New Guinea Research Paper

Two ends pointing up resembled the horns which people used to hang on the doors for their protection from centuries. According to the belief, the horsheshoe in the shape of letter “U” (the ends pointed up then) was bringing good luck. Conversly, the ends pointed down were supposed to protect the owner of the horseshoe against evil spirits.

The, “Sorrow of the Lonely and the Burning of the Dancers”, is a ethnography written by anthropologist Edward Schieffelin, derived from his fieldwork with the Kaluli people of Papua New Guinea. The main focus of the book of the book is how many of the fundamental notions that are implicit in Kaluli culture are found in the Gisaro ceremony, which Schieffelin uses as, “a lens through which to view some of the fundamental issues of Kaluli life and society” (p1).

Throughout history, many different cultures illustrate their history and their beliefs through various artistic objects that they create. These artifacts allow historians to better gage their lifestyle, their beliefs, and how their society operated. One example of this is the “Drum Beater” sculpting created by Karoo Ashevak that is especially famous for its illustrations of the shamans and the spirits. In this research paper, Karoo Ashevak’s “drum beater” will be dissected and analysed; from the Inuit culture itself, to the physical features of the sculpting, as well as the significance and symbolism of the sculpting as it relates to the Inuit culture.

The sculpture on South Campus at Moravian College commonly known as Moravian Roots One and Two, who was created by Steve Tobin in 2010 has a significant meaning behind the moderately new sculpture. There are two of the same types of sculptures in the same place, just distance away from one another. This sculpture seems to be abstract, since we are taking the form of what it looks like to create a meaning, which can be something different in other people’s eyes. The sculpture is a dark black shade that naturally blends in with the surroundings, therefore making it blend in with its natural surroundings. The negative space between the roots are easily seen since its roots are based in various directions, showing us how far the roots of the sculpture and realistically Moravian has grown. There is no base or pedestals for these two sculptures who go hand in hand together, but it is roughly around five feet standing upward and going in sporadic directions, to signify differences. They are roundly shaped with carved pointed edges giving the image that it is like a tree root or branch, being slightly pointed on the top. The inner parts of the “tree roots” are textured off to have a little dots making it a bit rougher than the soft and smooth outer sides that we see from a distance. There seems to be no said real front or back side to this piece because the tree roots go in different directions, therefore giving the observer a chance to decide which way they would like to view it.

Historical studies indicate that the New Guinea was one of the hottest countries, insect infested, and occupied by aggressive people. The Imbonggu community is one of the integral parts of the community. William E. Wormsley drew a special insight into the lives of these people after spending several years with them. In his fascinating book, the author uses an incisive, yet articulate, voice to describe the culture, social structure as well as bride wealth, religion, and magic among these people (Wormsley, 1993). During that period, New Guinea was specially known as a man-eating zone. The local people were reputed as cannibals, nasty and aggressive people. Therefore, as the anthropologist of his time, Wormsley was destined to critically analyze the group on their view of the white man. A study that released results that still struck the world with shock (Wormsley, 1993).

Totem poles are ceremonial statues that were carved by many of the tribes in the Pacific Northwest. The animals and figures on the totem poles represent the history of the family that lived in that house. The figures on the totems had specific meaning, and told of the family's heritage, power, and place in the

When a chief dies his ashes are put in a hollowed out spot at the top of his pole. Different creatures have different meanings, such as the bear represents healing powers and instinctiveness, the buffalo represents life, getstrength, and sacredness, the cougar represents leadership. loyalty, and courage. It is believed that a totem animal is with you forever. There is no specific way to carve a totem pole it is something meaningful to the carver and the thing it is representing. The meaning of the pole is based off how the carver is feeling.

represents a pagan spirit of vegetation, very much like a tree with the ability to

“Ancestral lines” by John Barker is a book about the anthropologist’s experience in the Uiaku village located in Papua New Guinea. In the first chapter, Barker tells his readers briefly about him and his education, his and his wife’s experience with the Maisin community, and talks in great detail about the Maisin and their culture in the Uiaku village.

American Samoa would be a perfect location for an open market. The weather is warm and tropical with an average temperature of 87 degrees fahrenheit. American Samoa has a population of 54,157 people. I can set up my market anywhere that seems like a good location. My open market can sell goods grown locally on the island or import goods that most likely haven’t been owned by local people such as raw materials like sugar and salt etc.

This essay examined the hardships of survival for Innu people, as well as the dismissal of being indolent from the missionaries and merchants through the paradigm of Mestokoso. Due to the harsh nature of the environment the Innu community resides in, each member of the families must do their part in gathering provisions for strategic consumption in order to not starve. Frequently there is that viewpoint that men work harder typically than women, but that is refuted constantly through the descriptions told from Mathiew. The women are actually the people who set more traps, hunt and do consistent work much more than the men and provide food for the family in even dire situations when the men cannot find any game to bring home. There is also the

Political Context: In the Sepik River tribe community, there isn’t much of a government-type leader. The people live to their own rules and do as they think is correct. A majority of the community is run by income from the tourists and thus from this, the society thrives.

The men and women on Wogeo both lead very different lives, this is made clear by the distinct rituals that each sex participates in throughout their life, the roles held in tribal events as well as the strict customs that are adhered to in the daily life. Now, though the men and women have very different customs that they practice, both sexes of Wogeo are noticeably similar on a social scale. The truth is that on the island of Wogeo the tribes are male dominated. Through practiced customs and social norms the women of Wogeo are able to increase their social status to be on par with that of the men.

Ng, C. (2010). Symbols of Affinity: Ceremonial Costumes in a Minangkabau Village. The Heritage Journal, 5, 26-55.

In the patriarchal society of the Ibo, a woman must submit to an older man’s demands specifically of a husband or family member; she is rarely in full control of herself. Emecheta writes that “a girl belonged to you today as your daughter, and tomorrow, before your very eyes, would go to another man in marriage” to suggest the presence of a dominant male figure in all walks of life (17).