Bis Poles at The Metropolitan Museum of Art

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Bis Poles at The Metropolitan Museum of Art발음듣기

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[Dr. Zucker] We're in the Oceanic Galleries in the Metropolitan Museum of Art looking at one of their most iconic displays.발음듣기

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It's a stand of these extraordinary, tall Bis poles.발음듣기

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[Dr. Nuku] This series of sculptures are from the Asmat region of New Guinea.발음듣기

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[Dr. Zucker] And this recalls the way in which the Bis poles would have been displayed for ritual purpose.발음듣기

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They would've been planted into the earth.발음듣기

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[Dr. Nuku] The tip, actually, is pointed so that you could nestle it into the soil or sand.발음듣기

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[Dr. Zucker] And I love how the museum's display has the objects below the stone floor so that you can see them planted into the earth as they would be.발음듣기

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[Dr. Nuku] Bis pole ceremonies were a means of bringing the community together to enable and assist the spirits and souls of recently deceased people to safely depart.발음듣기

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So they could leave the realm of the living and make their way to Safan the realm associated with ancestors.발음듣기

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[Dr. Zucker] And to bring the community back into a kind of balance.발음듣기

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[Dr. Nuku] The deaths of leaders and individuals within the community can cause this volatile, uncertain time.발음듣기

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So head men in the village would've worked out when it was necessary to bring the community together to commission the Wow Ipits master carvers to carve these.발음듣기

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[Dr. Zucker] And those master carvers would have gone into isolation to produce these poles which are actually mangrove tree trunks that have been upended.발음듣기

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That is, they've been turned upside down.발음듣기

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And when you look at the projections towards the top those are actually one of the many root systems that come out from the trunk which make mangrove trees so identifiable.발음듣기

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[Dr. Nuku] The mangrove trees would've been cut down and felled in the mangrove swamp.발음듣기

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And they would've entered the village and been welcomed by the women of the village as if they were slain enemies.발음듣기

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They were drawn into the main house in the village and the master carvers would have blocked out the initial carved element.발음듣기

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And then they would've withdrawn into another annex within the house where they would've completed the carving.발음듣기

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And they are withdrawn from any activity and interaction with any other members of the village.발음듣기

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It's a very sacred activity.발음듣기

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[Dr. Zucker] I love the idea that the trees themselves are treated as if they were fallen warriors.발음듣기

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Its as if the tree itself is a human figure.발음듣기

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[Dr. Nuku] In the world view of Asmat peoples a man is a tree, and a tree is a man.발음듣기

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There was a direct equivalence.발음듣기

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And that plank-like projection at the top is the remaining buttress root, known as the Cemen.발음듣기

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It is the male principle, or phallus, of the carving.발음듣기

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[Dr. Zucker] So the poles really have three zones.발음듣기

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There's a canoe, or structural form, at the bottom.발음듣기

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Then there's the figures, and then there's this Cemen.발음듣기

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[Dr. Nuku] The energy and vitality of that community coming together retelling the histories of the village and community feasting together, reaffirming ties with their neighboring groups.발음듣기

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All of that spiritual essence and vitality is deemed to flow out through that Cemen, or phallus back into the Earth.발음듣기

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So, after the staging of the Bis pole ceremony the poles would've been dismantled and then carried through to the sago palm grove.발음듣기

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And there they would've been left to deteriorate and rot.발음듣기

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So, all that spiritual energy and vitality that has come from bringing the community together flows out into the soil, so it can ensure the future prosperity for the village.발음듣기

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So there's this beautiful, reciprocal, cyclical relationship with the environment, with nature.발음듣기

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[Dr. Zucker] And the Cemen is clearly a male principle but the sago forest was associated with the female principal.발음듣기

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[Dr. Nuku] Grubs of the sago beetle were embedded into the core of the sago palm at the beginning of the carving of these Bis poles.발음듣기

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And by the time those grubs mature to become beetles that indicates the time when the poles must come out and be presented to the community.발음듣기

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We do have in the collection fabulous ceremonial bowls in which these sago beetles would've been presented very dramatically and dynamically as these things flowed out and people would grab them and eat them.발음듣기

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That's very much associated with the female principle so you do have this balance.발음듣기

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[Dr. Zucker] The carving is exceptional and it's at its most elaborate at the top of the Bis poles, in the Cemen.발음듣기

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It's a kind of tracery, which seems at times abstract and at time we can make out human figures or forms that are recognizable.발음듣기

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For instance, birds.발음듣기

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[Dr. Nuku] That's right, that really fluid curvilinear carving is packed with iconography that relates to headhunting.발음듣기

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So we see the beaks of the hornbill.발음듣기

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We see abstracted references to flying foxes which are fruit bats.발음듣기

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So if the analogy is that a man is a tree and a tree is a man when the fruit bat.발음듣기

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The hornbill were seen to be plucking the fruit of the tree there was an analogy made between the taking of a head.발음듣기

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And so, these were species that they revered, as a result.발음듣기

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So they incorporate that prowess, that figure into the iconography, so that you're drawing that energy into the carving itself.발음듣기

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[Dr. Zucker] And you can see that representation of vigor and power in the representations of the human figures, as well.발음듣기

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They are muscular, they're strong.발음듣기

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There is clearly a reference to successful warriors.발음듣기

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[Dr. Nuku] We see this color scheme.발음듣기

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The white is a color that's associated with Safan and with the ancestors.발음듣기

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It's produced by burning clam shells to create that very dusty, almost chalky texture.발음듣기

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The red is produced from ocers and clays in the ground.발음듣기

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And the red is a very charged color.발음듣기

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It connotes spiritual power.발음듣기

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And you can see here, it's been used to highlight the scarification of these figures.발음듣기

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And the black is a charcoal and that's been used to highlight distinctive characteristics, usually in the head and face.발음듣기

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[Dr. Zucker] In several of the poles the bottom most part seems to be more structural or at least in one case, is a canoe.발음듣기

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[Dr. Nuku] This element does relate to the spiritual passage of ancestors.발음듣기

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[Dr. Zucker] So we can think about the canoe quite literally, as a vehicle.발음듣기

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[Dr. Nuku] Yes, these are vehicles to encourage and assist the departure of the souls of recently deceased.발음듣기

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[Dr. Zucker] So it's important to understand these poles not as objects that exist in isolation.발음듣기

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But as very much a center point to a complex ritual that could gather together nearby villages and extended communities.발음듣기

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[Dr. Nuku] It's really important to not think of these things as static artwork.발음듣기

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But really as a dynamic means of allowing and enabling transition across boundaries and thresholds between the land of the living and the land of the dead.발음듣기

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