Chapter 28 Art of Pacific Cultures 875

• The compositions are on a composition board with printed text on paper.

• Permission was granted by the Northern and Central Land Councils.

• For formal, technical, and art history of Pacific cultures, apply the vocabulary and concepts relevant to them.

• Interpret the art of Pacific cultures using the art cultures based on their themes, subjects, and historical methods.

• For 40,000 years Indigenous Austra ment and Indigenous Australians followed, Galarrwuy lians were creating rock art, which was the oldest example of the Barunga tinuous culture in the world.
• Cook claimed the statement back so that he could bury it.
• Indigenous Australians continued to be affected by European diseases within a few decades.

• The arrival of missionaries changed the lives of the people in the Pacific.

• Waitangi recognized the ownership of land by the Maori.
• The Yirrkala Bark Petitions inspired the creation of the rights of British subjects for the indigenous people of New Zealand.
• Pacific islanders continue to use the arts to preserve bark paintings from the Northern express, despite the fact that many indigenous issues remain there.
• The statement called for more tural identities.

• There are two different styles of indigenous painting, one on the left and the other on the right, which are decorated with Aboriginal rights in text on paper.

• The Pacific Ocean is the center of a map with only the lines and dots in the desert painting.
• The artists used a lot of symbols to retell stories in the peripheries of Asia and the Ameri.
• Roughly one third of the earth's surface is taken up with the adventures of ancestors.

• Australia, Melanesia, Micronesia, and Polynesia are home to the Pacific cultures.

• When Australia, Melanesia, Micronesia, and Polynesia moved from Southeast Asia about 50,000 years ago, the sea level was about 330 feet lower than it is today.
• Humans were settled on the large islands islands in Melanesia, which is a dark skin color, as far south as San Cristobal, ants.

• As the glaciers melted, the sea level islands") is scattered over a huge, triangular region.
• Rapa Nui (Easter Island) is located in a 70 mile-wide waterway, now called the Torres Strait, the east and the Hawaiian islands to the north.
• Polynesia cov people continued their hunting and gathering way of life for more than a century after the last separation from Australia.

• With the exception of New Zealand and the westernmost islands of Polynesia--Samoa and with its marked seasons and snowcapped mountains--Oce Tonga is in the tropics.

• They were both farmers and fisherfolk.
• The islands that make up taro and yams brought dogs, pigs, and chickens with them.
• They brought with them the coral atolls and volcanic mountains that allow us to trace the extent of their rise from the ocean floor.
• Residents of these islands vary greatly, and Lapita potters produced dishes, platter, bowls, and islanders art and jars.
• Sometimes they covered their wares with a red architecture.
• They decorated the soil slip with bands of volcanic islands and populated settlements with a local diversity of plants and may have used bark cloth and tattoos.

• The poorer soil of coral atolls of the decoration could not support large populations.
• Coral is one of the most important subjects in art.

• Inter-island trade is generally done by the diversity tors.
• The Lap of both plants and animals decreased from west to east, which resulted in a loss of culture among the Pacific islands.

• The Common Era can be seen in the arts of this region.

• There is a visual region on the islands.
• Before the beginning of the first millennium ce, daring included music, dance, and oral literature, as well as just arts.

• The Polynesians settled the scattered islands of Far Oceania and eastern Micronesia in double-hulled sailing canoes.

• There are differences between the environments in which cross-cultural hunter-gatherers of Australia lived in Polynesia and Micronesia.
• Their only change to the landscape was regular controlled burning of the underbrush, which encouraged new plant life and attracted animals.
• They were able to survive and thrive in a wide range of challenging environments because of their intimate knowledge of plants, animals, and water sources.

• The concept of the Dreamtime is connected to Indigenous Australian life.

• The period before humans existed is referred to as dreaming.
• The world began as a flat, featureless place according to this complex belief system.
• Ancestral spirit beings came from the earth or the sea.
• In crossing the continent, the spirit beings created all of the physical features: mountains, sand hills, creek, and water holes.

• The bark is 23 x 35'' (59 x 89 cm).

• One of the features is the RMN-Grand Palais.
• They are identified with the narrow spaces between rocks by day and come out specific places that are sacred.
• Specific to this area, they taught humans how enous Australians who practice this traditional religion to hunt and cook animals, as well as to dance, sing, and believe that they are descended from the spirit beings and play instruments in ceremonies.
• The fig was painted in ancient rock ancestors' stories and was often in motion.

• Multiple levels of Bark paintings can be found throughout northern Australia, but only in tralia, where there are many regional styles.
• Those in Western were trained to know each level.

• The background of Arnhem Land is usually a monochro, meaning that an outsider's understanding of the stories and matic red wash with figures in white, black, and red related art is strictly limited to what pigments.
• Midjaw Midjaw was allowed to be public in the 1950s and 1960s.
• Some stories are shared by many artists on Minjilang tribes across great distances, while others are specific to one area.
• Men and women have their own stories to tell.

• The ancestral spirit beings still have power since the Dreaming has never stopped.

• The inhabitants of Melanesia usually use par sculptures.
• In ceremo settlements, sacred objects, songs, and dances are used for survival, they live in permanent renew the supernatural powers of the ancestors, many of which feature spaces set aside for nial meetings called corroborest ritual use.

• Rituals associated with community business are related to a lot of ceremony.
• Relationships of its yams are aided by other important rituals.
• There is a frame of poles and rafters with the dead and supernatural forces.

• Melanesian art is often bold, masking and with a triangular floor plan, the side walls meet at the body decoration.
• The elaborately decorated facade mances can be ephemeral.

• The feminine power of the house is associated with this fig.
• There is a small door in the world.
• It is divided into two countries.
• Entering and exiting the eastern half of the nation is equivalent to death and rebirth.

• The western half of the country is called West Papua, which is believed to have magical quali present-day Indonesia.
• It is located near the equator.
• The images and mountains that rise to 16,000 feet on the island have a vari that ensures their continued power.

• The population is equally diverse, with coastal fishermen, riverine hunters, slash-and-burn agriculturalists, and morestable farmers.
• More than 700 languages have been identified among the smaller islands.

• The Abelam, who live in the foothills of the mountains on the north side of the Sepik River, raise pigs and cultivate yams, taro, bananas, and sago palms.
• People live in extended families in hamlets.
• Men gain status from their participation in a yam cult, which has a central place in the Abelam society, but their wealth is measured in pigs.

• The yams that are the focus of this cult are associated with clan ancestors and the power of their growers.
• During the Long Yam Festival, which is held at harvest time and involves processions, masked figures, singing, and the ritual exchange of the finest yams, village leaders reestablish their relationship with the forces of nature.

• The village of Kinbangwa was reserved in this structure.
• The objects associated with the 20th century were given to the men of the village.

• His widow wears his personal bag as a sign of mourning while he is panied by ceremonies.

• Whether a girl is eligible for marriage is a women's arts question.

• They contribute to a balance between male and female technique for making them, but they also have a wide range of roles in society.

• They are sold beer.

• The felling of a tree is a ritual in which a group of men attack the tree as if it were an enemy.
• The figures on the poles represent dead people who will be avenged.
• The praying mantis is associated with the bent pose of the figures.
• The large phalluses emerging from the figures at the top of the poles are carved from the roots of the tree and symbolize male fertility, while the surface decoration suggests body ornamentation.

• The men boasted of their bravery and the women cheered them on as part of the ceremonies.
• The poles were left in the swamp to transfer their power back to nature.
• Poles are required to sell to outsiders.

• It can take as long as two years after the death of a per Asmat, who live along rivers in the coastal swamp forests.
• In Asmat culture, trees are associated with dead family members.

• The Asmat used to believe that death was always caused by an enemy, either by direct to the public or given carved and painted figures.
• The combined funerary and initiation ceremonies include ally in the form of taking an enemy's head, to appease the feasts, masked dances, and the creation of a special spirit of the person who had died and thus maintain bal house.

• The carvings are large and take the form of horizontal friezes, which were used to represent the spirits of the ancestors.
• There are standing figures in front of the special houses.

6'105/8'' x 11'53/4''

• All rights belong to the person.

• There are tensions between the two-dimensional painted patterns and the three-dimensional sculptural forms.

• The displays are kept a secret until the end of the festivities.
• Since the late 19th century, they have been sold to outsiders and are no longer considered active after the ceremonies.

• Though initiation to the society is the main purpose of the ceremonies, the men of the village, who have achieved power through theAccumulation of wealth, use this period to call up the spirits represented by the masks, who have the authority to settle disputes.
• Political power is underscored by their appearance.
• They used to have the power of life and death.

• The masks represent the spirits of the Tolai people and the Duke of York Islands.

• Local stories in 1990.

• The initiations return to the village from the bush after the appearance of the Mother and Duk Duk masks.
• The Tubuan mask has a tall conical shape with white circles around it's eyes.
• The green leaf skirt is a very sacred part of the mask, which is made from painted bark cloth, various fibers, and feathers.

• The majority of Micronesia's islands are small, low-lying coral atolls, but some are volcanic in origin.
• The eastern islands are related to Polynesia in many ways, while the west is related to Melanesia.
• The Marshall Islands are known as the Micronesians.
• They are 75 x 75 cm.

• In other parts of the Pacific, tattooing and performative arts are important to life.

• Sailors from the Mar canals will use the sun and breakwaters 15 feet high and 35 feet thick to protect and moon and stars, as well as a detailed understanding of the area from the ocean.
• canoes were able to access the ocean island from one of the breakwaters because of the open ocean currents and trade winds.

• The kings who ruled from the site used stick charts.
• Between the early thirteenth century and the dynasty's politi islands, schematic diagrams of the prevailing ocean currents and buildings atop them were constructed.
• The currents are represented by sticks.
• The abandoned islands were marked by attached shells when Europeans discovered it in the route.
• The arrangement of sticks around a shell indicates that the 19th century was an administrative and a zone of distinctive waves shaped by an island.
• The local labor force is able to build this monumental city of navigator without being large.

• There is an aesthetic impact on the largest.

• The basalt cliffs of the island of Pohn were split into two by heating the pei and using the water to build one of the stones.
• Most of the islands are stone architectural complexes that are oriented northeast-southwest.
• The southeast coast of Pohnpei has a cooling prevailing winds.

• The builders increased the number of stones in the headers courses relative to the stretcher courses as they came to the corners to achieve the sweeping, rising lines.
• The outer walls of the structure lead up to a central courtyard with a small tomb, while the interior walls lead up to a staircase.

• The settlers of the far-flung islands of Polynesia developed distinctive cultural traditions but also retained linguistic and cultural affinities that reflect their common origin.
• Melanesian society was more similar to traditional Polynesian society in that a person's genealogy determined his or her place in society.
• The wall height of basalt blocks is sacred because they have more spiritual power.

• After 800 ce, New Zealand was settled by an intrepid person.
• It was a sacred act.
• The process of adapting the Polynesian culture to the cialists was done by master artists.
• jadeite in New Zealand was one of the materials that they began to build some of which were con wooden-frame homes, the largest of which was the chief's sidered spiritual power.
• The meeting house is open to the public and has an open status and rank.

• Quality and beauty were important.
• The objects were recorded and preserved.
• Created by the mas endure, many were handed down as heirlooms from ter carver Rukupo and his 18 named assistants in generation to generation.

• Polynesian religions included many levels of gods, its name refers to the region of New Zealand where it was from creator gods and semidivine hero-gods.

• In this area of New Zealand, the meeting house sym were influential in daily life and had to help the tribe's founding ancestor, who was often ored and placated.
• In times of trouble, the rafters are the tant projects.
• They were carved in stone, wood, and enfolding arms.
• The gable mask has a face on it.
• Relief places include the Marquesas Islands.

• The lower ends of the rafters were often represented by these statues.
• The ancestors are placed on sacred ritual sites to support the house.
• They were thought to take active ists.
• In New Zealand, interest in community affairs and participation in the dis were incorporated into meeting houses.

• Gisborne/Turanga is owned and built by the Rongowhakaata people.

• The tribes and taboos of the second half of the 18th century prevented women from entering the graphical region.

• It is typical throughout Poly nesia.
• The figures have large heads with open eyes.
• The Te-Hau-ki-Turanga figure is a female descendant of a male who is nursing a child.

• There is a small figure between their legs.

• Wood and ists were familiar with the old, traditional Ngati Paoa.

• The wood's height is 337/8''.

• The art of tattooing was common in the area.
• There are bone chisels found in Lapita sites.
• The tools used to decorate Lapita pottery are similar to the ones used to mark human skin.
• Polynesians brought tattooing with them as they migrated throughout the Pacific, and as they became isolated from each other over time, distinctive styles evolved.

• The people of the Marquesas Islands were the most tattooed of all Polynesians.
• The process for a young man of high social rank began when he was 18 and would end when he was 30.

• Lionel Gouverneur vanished.
• The women were tattooed on their hands, lips, and ears.

• It was expensive to have a tattoo.
• In the case of both men and women of high rank, special houses were built to 888-269-5556 888-269-5556 888-269-5556 888-269-5556.
• A special feast was held at the end of the session to display the new tattoos, as the master tattooer and his assistants had to be fed and paid.

• There was a meaning to each design.
• Marking passages in people's lives and their social positions was done to commemorate special events.
• Some men's societies are marked by tattoos.

• Men with tattoos were essential to their sexual attractiveness.

• The French colonial administrators and Catholic missionaries banned tattooing in the 19th century.
• In 1980 Teve Tupuhia became the first Marquesan in modern times to be fully tattooed, after a resurgence of the art throughout the Pacific.

• In the years 1803 to 1805, there was a voyage round the world.

• The king is paid a tribute in the European way.

• Even the effigies of gods that Hawaiian warriors full-length cloak made with thousands of red and yellow carried into battle were made of light, basketlike structures feathers was reserved for the highest ranks.

• Three volcanoes, one at each corner, drape over the wearer's shoulders.
• Easter Island was originally known as Te Pito o te Henua, or "Navel of the World", and is now known as Rapa Nui.
• On Easter Sunday in 1722, Captain Jacob Roggeveen, the Dutch explorer who first consisted of coconut fiber net, landed there.
• Rapa Nui became a collection of feathers.

• Many imaginative theories are no longer alive.
• In some cases, each bird yielded only the origin of its statue, making the collecting of feathers very labor intensive and increasing the value of the cloaks.

• There are red, yellow, and black feathers.

• They have no legs.

• The statues were almost wiped out in 1877 when slave themselves were made from volcanic tuff.

• The statues of 5000 people were known for their energetic and athletic dance performances when white coral and stone were added.

• They were restored to their original condition.
• The 65-foot statue is still in the quarry.
• It is usually made by women.

• Their large heads have deep-set eyes under a bark that is beaten with a wooden mallet, then folded over and prominent brow ridge.
• The can be made by building up the cloth in a process of felting extremely long earlobes and using natural pastes as glue.
• The wooden lines suggest ear ornaments.
• The figures have sche lets used for beating the cloth are often incised with com matically indicated breastbones and pectorals, and small plex patterns, which leave impressions like watermarks in arms with hands pressed close to the sides.
• When held up to the light, the cloth was visible.

• There was a cultural resurgence in the late 1960s and early 1970s.
• The model of civil rights and other movements in the United States, as well as dramatic increases in tourism, brought a new awareness to the importance of indigenous cultures.
• Many of them had been fundamentally changed by colonial rule and missionary efforts to eradicate local customs and beliefs.

• The idea of an arts festival was conceived by the South Pacific Commission.
• The museum has been hosted by New Zealand.

• They wore the dead.

• The impact on the arts has been enormous since the founding of the festivals.
• In the Marquesas Islands, many Pacific cultures have their own festivals and are gifts.
• An age of globalization and the giving on important ceremonial occasions.

• The festivals are not without problems.
• Special chiefs, called talking chiefs, who spoke on troversy: Some people are critical of an increasing level of behalf of the highest-ranking chief in the village council, professionalism and commercialism.

• The cloth used was the same from one island to the next.
• In Australia, indigenous artists use canvas and dyes made from nuts.
• It could be exposed to smoke to turn it black or brown.

• Contemporary fabric paint is often used.
• Decora Sand drawing is an ancient ritual art form that involves tive designs were made through a variety of means from creating large colored designs on bare earth.
• Freehand painting and printing with bamboo stamps made with red and yellow feathers and seeds, as is done in Fiji.
• Sub Central Desert of Australia who were trained and initiated were encouraged by a non-indig hand to paint a lighter rubbed pattern.
• The design is symmetrical and bold.

• The school wall has a mural painted on it.
• The success of the public form came from the east and encouraged community elders to allow others to try down by another water hole nearby.
• They were painting when he began to spin their hand.
• The women who began painting in 1988 after right of the painting were distracted by thoughts of success in tie-dyeing with fabrics.
• He could not marry the woman he loved, who belonged to a kinship group art galleries and was into dot paintings.
• He was a worldwide phenomenon by the late 1980s.
• He lost all of his work when his hair string blew away in his paintings.

• The artists can protect the lovers by creating work for sale.
• The white footprints are those of other ances, and the wavy line at the center of the painting is only allowed to be seen by a non-initiated person.

• The site where young men were of the Papunya Tula Artists Cooperative in 1972 is shown in the black dot.
• The long horizontal bars are mirages, an international reputation after a 1988 exhibition of his, while the wiggly shapes are a source of paintings.
• He worked with his canvases on the floor.
• Possum Tjapaltjarri used ancient patterns and this Dreaming story to paint many variations of traditional sand painting.

• The painting shows the ances with layers of circles and journeys.
• Work art world.

• The painting is abstract, but it shimmers in the light of the arid landscape.
• There is a narrative involving two mythical ancestors.

• One of these ancestors is represented by the white U shape such as abstract expressionism, Poin on the left, seated in front of a water hole with an ants' tillism, or color field painting.
• Possum Tjapaltjarri's work is based on the search for honey ants.
• The mythic narratives of the Dreaming lie to his right.
• It is a model white leaves to his left.
• The straight white "jour for other contemporary indigenous artists, who use both ney line" represents his trek from the west.
• The brown-and-white U-shaped culture is represented by the second age-old and new media.

• The dots are made using a stick with a paintbrush that is dipped into the sand painting that tells stories and is represented in several places.

• Several people can work at the same time on their own stories, which usually center on fill in dotted areas.

• It was made in misappropriation, cultural identity, and land rights.

• Kihara takes pictures that challenge the viewer's understanding of gender and gender roles.

• In this photograph of a male and female couple both fig ures are clothed as they might have been in the 19th century, wearing large pieces of Samoan bark cloth and holding traditional Samoan status objects.
• Kihara's face has been superimposed onto the body of a male figure, while she posed as the native woman.
• She blurs stereotyped notions of who or what is male or female, original or copy, reality or perception in this photograph and the others in the series.

• The photograph was taken in New York.
• Her work is drawn on 80 x 60 cm.

• Assess the importance of ancestors and the different available resources, affect the nature of the visual ways in which they are engaged, honored, or arts in the Pacific.
• Pacific art forms can be invoked through architectural forms.

• The human body is depicted in cultural and geographic settings.

• The production of fabric was an important part of both cultures.
• The style, media, and context of production of these two cloths are very different from each other.

• Discuss these differences and how they relate to the cultural values and distinctive environments of the artists who made them and the societies that valued them.