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The Haus Tambaran of Bongiora: A View from Within of the Tambaran and Yam Cults of the Abelam in the East Sepik Province of Papua New Guinea by Godfried Johan Marie Gerrits (review)

The Haus Tambaran of Bongiora: A View from Within of the Tambaran and Yam Cults of the Abelam in... the contemporary pacific · 26:2 (2014) Pisin) that had been built in Bongiora in 1965. In 1972, these carvings had been used in the Utmandji and Kimbi male initiation sequences, and in offering the remnants to Gerrits, Bongiora people appear to have been hoping for a novel recycling of their art production. Instead, Gerrits negotiated a deal through which they would reconstruct and restore the two initiation chambers involved in the 1972 initiations. Subsequently, he had these reconstructions removed to European museums: the Putilaga chamber, in which the Kimbi sequence was staged, went to the Museum der Kulturen in Basel, and the Lungwallndu chamber, used for the Utmandji stage, to the Linden Museum in Stuttgart. Anyone who has been fortunate to see either of these truly breathtaking displays will know how indebted we are to Gerrits for his efforts in documenting Abelam culture. Following an introduction, the book's second chapter provides an extremely detailed description of the Bongiora korombo, which was still standing and in relatively good condition in 1973. As many readers will know, the Abelam became famous for these remarkable structures. Their enormous, cantilevered facades, painted with row upon row of looming, ritual faces, constitute a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

The Haus Tambaran of Bongiora: A View from Within of the Tambaran and Yam Cults of the Abelam in the East Sepik Province of Papua New Guinea by Godfried Johan Marie Gerrits (review)

The Contemporary Pacific , Volume 26 (2) – Sep 17, 2014

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-9464
Publisher site
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Abstract

the contemporary pacific · 26:2 (2014) Pisin) that had been built in Bongiora in 1965. In 1972, these carvings had been used in the Utmandji and Kimbi male initiation sequences, and in offering the remnants to Gerrits, Bongiora people appear to have been hoping for a novel recycling of their art production. Instead, Gerrits negotiated a deal through which they would reconstruct and restore the two initiation chambers involved in the 1972 initiations. Subsequently, he had these reconstructions removed to European museums: the Putilaga chamber, in which the Kimbi sequence was staged, went to the Museum der Kulturen in Basel, and the Lungwallndu chamber, used for the Utmandji stage, to the Linden Museum in Stuttgart. Anyone who has been fortunate to see either of these truly breathtaking displays will know how indebted we are to Gerrits for his efforts in documenting Abelam culture. Following an introduction, the book's second chapter provides an extremely detailed description of the Bongiora korombo, which was still standing and in relatively good condition in 1973. As many readers will know, the Abelam became famous for these remarkable structures. Their enormous, cantilevered facades, painted with row upon row of looming, ritual faces, constitute a

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Sep 17, 2014

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