Wooden Tapa Beater

Fiji
19th-early 20th c

Provenance: Grace Goldberg collection, Harrison, NY, acquired in 1970 from Bobbi Nochimson- Entwistle. By descent to family member

A wooden bark cloth beater from Fili is used for beating and softening the fibers of the inner bark of trees to produce the material known as “bark cloth.” The process involves repeatedly hitting the bark with the beater to make it flexible and pliable for weaving or sewing into various cultural and traditional items such as clothing, mats, and household goods.

Wooden Fan Handle

Marquesas Islands
19th c or before

Provenance: Grace Goldberg collection, Harrison, NY, acquired in 1970 from Bobbi Nochimson- Entwistle. By descent to family member

In the Marquesas Islands fans were used as important ceremonial objects in various rituals and dances. They were often held by dancers or placed on the ground as a decorative element during performances.

This handle is carved with two sets of Janus figures standing back-to-back. They are known as tiki figures, and they represented deities or ancestral spirits that were believed to protect the owner of the fan from negative energies or spirits. The tiki figures were often depicted in a stylized, abstract form, with exaggerated features and bold lines. This style of carving was meant to convey the power and importance of the figures, as well as their connection to the spiritual realm. The figures standing back-to-back were often seen as a representation of the balance between male and female energies, which was an important aspect of Marquesan cosmology. The Marquesan’s believed that all things were made up of both male and female elements, and that maintaining a balance between these forces was essential for spiritual harmony.

Rootstock Club

Fiji
19th century

Provenance: Grace Goldberg collection, Harrison, NY, acquired in 1970 from Bobbi Nochimson- Entwistle. By descent to family member

Rootstock clubs, also known as Totokia, were traditional weapons used in Fiji for both ceremonial and warfare purposes. They were typically made from the root of a hardwood tree, which was chosen for its density and durability. The rootstock was shaped and carved into a club with a heavy head and a thinner handle section. The choice of a tree root for the construction of the club was based on practical considerations. Hardwood roots were readily available and provided a dense, heavy material that was suitable for use as a weapon. Additionally, the twisted and gnarled shape of the root allowed for interesting and unique designs to be carved into the club. The markings on the handle section of the club were a significant aspect of its cultural and aesthetic significance. These markings were typically featured intricate geometric patterns or stylized figures. In Fijian culture, the designs on the club were believed to have symbolic and protective value. They were thought to imbue the club with spiritual power and to offer protection to the user in battle. Additionally, the designs served an aesthetic purpose, as they were meant to be visually striking and impressive. The designs on Rootstock clubs were often unique to the individual maker, and they were sometimes used as a means of identifying the owner of the club.

Wooden Mask

Vokeo Island, Schouten Islands Group, Papua New Guinea
Early 20th c

Provenance: Grace Goldberg collection, Harrison, NY, acquired in 1970 from Bobbi Nochimson- Entwistle. By descent to family member

This very fine men’s initiation mask known as “lewa” mask, represents a male masked spirit or deity.  Its surface is painted with dark paint with traces of light blue pigment found within the cervices surrounding its eyes and the vertical and horizontal ridges.  The medial ridge of the forehead gracefully transforms into the large and bulbous, pierced nose. The peoples of the Schouten Islands, an offshore archipelago near the mouth of the Sepik River, create distinctive masks representing spirits called village lewa. Masked performers impersonating those spirits appear to dance and enforce a ban on harvesting coconuts during the lead up to walage, ceremonial food distributions held by the village headman. In preparation for a walage, the headman summons the village lewa. A male dancer impersonating a pregnant female lewa arrives first and “gives birth” to twin sons, who are portrayed by the masked dancers.

Wooden Mask

Vokeo Island, Schouten Islands Group, Papua New Guinea
Early 20th c

Provenance: Grace Goldberg collection, Harrison, NY, acquired in 1970 from Bobbi Nochimson- Entwistle. By descent to family member

This example features a nose in the pointed form of a bird’s beak which enhances the elongated face and smiling expression of this mask. Foundational beliefs specify that ancestors can appear in many forms, including those of animals. The incorporation of birdlike elements in ancestral sculpture, as seen here, is characteristic of art from the Lower Sepik River region. When performed, this mask was a small part of a gigantic, full-body costume covered with feathers and shells. The masquerader appeared in the central gathering place of a village during initiation ceremonies for boys to achieve adult status. Occasionally, the mask would have been hung on the facade of a men’s ceremonial house to signal an important event or preparation for a ceremony. The surface of the mask is well worn and it has a heavily encrusted patina, indicating it was danced and stored for continued use over many decades.