phase of the threads and its reaction with light

exposure.

Frame structure: (probably cane)

Slightly loose at the front of the frame, this is a threat to the overall shape of

the mask. This is especially critical if the humidity changes as this could

cause the cane to possibly straighten out. This part needs a preventive

support action.

Paintwork: (unknown pigments, on face panel)

The paint pigments have seriously faded; this is likely to be the

consequence of exposure to ultra violet radiation. Another reason is that

the mask most likely does not have a pre-coating, the pigment have

therefore reacted to the wood. There are two stains on the left hand side of

the face, possibly grease. These grease patches, whilst disfiguring, have

preserved the paint underneath in far greater detail. We feel it would be

prudent to monitor these but leave them untreated.

Fair condition:

Carved wood: (‘Alstonia Villosa’, face panel)

9

On the face, there are some small holes probably caused by woodworm.

The face has three visible cracks, one large (8.1cm long and 0.5cm at its

widest point) under the jaw, and two smaller breaks on the upper part of the

right eye lobe.1

Plant fibre: (probably coconut fibre, Mohegan central hair panel)

These may have been darkened by exposure to light or dirt. It is also

possible that they have been compressed, and were once standing straight

up.

Good condition:

Beige textile: (cotton, neck cover affixed to frame inside mask)

Dirty, and has some rips but in general good condition.

Red textile: (cotton, covering the band around the mask, and circular piece

affixed to right side of the forehead)

The cloth begins to tear a little in areas where the cloth folds around the

cane band, but otherwise in good condition.

Sea-shell: (‘operculum turbo petholatus’, eyes):

In good condition.

Thread: (stitching and drawstring on neck textile)

Overall in good condition.

1 See: appendix 1 for pictures

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2] The History and biography of the Mask in New Ireland

2.1] When and Why the Mask was Created

The Tatanua dance mask is an important part of the Malagan funerary practices; our

mask was most likely made to be part of this ritual.2 If so, the mask would have been

commissioned to mark the death of a member or several members of a particular

clan.

Malagan:

Malagans are a series of practices, ceremonies and customs,

which mark important events such as birth and inheritance in

northern New Ireland. The name is primarily given to a whole

process of funerary customs, which include a lengthy

mourning period and the imposing of a taboo on the whole

clan of the deceased. A Malagan includes dance, singing

plus a ceremony of specific objects that form a link between

the living and the spiritual world. Pigs are very important part

of New Ireland society, and during the Malagan one pig is

sacrificed for each deceased clan member. The work behind

2 Support for this origin came from Jan Amnehäll, Head of Collections, World Culture Museum, 18/02/2009 and Moore A. C, ‘Arts in the Religions of the Pacific’,

Continuum International, p102, 1995.

11

and the actual practice of Malagan, was exclusively by and for

men. What is, more many of the objects used in the Malagan

were deliberately destroyed or abandoned after the process to

reinforce the connection between life and death.3

According to Malagan practices, the mask would be worn by men during the Tatanua

dance,4 which was carried out as a part of the funerary practices. The dance and

associated Malagan activities would be first carried out at the burial, which could be

up to two years after the death of an individual or persons. Following the burial there

was a period of mourning, which would culminate in a commemorative service that

was held up to several years later. This would again consist of dancing and the

mask would again be reused. Unlike other objects associated with Malagan process,

after the funerary practices were complete, the mask would not be destroyed;

instead, it would be kept by the individual whom commissioned it.

3 Gunn. M, Peltier. P [Ed], New Ireland: Art from the South Pacific, Exhibition Catalogue from Musée du quai Branly, p14, 2007, accessed via

http://www.quaibranly.fr/uploads/media/DP_Nouvelle_Irlande_EN_01.pdf on 28/02/09

4 British Museum, accessed via http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/h/helmet_mask_tatanua.aspx on 28/02/09

12

The art that makes up a Malagan mask is very deliberate, the paintings on the

wooden face flow and interconnect, and “the manipulation of negative spaces create

a density of levels.”5 This represents the similar relationship between the living and

the dead. The choice of materials used to make the mask, were intentionally chosen

to create the illusion of life in the objects6, the using symbols of nature. Not just

anyone could carve, paint and create a Malagan mask, instead a (male) person had

to be born in to an artists’ family.7

Despite the vast array of information surrounding Malagan objects and masks,

information relating to this specific mask, including its provenance before it was

collected and sold to the museum is scarce. Therefore, it is also worth nothing that

this mask may not have been used in the Malagan funerary practices. One could

hypothesise that the mask might have been created for entertainment, as was

sometimes the case on the nearby Tabard Islands,8 or for commercial purposes to

5 Newton in Gathercole et al 1979:54 cited in Moore A. C,

Op Cit p103, 1995

6 Gunn. M, Peltier. P [Ed], p9, Op Cit.

7 Werness. H. B, ‘The Continuum Encyclopaedia of Native Art: Worldview, Symbolism, and Culture in Africa, Oceania, and North America’, Continuum International

Publishing Group, 2003, p187 accessed via

http://books.google.se/books?id=2Y5nr5fGiHIC&pg=PA187&lpg=PA187&dq=Nalik+culture+mask+continuum&source=bl&ots=lnmi3MjZ-1&sig=PZ22w9_-

AyE1WMPgb14RYI-L2-I&hl=sv&ei=9iGpSfKcCY2m0AXT0cC3Ag&sa=X&oi=book_result&resnum=1&ct=result on 28/02/09

8 Gunn. M, Peltier. P [Ed], p15, Op Cit.

13

feed European demand.

It is not possible at the moment to establish the specific creation date or for and by

whom the mask was created. What we can establish is that the mask was created

before 1908, which was when the mask was sold to the Ethnographic museum by W

Grebst. If this mask was a part of a Malagan funerary practice it is possible to

hypothesize, but again by no means in conclusive terms, that the mask was created

at least several years prior to 1908 as the Malagan funerary services were so

lengthy.

2.2] The Mask’s ‘Original’ Value and Significance

The Tatanua mask, whether it was used in specific funerary practices or not, held

great significance for northern New Irelanders. The mask was seen as a way of

communicating between the dead and the living, of connecting to the spiritual world

and to the gods. The look of the mask was designed to represent an idealized form

of New Ireland male beauty,9 with the hairstyle deliberately mimicking that worn by

the men of northern New Ireland.

Outside the Malagan, the mask also had other ‘original’ values and significance for

Northern New Ireland society. As mentioned above, the masks were not destroyed

instead they were collected by the individual who commissioned it, and the collecting

of such masks was also a key status of power and prestige within northern New

Ireland society. The owner did not just own the mask but also the knowledge, chants

and obligations associated with the mask. It has also been suggested that honouring

their dead “by producing and using art work in their rituals”10 was the only way

northern New Islanders could move up in society.

Knowledge, chants and obligations:

Each Malagan mask was drawn with a distinctive family motive that

embodied the powers of the Malagan and that family; there were also

specific chants that had to be used in conjunction with the mask. The

9 Welcome Historical Medical Museum Collection, as referred to by Lynne Heidi Stumpe of the World Museum Liverpool, email correspondence, 04/03/09

10 Gunn. M, Peltier. P [Ed], p5, Op Cit.

14

masks were deliberately passed on from one generation to the next so

that each generation could be aware, be apart of, and keep alive the

family’s history. Knowledge was required about the history of the clan,

as the mask was also used to act out stories of their ancestors. The

mask owner had specific responsibilities, which went beyond

honouring the dead to ensuring that the relationship within the clan [as

well as sometime between different clans] was harmonious.11

If the mask was connected to the Malagan funerary rites, the masks also had a

specific role in the lifting of the taboo that was placed over a clan when any of its

members died. This taboo affected daily life for the clan members in many ways

from eating to sex.12 Therefore, it was essential that the mask was used in the

correct manner otherwise the taboo would not be lifted or according to some even

result in death:

“During the Malanggan [Malagan] ceremony there is a special dance called a

(T)atanua dance. There is song and dancing but it is very important that once

the dancer puts on the mask they stay totally silent. If they make a noise it

could bring death to either them or one of their family! If the ceremony is

performed correctly the community knows that the ancestral spirits are happy

and that nothing bad will happen to the community.”13

2.3] Subsequent Value and Significance Prior to Being Collected

When the mask was collected, New Ireland was an established German colony.

During the colonial times, the island saw the influx of Christianity as well as new

power and value system. It has been proposed that the value of all ‘traditional’ arts

and Malagan artefacts was dramatically reduced during this time as Islanders

converted to Christianity.14 This seems to contrast dramatically with the suggestion

that the production of objects increased at this time, due to their popularity with

European collectors. However, the introduction of Christianity and the continuous

production of Malagan objects do not necessarily contradict each other. This

11 Moore A. C, pp103-4, 1995,

Op Cit.

12 Gunn. M, Peltier. P [Ed], p13, Op Cit.

13 ‘Bobbi the Backpacker and Her Amazing Mask Adventure’ accessed via http://www.imagine.org.uk/adventure/alt/masks/letters.php on 28/02/09

14 Gunn. M, Peltier. P [Ed], p5, Op Cit.

15

phenomenon could also be a sign of the dynamic nature of the meaning given to

Malagan objects in New Ireland.

Subsequently, it could be suggested that the mask held different value and

significance to the residents of northern New Ireland when it was collected than when

it was originally created. However, with the lack of provenance surrounding the

object this is mere speculation. What is more, we feel it is also sage to note that

there is no evidence that all of these objects were collected with the full and honest

approval of the New Island residents, or that the colonial rule did not exert forceful

pressure on the residents to cease in their traditional practices and ‘sell’ their objects

to European collectors.

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3] From New Ireland to Gothenburg

3.1] A Brief Colonial History of Melanesia

It can be useful to put the purchase of this item within a broader historical and

intellectual context since Grebst and the Ethnographic Museum cannot be regarded

as actors separated from a global structure.

The colonial history of Melanesia is of course crucial in the case of this mask since,

as Chris Godsen and Chantal Knowles put it, “[c]ollecting can’t be understood as an

isolated activity, but one which was deeply embedded in the overall set of colonial

relations.”15 From this point of view, Michael O’Hanlon highlights two important

aspects when characterizing the late 19th and the early 20th century ethnographic

collecting in Melanesia, a time span in which Grebst collected and sold the item to

the museum. Firstly, he notes it was “the apogee of imperial expansion, with the

concomitant opportunity to collect directly from new colonial territories.” Secondly, he

notes the importance of the anthropological theories of evolutionism and diffusionism

that dominated in that time.16 These two aspects need to be commented.

The first European contacts with Melanesia took place in the beginning of the 16th

century when Portuguese navigators set their feet on the islands on various

occasions. During the 300 hundred years that followed these initial encounters, there

were various European sightings and landings in the area.17 Portuguese, Spanish,

Dutch, and British navigators landed on different islands during the 16th century

coming from either the Spice Islands in the west or the newly found Americas in the

east.18 The Spanish and the Dutch were initially the most frequent. In the beginning

of the 18th century the British joined in as well, and the area started to become

mapped out since a great part of the islands were discovered or re-discovered and

more carefully documented:

“[B]y the beginning of the nineteenth century the major islands and

configuration of Melanesia were known and reasonably accurate charts now

15 Godsten/Knowles, p.9.

16 O’Hanlon, p.5.

17 Sillitoe, p.15ff.

18 Sillitoe, p.17, Op Cit.

17

replaced the hypothetical maps of the early Iberian and Dutch navigators.”19

In relation to other parts of the world, the colonial annexation of the islands

constituting Melanesia took place rather late. The area was not ‘effectively’ divided

between the Europeans and colonized until the mid 19th century. When it eventually

took place, the official reasons for it varied. One declared the moral responsibility to

protect the locals from ‘blackbirders’ (slave traders) and cannibalism. However, the

necessity to compete against rival European powers in the region and the opportunity

to organize large-scale exploitation of tropical products and resources should not be

underrated.20 The Dutch claimed sovereignty over the west part of New Guinea in

1828, the French claimed New Caledonia in 1853, and the British annexed Fiji in

1878. Present day Papua New Guinea was colonized in 1884 when the British and

the Germans divided it between them. The British declared its part a protectorate

and the Germans were quick to follow and claimed several places on the northwest

coast and the Bismarck Archipelago, including New Ireland.21

Bruce M. Knauft writes that “until recent decades, the bulk of Melanesian people

have been less dramatically impacted by outside influences than those in other world

areas.”22 It is hard to validate this fact but at least it highlights one important thing:

the understanding of the Melanesian culture as archaic, untouched and genuine.

Therefore, Melanesia has historically been a “hotbed for ethnographic fieldwork.”23

Melanesians have both popularly and in anthropology been perceived as “primitive,”

“exotic” or “bizarre.” Knauft writes that “the cultivation of Western interest in ‘primitive

others’ was important for generating institutional and financial support for

anthropological research in out-of-the-way places.”24 This is of course a very general

observation, but one that is important for the biography of a Melanesian dance mask

in a Swedish ethnographic collection.

3.2] Ethnographic collecting and its potential impact on New Ireland

The ‘German Period’ of the colonial history in Melanesia (1884-1914) is significant in

19 Sillitoe, p.19,

Op Cit.

20 Sillitoe, p.22f.,

Op Cit.

21 Sillitoe, p.23-6, Op Cit.

22 Knauft, p.8.

23 Knauft, p.9, Op Cit.

24 Knauft, p.10, Op Cit.

18

the way the interest in the material culture of the islands grew. During this period, the

collecting activity and the amount of objects that was brought to European museums

or private collections increased.25 The commercialisation that the growth in interest

produced is a phenomena that can of course be described from many different

angles, but one thing to put forward is the way it affected the production of cultural

objects. It is important to recognize how the European interest in the material culture

of the region increased the number of artefacts produced: “[t]he islanders had begun

to manufacture, in almost industrial quantities, examples of the weaponry originally

purchased from them by the first ships to visit the islands.” Not only the quantity of

produced artefacts was affected, one also has to recognize the change in

characteristics that such a situation might produce: “[f]unctionality may decline, and

the artefacts become more ornamental.”26 This aspect, the logic that an object is

easier to sell the more bizarre it is, together with the fact that outside demand creates

a reason to increase supply, is necessary to have in mind when putting together the

context in which an object was collected.

The massive interest in the material culture of the colonized territories around the

turn of the century should, as mentioned above, also be seen through the dominating

anthropological theories of the time. Within the theoretical framework of evolutionism

and diffusionism, the focus on material objects played a greater part than later on

when a functionalist approach came to dominate. Here, material artefacts gained a

privileged role since knowledge itself was thought of as embodied in the objects.27

From this anthropological view, artefacts were regarded as “self-sufficient scientific

specimens, which required no commentary as to the political and economic

circumstances in which they had been gathered.”28 This attitude obviously formed the

interest in objects and the collecting of objects that characterized the time-period, but

one should remember how it also affected the way of describing the collected

objects. If objects are considered to speak for themselves and the place or culture

they come from, extensive information about their social and historical context might

not seem necessary. This should be taken into consideration when looking at the

very sparse information about the object in the museum’s archive or contradicting

25 Gosden/Knowles, p.51f.

, Op Cit.

26 O’Hanlon, p.19; Op Cit.. Also

see: Gosden/Knowles, p.9f.

, Op Cit.

27 O’Hanlon, p.5, Op Cit.

28 O’Hanlon, p.2, Op Cit.

19

facts in the textbooks.

3.3] The Acquisition of the Mask and the Collector

Our efforts in finding information on the collector of the mask, and the intention of the

Ethnographic museum for buying the mask, have not been overly successful. What

we know from conversations with Jan Amnehäll, at the storage of MWC, and from the

museum’s yearbook that the Ethnographical museum in Gothenburg bought a

collection of 235 objects from New Ireland and the surrounding islands, in which our

mask was one. The Ethnographic Museum commissioned a Mr W. A:son Grebst to

collect this item on his travels. It was transported from New Ireland to Sweden by

boat. The museum paid Grebst 1800 SEK for the entire collection.29 William Grebst

travelled to a number of places such as America, Japan, Korea and Samoa Islands.

He referred to himself as a discovery-and research traveller30, although most

information written about him is as a writer. He wrote a number of books, including

lyrics and travelling stories during his short life (1875-1920).31 From 1913, he was

the director of an anti-Semitic magazine in Gothenburg, called Vidi.32 Unfortunately,

information of the travel he made to New Ireland and how he got hold of the objects

is still unknown to us.

29 Information from Jan Amnehäll and from the archive at the MWC storage

30 Hübinette.

T, ‘

Den svenska Koreabilden 1904-38’

, p.10.(Fil mag-uppsats Stockholms Universitet VT 2000)

.

31 A number of books written by W A:son Grebst can be found at Gothenburg University Library (in the old catalogue system).

32 Hübinette.

T, p.10

, Op Cit.

20

4] The Mask as a Museum Object: Storage, Intervention, Conservation

4.1] From 1908 – 2009

It is important to note, that the climatic conditions in New Ireland and Sweden differ

dramatically, so the initial transportation to Gothenburg is likely to have had a

substantial impact on the condition of the mask.

In 1908, the Tatanua mask arrived in Gothenburg and was stored in the East India

Company building, the home of the former Ethnographical Museum. Storage

conditions are not known, temperature and RH was uncontrolled. Packing conditions

are unknown.

In 1977, the mask was moved to an external storage at Haga Kyrkoplan (the

basement). Storage conditions were unknown, temperature and RH uncontrolled. It

was packed in a box.

Between 1991-1993, the mask was displayed in the exhibition ‘Malaggan-Anfäder

och andar. Rituella masker och skulpturer från New Ireland och Tabar’ at the

Ethnographical Museum, Gothenburg. Display conditions were uncontrolled. (See

section 4.2 and 5 for further details).

In 1994, the mask was moved to another external storage at Åvägen 17. Some

storage conditions known: Packed in a box. Windows covered, electric light used

when someone worked there. Temperature and RH was uncontrolled.

In 2001, the mask was moved to the new storage at Ebbe Lieberathsgatan. Storage

conditions known: temperature at 18-19C and humidity RH 45-48%. Kept in a dark

room, electric light used only when the staff works with the collection. Lights are only

used in sections of the room.33

33 Conversation with Jan Amnehäll , 18/02/2009.

21

4.2] February 2009 – Conservation

Since the mask came to the museum, only one documented conservation treatment

has been done, this was in 1991. The mask was then dusted with a soft brush.34 It is

most likely that this was carried out in connection to the exhibition on Malagan

ceremonies at the Ethnographical Museum in 1991. Probably at the same time, a

metallic support wire was added to the mask to hold the red band around the mask in

its presumed original position. This one is easy to remove without leaving a trace,

which tells us that it was placed there in a preventive manner.

In our work with the mask, the following has been done from instructions and advices

given by Anna Javér, conservator at MWC. In order to interfere as little as possible

with the masks present state, preventive conservation was practiced.

Cleaning

The plant fibre on top of the mask, where patches of wool are tied in, as

stated in the condition report, have suffered from an insect attack and was

full of insect excrement (frass). The excrement has carefully been removed

with tweezers and a medium hard brush. The deposit was sucked away

with a vacuum cleaner. The removing of the excrement not only made the

mask look better. It also fills an important function in the future, since it is

now possible to distinguish if there has been a new insect attack.

The textiles of the mask were brushed and the used brush was vacuum

cleaned after each brush stroke, this was done in order not to drag the dust

and dirt around. The painted wooden part of the mask was left without

interference, as the paint pigment is very sensitive and the cleaning process

may further damage the pigment particles. The area covered with lime was

vacuum cleaned with a thin net between the lime and the vacuum cleaner.

The net was used to prevent loose bits of the lime falling off.

The deposit from the vacuum cleaner can be saved as a part of the

biography of the mask. With the decision to save the deposit, the chances

34 See note on catalogue card, p 4

22

of loosing valuable information on the history of the mask are minimized.

In this case, no deposit was saved. There are two reasons for this: firstly,

the guidelines in this specific case were vague. Secondly, an initiative from

the group was missed out.

Repositioning fibre ‘hair’ threads:

Parts of the plant fibre were put back into place in places where it was

obvious how the fibres lay originally before falling or leaning. This was

done carefully with a needle or other thin tool.

To do a more thorough job with the replacing, the mask should have been

placed in a more humid climate in order to make the fibre workable. There

were no assistance for this and therefore not carried out in the right way.

Preventative structural support:

An issue that was highlighted, but not taken in to action, is the need of a

preventive support for the frame at the front of the mask, which is loose

(see condition report). There were no time or expert supervision for this.

For the future of the object, this is one of the most urgent preventive acts

that the mask needs.

Mounting:

During its hundred years in the collection of the museum, we know that for a

great deal of the time the mask has been packed in a box resting on one-

side. This makes the pressure of the mask uneven and there is evidence

that the mask has suffered from this treatment. To prevent further damage

the mask was put in an upright position with a wooden stand, and inside the

mask a rounded piece of neo-polythene was inserted, which was covered

by a nylon textile to reduce friction. Further support with a beanbag inside

the top of the mask would decrease the pressure. This has not yet been

done, but is an issue to be solved before mounting it for the upcoming

exhibition.

[For future recommendations, please see section 6.2]

23

5] Previous Accessibility: Exhibition and Research

5.1] Previous Interpretation and Accessibility of the Mask:

Since the mask came to the museum’s collection in 1908, the mask has only once

been exposed for the public. This exhibition ‘Malaggan-anfäder och andar: Rituella

masker och skulpturer från New Ireland-Papua New Guinea’ [in translation:

‘Malaggan ancestors and spirits: Ritual masks and sculptures from New Ireland-

Papua New Guinea’], was a small-scale exhibition on the Malagan ceremonies and

on show between 1991 until 1993. Jan Amnehäll, the present Head of Collections

and Conservation at the MWC initiated this exhibition. He found the ceremonies

interesting and felt the collection from New Ireland, the museum has 123 objects

from New Ireland and Tabar, was worth showing.

The exhibition was designed to depict a Malagan ceremony on the beach. There

were also two stories told from two Swedes that came to New Ireland, and lived

there.35 The objects themselves had very little individual information and no

interpretation.36

Currently only museum staff can access information about the mask via the archives

and the database of the museum. Researchers have access to the mask, but so far,

no research has been done on the mask.

35 For curiosa; one of the men, Carl Pettersson was a plantation owner and was the inspiration for Astrid Lindgren’s Efraim Long stocking, the dad of Pippi Long stocking

36 Conversation with Jan Amnehäll, 26/02/2009.

24

6] The ‘Ideal’ future of the Mask

The future of the object can be regarded from several aspects: ownership, storage

and conservation, accessibility, education and research. Since the mask is rather

fragile, a stable environment should be provided to stabilize the condition of the

object. Therefore, we do not recommend it for long-term exhibition. Since the mask

is quite fragile, changing environment and unnecessary transportation should be

avoided. Loaning it to other museums is not recommended. It should be stored in

the storage facility in suitable conditions. Possibly, the best way to lessen the

contradiction between conservation and accessibility of the object is to digitalize and

show it in the database of MWC. This way, it can be connected to other Malagan

objects and contextualized, as well as being made accessible to the wider public.

6.1] Ownership:

No one has claimed the return of the mask since the object came to the MWC.

Therefore, we do not see the question of repatriation as an issue for the time being.

6.2] Storage and Conservation:

Since the object is made of various elements, there is no one ideal condition for conserving all the different types of materials. The following recommendations are therefore especially adapted for the most fragile material/parts. General Storage recommendations:

Pest-free, ventilated, dry and dark environment is preferred. The mask should be placed in an upright position.

Lighting control:

Since the mask is made of sensitive materials, the mask should be stored in complete darkness. When handling the object the light sources should be minimized.

Temperature and humidity control:

The mask, due to its various materials, has a very narrow window of RH

and ideally should be stored at a RH of 45-50%.37 The temperature should

37 ‘Preventative Conservation’, East Midlands Museum Service, Accessed via http://www.emms.org.uk/Preventive%20Conservation.htm# on 20/02/2009.

25

be around 15-20C. However, the most important consideration is that the

object is kept stable as rapid changes in RH can have a very damaging

effect. As it has been stored at the MWC at RH 45-48%, we propose that

this is continued. The most important criterion for a successful climate

control system is consistency. Therefore, temperature and humidity should

be checked regularly.

Handling recommendations:

Concerning the fragility of the materials, especially lime and dark brownish

fibre on the sides of the mask, the handling and moving of the object must

be done with extreme care, and if possible avoided. Clean gloves should

be worn when handling the mask.

Preventative structural support:

As highlighted previously, there is urgent need for a preventive support to

be created for the loose frame at the front of the mask (See appendix 1).

6.3] Accessibility: Display and Exhibition:

As mentioned above, we do not recommend the mask to be exhibited for more than

short periods. However, we find it important to make the mask accessible to the

public. Therefore, we see two possible options: short term temporary exhibitions in

controlled environmental conditions, and/or a digital display.

Ideally, we wish to use this object to explain about the Malagan practices as well as

including different voices. The voices of northern New Irelanders, collectors,

researchers and even the voices of visitors can be included. The mask should be

shown within context of the Malagan ceremony and culture in the past and in the

present.

In setting up a traditional/digital exhibition, we think it is important and useful to

26

review and consider previous examples from other museums.38

When showing religious ritual objects from other cultures one needs to take account

that displaying, as well as storing the object, may require certain specific treatment.

In our case, the mask was created and used only by men, and women were

deliberately excluded from the Malagan ceremony. No requirements from northern

New Islanders have so far arisen regarding the special treatment of the mask, and

there have been no expressions of concern from the collection professionals at the

MWC, which is a full member of ICOM. Therefore, at the time being we find no

obstacles for the mask to be shown in public to both males and females and stored

with special requirements. However, further investigations in this area would be

useful.

6.3.1] Exhibition

Showcase

Due to the deteriorated condition of some parts, the mask is very fragile,

and it should not be touched by the public. Therefore, displaying it upright

inside a glass showcase is preferred. That would also make it possible to

see the mask from all angles.

The height of the mask, in all its length counting the cloth that hangs

underneath would be 44cm. The width of the mask is 35cm.

The most preferable glass case would be 50cm by 50cm and 60cm tall.

For a neater stand that keeps the mask in upright position, a slender metal

stand inserted into the neo-polythene mould would be desirable.

The ideal height to show the mask would be at 150-160cm, we have

chosen this height because the mask is to wear on your head and that a

medium length for women in Sweden is 165.5cm39, so we thought that a bit

lower would enable also shorter people to have a better view of the mask.

We think a podium 50cm by 50cm and 130-140cm tall, the same size as

38 For example: Email correspondence with Lynne Heidi Stumpe, World Museum, Liverpool, 04/03/09. 39

Statistiks from Statistiska Centralbyrån

www.scb.se/statistik/LE/LE0101/1980I05/ Pressmeddelande%20%20Vikt%20och%20längd.pdf

27

the glass case, except for the height, will look the best. Further

investigation is needed to ensure that this height is also suitable for people

in wheelchairs.

50x50x60cm

50x50x130cm

28

Lighting

One special consideration needed is lighting, and according to the

Museums Practice Journal, the accepted standard for lighting organic

objects is 50 lux40. However, this would provide inadequate light to really

view the object. Therefore, what we propose is that a light exposure

calendar be set up which will cap the amount of exposure this object is

exposed to on a yearly basis; in accordance to the ratio provided by

Museums Practice41 we would set this cap at maximum of 150kilolux hours

per annum. The glass case should be equipped with UV filters.

Temperature and Relative humidity [RH]

As mentioned previously, the temperature should ideally be around 15-20C

and RH of 45-48%. Ideally, this should also be the case if the mask is

displayed. This is clearly a potential problem during an exhibition where

you must consider other objects, audience comfort and have less control

over changes in temperature and RH. Therefore, we propose that the glass

case that the mask is displayed in is equipped with environmental controls.

Failing that, it should at least be fitted with both a thermometer and a

humidity monitor. The results of these gauges should be checked and

recorded regularly, so any sudden dramatic swings can be acted upon.42

6.3.2] Digital Display

The mask, the information and the context about it, should be shown in a digital

display so that a far wider public can gain access more easily. Furthermore,

since all Tatanua masks have different appearances and designs, it is interesting

to compare the mask with the same type of object in other museums. Therefore,

the links of other museum databases relating to Tatanua masks should be

included (Appendix 2). Exhibition archives relating to the object should be set up

so that people can look up the information whenever they want. We propose that

40 Saunders. D, ‘Lighting for Conservation’, Museum Practice, Issue 6, p42-45, November 1997, Accessed via http://www.museumsassociation.org/mp/4742&search=2.9

on 20/02/2009.

41 Saunders. D, p42-45, Ibid.

42 Swings of plus/minus 2°C are usually acceptable.

29

a form of guest book also accompanies the database and archives. This will

encourage website visitors to both reflect on their response to the object, as well

as providing us with the potential to gain more information about the mask and

Malagan practices.

6.4] Educational Potential

The potential educational value of the object is great. Abundant historical, arts

and cultural knowledge can be communicated and educated to the visitors. For

example, colonial influence on colonies like New Ireland can be discussed after

understanding the background of the object. Knowledge and attitude of

appreciating 'primitive' arts can be nurtured through understanding the aesthetic

value of the mask. Contemporary funeral ceremonies, rituals and objects in

different cultures can be reflected and compared with the mask and the Malagan.

6.5] Potential Research

The mask is a valuable research material. Based on the object, more information

about the heritage, history and culture of New Ireland can be found out.

The mask can act as a starting point for more research on the changing role,

practises and skills involved with the making and use of the mask, as well as the

Malagan ceremony.

What is more, the mask may also act as a foundation point for studying the

changing aesthetic style and functions of 'primitive' arts in New Ireland.

Scientific tests could be carried out in order to establish when the mask was

actually made. It may also be possible to test certain areas of the mask to

discover the environment in that the mask was used, such as smoke from a fire43.

These tests were not carried out during this documentation report due to limited

time and resources. Furthermore, each of these tests requires a specimen from

the mask, which exposes the already fragile mask to more risk. Subsequently,

while all future research proposals are welcome, each application should be

considered on a case-by-case basis with the risk to the mask be evaluated

43

Care and conservation of ethnographic objects, ICON, the Institute of Conservation 2006, accessed via http://www.conservationregister.com/ethnographic.asp?id=4 on

20/02/2009.

30

against the potential benefits.

31

Appendices Appendix 1

32

33

Appendix 2 Links to the databases of other museums which have Tatanua masks: 1.World Museum Liverpool: http://www.liverpoolmuseums.org.uk/wml/humanworld/worldcultures/oceania/malagan/ 2.Britiish Museum http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/h/helmet_mask_tatanua.aspx 3.Pitt Rivers Museum http://www.prm.ox.ac.uk/TRANSFORMATIONS/images/25zoom.html 4.Fine Arts Museums of San Francisco http://search3.famsf.org:8080/view.shtml?keywords=%74%61%74%61%6E%75%61%20%6D%61%73%6B&artist=&country=&period=&sort=&start=1&position=1&record=128781 5.Museum of Fine Arts, Houston http://www.mfah.org/collection.asp?par1=14&par2=&par3=69&par6=3&par4=183&lgc=4&currentPage=1 6.Logan Museum of Anthropology http://www.beloit.edu/logan/collections/catalogue/pacific/melanesia/new_ireland/new_ireland.php 7.Indianapolis Museum of Art http://www.imamuseum.org/explore/artwork/1226 8. The Israel Museum http://www2.imj.org.il/eng/art/africaasia/index.html

34

Selected Bibliography

Books and Journals: Appel, M, (2005), Oceania: World Views of the South Seas, Staatliches Museum fur Völkerkunde, Munchen. Craig, B, Kernot, B, Anderson. C, [eds], (1999), Art and performance in Oceania. University of Hawaii Press and Crawford House Publishing. Elkin, A. P, (1953), Social Anthropology in Melanesia, a review of research, Oxford University Press. Gosden, Chris; Knowles, Chantal, (eds), (2001). Collecting Colonialism: Material Culture and Colonial Change, Berg. Gunn. M, Peltier. P [Ed], (2007), New Ireland: Art from the South Pacific, Exhibition Catalogue from Musée du quai Branly, accessed via http://www.quaibranly.fr/uploads/media/DP_Nouvelle_Irlande_EN_01.pdf on 28/02/09 Hübinette. T, Den svenska Koreabilden 1904-38, (Fil mag-uppsats Stockholms Universitet VT 2000). Kaeppler, A.L, Kaufmann, C & Newton, D, (1997), Oceanic Art, Harry N. Abrams Inc Publishers. Knauft, Bruce M., (1999). From primitive to Postcolonial in Melanesia and Anthropology, University of Michigan Press. McNeish, J, (1980), Art of the Pacific, Harry N. Abrams Inc Publishers. Meyer, J. P, (1995), Oceanic Art, Volume 2, Könemann Verlagsgesellschaft. Moore A. C, (1995), Arts in the Religions of the Pacific, Continuum International. O’Hanlon, Michael; Welsh, Robert L., (eds), (2000). Hunting the Gatherers: Ethnographic Collectors, Agents and Agency in Melanesia, 1870s-1930s, Berghahn Books. Oliver, D. O, (1989), Oceania the native cultures of Australia and the Pacific Islands. Volumes 1-2, University of Hawaii Press. Poignant, P, (1985), Oceanic and Australasian Mythology, Newnes Books. Saunders. D, (1997), ‘Lighting for Conservation’, Museum Practice, Issue 6, Accessed via http://www.museumsassociation.org/mp/4742&search=2.9 on 20/02/2009.

35

Sillitoe, Paul, (2000). Social Change in Melanesia: Development and History, Cambridge University Press.

Werness. H. B, (2003), The Continuum Encyclopaedia of Native Art: Worldview, Symbolism, and Culture in Africa, Oceania, and North America, Continuum International Publishing Group, accessed via http://books.google.se/books?id=2Y5nr5fGiHIC&pg=PA187&lpg=PA187&dq=Nalik+culture+mask+continuum&source=bl&ots=lnmi3MjZ-1&sig=PZ22w9_-AyE1WMPgb14RYI-L2-I&hl=sv&ei=9iGpSfKcCY2m0AXT0cC3Ag&sa=X&oi=book_result&resnum=1&ct=result on 28/02/09 Websites: ‘Bobbi the Backpacker and Her Amazing Mask Adventure’ accessed via http://www.imagine.org.uk/adventure/alt/masks/letters.php on 28/02/09 British Museum Collections, accessed via http://www.britishmuseum.org/explore/highlights/highlight_objects/aoa/h/helmet_mask_tatanua.aspx on 28/02/09 Brooklyn Museum accessed via http://www.brooklynmuseum.org/opencollection/collections/ on 08/03/2009. East Midlands Museum Service, ‘Preventative Conservation’, Accessed via http://www.emms.org.uk/Preventive%20Conservation.htm# on 20/02/2009. ICON, the Institute of Conservation, ‘Care and conservation of ethnographic objects’, accessed via http://www.conservationregister.com/ethnographic.asp?id=4 on 20/02/2009. Statistiska Central Byrån, accessed via http://www2.scb.se/Pages/Search.aspx?id=261370 Interviews and Email correspondence: Jan Amnehäll, 18/02/2009 and 26/02/2009. Lynne Heidi Stumpe, Curator of National Museums Liverpool, email correspondence, 04/03/09 Dorit Shafir, Curator of Israel Museum, Jerusalem, email correspondence, 02/03/09 Jim Hamill of the British Museum, email correspondence, 03/03/09 Amy Mobley of the Field Museum, Chicago, email correspondence, 06/03/09

36

Images: Images of the Tatanua dance mask: Museum of World Culture, Gothenburg Catalogue card: Museum of World Culture, Gothenburg Map: http://amonline.net.au/collections/images/maps/map10_newire.gif on 08/03/09. Tatanua dance: http://www.oceanic-art.com/NewIreland/Tabar/tabar14.jpg on 08/03/09. Sacrificed pig: http://www.oceanic-art.com/NewIreland/Tabar/tabar14.jpg on 08/03/09.