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Chau Chak Wing Museum in Sydney.

14/12/2022

Ömie nioge (barkcloth).

The next exhibition opening on 9 January 2023 in our Ian Potter Gallery celebrates the unique and dynamic barkcloth art movement of the Ömie people of Papua New Guinea. 

Papua New Guinea (PNG) is one of the most linguistically and culturally diverse places on earth, with a population of approximately 8.8 million people, speaking over 800 known languages. Around 80-85% of people live a predominately village-based life, making a living from subsistence and small cash-crop agriculture.

About 1800 Ömie people live in ridgetop villages to the south of Dahöre Huvaimo (Mount Lamington), in Northern (Oro) Province. Their villages are remote, with a transient local airstrip and homes up to a three-day trek from the nearest road, which links the regional town of Kokoda to the provincial capital, Popondetta. Their rainforested territory provides bush foods, medicine, and other raw materials. Traditional forms of wealth include garden produce, pigs and mahudane (pig’s tusks). However, in common with many other New Guineans, they have been seeking a maja ‘ i’e (new day), and access to the wider cash economy since the country started moving towards Independence in 1975.

Women painting a barkcloth
Ömie artists painting nioge, Ömie territory, Northern Province, Papua New Guinea. Photo: Drusilla Modjeska, March, 2004

The marketing of Ömie nioge (barkcloth) has been a recent success, meeting some of these aspirations. Through the generosity of donor Todd Barlin, the Macleay Collections, Chau Chak Wing Museum, now houses what is thought to be one of the largest public collections of these barkcloths. Over 100 cloths represent a diversity of Ömie artists, and mostly come from the private collection of Pacific Arts collector/dealer David Baker, who passed away in 2009.

Baker initially made contact with Ömie villagers in 2002, sparking a mutual interest in selling their distinctive barkcloth. The earliest cloth in our collection dates to this trip. During a 2004 follow-up visit, Baker was joined by author Drusilla Modjeska, and the cooperative, Ömie Nemiss Inc. (now Ömie Artists Inc.), was established. The collection represents this early transitional period, the development of cloths as contemporary art for walls, not only for local ceremonial and domestic use. Artists continue to produce work today which is exhibited and sold through the cooperative with the support of an Australian-based manager.

Two of the foundational ancestors of the Ömie were a man called Mina and a woman called Suja. It is said that Mina instructed Suja to make the first cloth from the bark of the sihe tree, to soak it in the water and mud of the Suhojo (Uhojo) River. While introduced western-style clothing is popular, nioge continue to be made for a range of domestic purposes and are especially worn and used as skirts and loincloths for ceremonial celebrations.

Barkcloth
Lina Hojéva (Ajagi), Dahoru’e (Ömie mountains), 2004, natural pigments on barkcloth, Macleay Collections, ET2018.47

Nioge is made through a complex process of felting the inner bark of a variety of rainforest trees. Levered off in long strips, the inner bast is separated from the outer bark. It is cleaned, folded, and beaten smooth with heavy mallets. The cloth often retains natural elements such as fine holes.

The first red mud-dyed nioge had a relationship to ancestor Suja’s first menstruation and female fertility. Nioge dyed red and grey with volcanic and riverine muds are still made. Other pigments used by Ömie are derived from a range of rainforest plants, including reds such as birire made from a type of fern, shades of black-green called barige made from a variety of catalysed leaves, and a yellow dye made from ripened aré fruit.

The mountains, rainforest, and rivers of Ömie territory are the seat of their spirituality, home to their sacred sites and kinë’e (bush spirits). Historically ma’i ma’i (land-based totems) and anie (plant emblems) defined social identity and ancestral relationships to land. Human social and physiological development was conceptualised with tree metaphors: ancestors and elders extend from the roots, and children and grandchildren are associated with fine twigs and leaves. Ömie recognise male and female duvahe, clan and community leaders of learned and respected status. Duvahe is an adjective for the fork of a tree, the point where major branches diverge.

Senior women and duvahe (clan leaders) are responsible for painting the black or\’eseegé (pathways), the outlines of nioge designs. Younger artists learn through observation and play a support role, applying the colour in the interstices of these important decorative frameworks. In time, they inherit and gain rights to paint the designs themselves, adding their own hand to the distinctive Ömie design repertoire of their mothers, fathers, aunts, and grandmothers.

Vibrant and stylistically distinct nioge resonate with the cultural jögore (law), environmental knowledge, and creativity of their makers. They feature diverse patterns, from the sharp peaks and contours of mountains to concentric ‘cycling’ square motifs called nuni’e, the ‘design of the eye’ or ‘weaving pattern’. Minutely observed details from nature are a prominent design feature reflecting intimate and coded information in organic and geometric arrangements.

Faunal motifs include delicately observed patterns of animal bones, skin, tracks and webs. Botanical motifs include fruits and the patterns of bark of revered trees, and for example, the ubiquitous tendrils and thorns of the ödae climbing vine. In a form of cultural archiving, some designs record historic tattoo patterns, applied to the cloths but no longer onto bodies.

Ömie barkcloth: Pathways of nioge opens on Monday, 9 January 2023 on Level 4 in the Ian Potter Gallery. 



Rebecca Conway is Curator, Ethnography, Macleay Collections

This article was first published in issue 29 of Muse Magazine, November 2022. 

Header image: Ömie nioge, Ömie territory, Northern Province, PNG. Photo: Drusilla Modjeska, March 2004

University of Sydney

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Oceanic Art Society
16 hours ago
Oceanic Art Society

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Oceanic Art Society
17 hours ago
Oceanic Art Society

Young Artisan Creators Fair
📍 Hilton Faaa's reception room
📆 22-24 March 2023

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[NEWS] #culture #youth #craft Welcome to the 3rd Young Artisan Creators Fair! Today we're looking at how artists are reinventing tradition...👇

Article:

Young Craftspeople Fair: How Artists Are Changing Tradition
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Young Craftspeople Exhibition 2023 - ©MG / Polynesia 1st
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The third edition of the Young Craftspeople's Show opened its doors this morning, Wednesday 22 March, and will last for three days. 17 designers are exhibiting this year on the theme "reinventing tradition" and show us their vision of "modern" art.
Mereini Gamblin - Published on 22 March 2023 at 8:11 pm
Colour and craftspersonship intermingle in the Hilton Faaa's reception room... Seven stands of sculpture-engraving, four in traditional jewellery, three in basketry and three in fabric offer to the numerous visitors a showcase of traditional Polynesian crafts. For this third exhibition of young creative craftspeople organised by the Crafts Department, the theme "reinventing tradition" was once again the order of the day.
As usual, natural materials are in the spotlight at the show: pae'ore, ni'au, and mother-of-pearl. Nothing new at first glance; but when you get a little closer, you notice the finesse of the creations, the mix of textures, and the more daring choices, especially in the works in competition, for which the public can also vote this year.
Interpretations
In the world of sculpture-engraving, Warren Huhira has chosen to give the 'u'u - formerly carved from ironwood, measuring about 20 metres and used for fighting - a different function. Warren's 'u'ude is shaped like a pen. It is his new weapon to protect and pass on his Marquesan heritage: "I have reduced its form and function - today it is writing. If before we fought with weapons like the 'u'u, today we have to fight with intelligence, with our heads and our hearts to be able to preserve our culture, protect our people and transmit cultural values" defends the 24 year old sculptor.
Warren Huhina and his 'u'u revisited - ©MG / Polynesia 1st
Keanu Hikutini, a 22-year-old sculptor who also comes from the Marquesas Islands, chose to work with lychee wood for his ukulele, which is rarely used in the manufacture of musical instruments because of its rigidity. But he took up the challenge: "My competition piece is experimental. The case is made of lychee, a wood that is too rigid for violin making," explains Keanu.
Specialised in violin making but also passionate about music, Keanu is inspired by both arts to create instruments that are both original and interesting from a musical point of view. "I really enjoy making my own instruments. I'm quite critical about it too, because I don't just do it for the aesthetic object, I also do it for the sound quality," he says.
Keanu Hikutini and his ukulele made of lychee wood - ©MG / Polynésie la 1ère
In the world of traditional jewellery, young craftspeople also bring their touch of modernity. Orama Nigou, almost a regular at the fairs, is taking part in this one for the first time. The young woman has set her sights on the feather. Once widely used and associated with the gods, the feather is back in the spotlight through Orama's creations. "In our legends, it is a material that is used a lot, but the technical know-how around this material has not been maintained, unlike basketry, sculpture or engraving," explains the young woman from Raiatea.
Orama Nigou and her feather work - ©MG / Polynésie la 1ère
For her part, Temana Itchner stands out with her original work made entirely of stainless steel, which reveals her vision of the modern World: industrial, grey and concrete.
"What surrounds us today? Concrete and iron. So we said to ourselves: we're going to use stone and stainless steel to symbolise this. The mother-of-pearl will sublimate the whole thing. We broke the codes. It's a choice for the theme of the competition" explains Hanaiti Mariassouce, the artist's partner.
Temana Itchner and her stainless steel work - ©MG / Polynésie la 1ère

In the world of basketry, Anaïs Lissant mixes several skills to create her bags. Weaving is mixed with tifaifai and sculpture. "Every time, you see the same thing at the shows. I wanted to create everything in patchwork and show what you can do on a basket with what you have from nature" describes Anaïs. As a bonus, she uses fe'i bark, an extremely delicate material to work with.
Anaïs Lissant and her array of handbags - ©MG / Polynésie la 1ère
Patchwork is very present in the world of fabric, and particularly in tifaifai. Poerava Chapman offers a blanket with braided patterns, which symbolise tradition, but on the reverse side, as a modern touch. "When I turned the patchwork inside out, I fell in love with the reverse side and wanted to show it to people," says Poerava, who recently started sewing.
Poerava Chapman and her "upside down" tifaifai - ©MG / Polynésie la 1ère
An artistic approach that requires time, a lot of time... Rava Ray, an experienced seamstress, confirms this. A single blanket can take weeks or even months to make.
Rava Ray is one of the four sponsors selected for the event and offers tifaifai in relief, in a more Hawaiian style, with patterns or video tutorials.
Rava Ray and his Hawaiian tifaifai - ©MG / Polynesia 1
If tradition is still very present in today's crafts, each one puts his own effort to anchor his art in the present... "it goes hand in hand! Of course there is the ancestral know-how, and this intergenerational transmission is wonderful. But the fact that they are turned towards the future allows the sector to evolve, because a culture that does not evolve is a culture that dies", concludes Vanessa Cunéo, head of the development and communication department of the traditional crafts service.
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Salon des jeunes artisans créateurs : comment les artistes font évoluer la tradition - Polynésie la 1ère

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La troisième édition du salon des jeunes artisans créateurs a ouvert ses portes ce matin, mercredi 22 mars et ce pendant trois jours. 17 créateurs y exposent cette année sur le thème "réinvente...
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Oceanic Art Society
2 days ago
Oceanic Art Society

Jonathan Jones' untitled (walam-wunga.galang) is a collaborative project with Uncle Stan Grant Senior and Beatrice Murray. It celebrates the south-east cultural practice of collecting seeds, grinding them to make flour, to make bread, feeding our families. This practice has occurred for countless generations in this region. A grindstone believed to be 32,000 years old was unearthed in central New South Wales, making us some of the world’s oldest bread-makers. Yet like most Aboriginal stories, this story has been ignored and displaced by Australia’s colonial narrative. This work is about bringing those stories to light. The project has drawn on the work of Uncle Bruce Pascoe and Bill Gammage, key thinkers within the conversation about how south-east Australia is understood.

nga.gov.au/art-artists/Jonathan-Jones/
#JonathanJones #NationalGalleryAU

This work was commissioned and generously supported by Wesfarmers Arts, Boorloo/Perth, the Gallery’s Indigenous Arts Partner since 2012.

Jonathan Jones, Wiradjuri/Kamilaroi peoples, Dr Uncle Stan Grant Snr AM, Wiradjuri people, collaborator, Beatrice Murray, Wiradjuri people, collaborator, untitled (walam-wunga.galang) (detail), 2020–21, National Gallery of Australia, Kamberri/Canberra, gift of Wesfarmers © Jonathan Jones
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Oceanic Art Society is at Michael Reid Art Bar.
3 days ago
Oceanic Art Society

Exhibition: Voyage
📍 Michael Reid Art Bar, The Star Complex, entrance via Jones Bay Road, Darling Harbour, 18/80 Pyrmont Street, Pyrmont NSW 2009
📆 Gallery hours:
Wednesday 10am–5pm
Thursday 10am–6pm
Saturday 11am–5pm
Bar hours: Thursday - Sunday 4.30pm–late
📧 [email protected]
📞 +61 2 8353 3555
Exhibition catalog: media.michaelreid.com.au/wp-content/uploads/2023/03/22124607/voyage_2023.pdf?mibextid=Zxz2cZ

"Art Bar is thrilled to present ‘Voyage’ an exhibition investigating and reimagining the tradition of Oceanic art.

Introducing Greg Semu, the renowned New Zealand born artist of Samoan descent, to the Michael Reid audience, 8 of his photographic works will hang alongside oceanic artworks, such as large carvings, dance helmets and beautiful stone prehistoric axe-heads.

Oceanic art is seductive; it has that connection with the spirits and ritual that the modern world has lost; yet it is the root of all our contemporary art.

Oceanic, more so than the other tribal arts, is full of colour and eccentricity; there are over 800 language groups just in Papua New Guinea, signifying 800 different cultures that each interpret and create artworks in such diverse ways."
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Voyage - Michael Reid Art Bar

michaelreidartbar.com.au

Gallery by day, bar by night
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Oceanic Art Society
3 days ago
Oceanic Art Society

Photos from Taste Polynesia's post ... See MoreSee Less

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Oceanic Art Society
3 days ago
Oceanic Art Society

Star Knowledge of the eastern Torres Strait: Sia (Carina Nebula)

Sia appears before Maima. They both let Eastern Islanders know that Tagai is coming and they commence preparation of the ceremonial ground and paraphernalia associated with the ceremony of anointing Tagai.

Tommy Pau is a Cairns based artist who is a descendent of the Eastern Torres Strait Islands, his heritage is Australian Aboriginal, Papua New Guinea, Pacific Islander, and Asian.
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