Large print labels and transcripts by wB04600d

VIEWS: 4 PAGES: 149

									Large print
labels and
transcripts
All large print labels, photographs
and transcripts are organised by
display in this book.



World Stories
Young Voices
Contents
Gallery Entrance Area
Peoples of the Forest
Iranian Identity through words and
art
Celebrating the manau
Football in Brighton and Bamako
Arctic Worlds
Objects for the Afterlife
Making Malagan
Additional Accessibility
Information
RNIB PenFriends
The PenFriends provide audio-
described information about the
gallery and stories about objects
told by young people. Collect one
from the information desk.
QR codes
World Stories: Young Voices uses
Quick Response Code technology
for visitors to use via their own
mobile phones. When the code is
scanned on your mobile phone you
will be taken to a webpage that
contains an audio-recording and a
British Sign Language (BSL) video
of young people discussing objects
on display.
For people without phones, all QR
code recordings are available on
the computer in the Resources
Area.
The transcripts of the recordings are
available in this book under the
relevant display.
Resource Area Computer
This computer contains subtitled
and BSL In-vision films.
A screen reader is installed on this
computer and can be manually
switched on or off.
The computer also has options to
enlarge text and increase screen
contrast.


Hearing Loops
Hearing loops are installed in the
gallery. Please turn your hearing
aid mode from ‘M’ to ‘T’.
Gallery
Entrance
Area
World Stories: Young Voices
Culture brings people together.
Whether it’s a passion for a sport, a
way of living in a challenging
environment or remembering those
who lived before us, culture can
unite us. It defines who we are and
helps connect yesterday to today.
Because of this, culture changes
and adapts. These World Stories
consider what we can learn about
people, their culture and values
from their objects and artworks.
246 young people worked
alongside museum staff to bring
their own perspectives to these
stories.
World Stories from Brighton
‘I learned how to use an SLR
camera, new computer skills and a
lot about other people and cultures.’
– Mandy, 15
Members of the Refugee and
Asylum Seekers’ Project (RASP)
explored objects from the World Art
collection and worked with an artist
to photograph them.
The photographs were transformed
when projected onto participants
who worked in pairs as models and
photographers. The resulting
portraits explore creative ways of
connecting with objects.
Transcript from QR
Code audio recording
This recording is also available to
view in BSL on the computer in the
Resources Area

Anna, Sayed, Shafi and Natasha
talk about the RASP photographs
My name’s Anna. I’m 24 years old. I
was born in London and I live in
Brighton.
I’m part of a group called RASP;
we are the Brighton Refugee and
Asylum Seekers’ Project. We
provide a safe place and support
for young people who are new to
the UK, who have often come
without their parents which can be
quite a daunting experience.
Our main activities are drop-in
based where we hang out together,
chat, cook – and it’s an opportunity
for people to voice any worries or
concerns that they have, which is
where volunteers like myself, come
in and help out as much as we can.
I’ve been a volunteer with RASP for
one and a half years and we often
take part in workshops such as this
photography project at the Brighton
Museum.
We would like to tell you more about
ourselves and some of the photos we
took at Brighton Museum. We
handled some objects from the World
Stories: Young Voices gallery and
took photographs of our favourite
objects which we then projected onto
each other and then took another
photograph. These are on display in
the gallery.
I’m going to tell you more about my
photograph which I made at the
museum with RASP. It’s a picture of
me close up, of my arms folded
over my chest, and the object from
the museum which is projected onto
me is a vibrant red skirt cloth from
Burma with small colourful patterns
repeated over it.
In the middle you can see I’m
wearing a necklace, which I wear
every day, which is a collection of
rings and charms that I’ve gathered
from travelling, so each one has a
specific memory of a time or place
for me.
This reminded me of the patterns
on the skirt cloth which are symbols
with specific memories or stories
which are the first things learnt by
weavers.


<singing in Pashto, also known
as Afghani>
My name is Sayed. I am 19 years
old. I was born in Afghanistan, now
live UK, Brighton. I like history; I
want to know about all of different
countries and religions, custom.
I speak like six languages: Pashto,
Dari, Persian, Urdu, English and a
little bit Kurdish as well.
<singing>
This song is about, away from
home, back home, I miss all of my
parents, brothers and sisters. And
also, I’m staying here, for a long
time.
My name is Shafi. I am 17 years
old. I was born in Afghanistan and
now live in the UK. I like reading
and writing and taking photographs.
My name is Natasha. I am 24 years
old. I was born in Bristol and live in
Brighton.
The photograph is of an object from
the Inuit culture and that’s from the
Arctic.
It’s an ivory bear that may have
been dyed orange and is thought to
be used in hunting. When I held the
actual object it felt smooth and cold
against my hands and very delicate.
The bear’s red, orange, yellow
colours make it seem warm and
alive, just like it’s resting in my
hands.
<Ends>
Temporary Display


Peoples of
the Forest
Peoples of the Forest
‘Our lands are important to us
because they are our life. From
them we take our food and make
our home.’
Pierlangela Nascimento da Cunha,
Makushi Indian
People have been living in the
Amazon rainforest for thousands of
years. They rely on its natural
resources for their physical survival,
cultural expression and spiritual
beliefs. The objects on display were
made in the 19th and early 20th
centuries but feather work is still worn
by some Amazon peoples.
Whitehawk Art Group discovered
the Amazon through looking at
museum objects, most of which are
made of materials found in the
rainforest.
‘I liked making the headdress out of
ivy and leaves. And they use
feathers. It’s part of their culture.’
Danielle, 21
How would you survive in a
rainforest?
Discovering the
Amazon with
Whitehawk Art Group
Young people from Whitehawk Art
Group met with staff from Brighton
Museum to learn about life in the
Amazon rainforest.
They created a collage map of the
Amazon which helped them find out
about the environment and the
different animals, plants and people
that live there.
Inspired by objects from the
museum, they went to East
Brighton Park and collected natural
materials to make their own
headdresses.
The group looked at pictures and
films of people in the Amazon
wearing body paint. They made
their own paints from fruits,
vegetables, charcoal and chalk.

‘Seeing an object in a museum
doesn’t really unlock the story for
me but the museum’s Amazon
project helped me see things in a
different way by using art
techniques like making the
headdresses.’ – Mike, 17
‘The experience was just fantastic.
Meeting people and seeing the
different objects and how people
live was fascinating.’– Sarah, 19
‘Learning about the Amazon has
been fun … Most of all, it’s made
me think that when I am looking at
things in the museum, there is a
whole story behind one thing.’ –
Sam, 19
Image: Danielle, Sabrina, Lily and
Pearce with collage map of the
Amazon. Photograph by Mike
Addison
Gifts of the Forest
These objects reveal the incredible
natural diversity of the Amazon
rainforest. As their materials show,
monkeys, macaws, currasows,
peccaries, porcupines, caimans and
armadillos can all be found living in
the region.
Amazon people shared the belief
that everything that grows or moves
has a soul and that human and
animal life are interconnected. Now
some groups have converted to
Christianity.
People living in the rainforest
depend on it for food, body
decoration, making music and tools.
As the survival of the forest has
come under threat through
deforestation and climate change
many Amazon people have taken
up political protest.
1 Headdress
This headdress is made from a
basketwork rim and yellow parrot
feathers. It was made and used by
Makushi people. Shamans wore
headdresses in ceremonies where
dance and trance helped them
transform into bird spirits.
Made in Guyana, Makushi people,
c1900


2 Headdress
This headdress is made from a
basketwork and wool rim and
macaw feathers. It may have
belonged to a Makushi chief.
Made in Guyana, Makushi people,
early 20th century
3 Rattle
This object is made from a
hollowed-out gourd, a vegetable in
the squash family. This type of
rattle was used in dances.
Made in Guyana, early 20th century


4 Feather ornaments
These ornaments, made from
feathers and strings of plant fibre,
were probably attached to a
headdress to hang at the sides of
the wearer’s face.
Made in Paraguay, early 20th
century
5 Ear ornaments
Men wore ornaments like these to
show their status. Usually feathers
rather than birds would hang from
the cane tubes and so this pair
might have been made to sell to
tourists. The birds used, paradise
tanager, live in flocks at the edges
of the Amazon basin. The tufts at
the end of the cane tubes are made
of macaw feathers and human hair.
Made in Ecuador, probably Jivaro
people, 19th century
6 Flutes
These flutes are made from the
wing bones of a large bird like a
condor. The markings show where
the flight feathers were attached.
Flutes like these were played for
entertainment.
Made in Guyana, 19th century


7 Necklace
This necklace is made from howler
monkey teeth, glass beads and
water-snail shells. Howler monkeys
are the loudest of all monkeys and
live in groups at the top of the
rainforest canopy.
Made in Ecuador, 19th century


8 Necklace
This necklace is made from the
beaks and feathers of five curassow
birds. The curassow is a turkey-
sized bird which lives in flocks in
the rainforest.
Made in Brazil, 19th century


9 Necklace
This necklace is made from the
teeth of a peccary, a pig-like
animal. It would have been worn at
festivals, with the teeth on the
wearer’s chest and the tassels
hanging down their back.
Made in Guyana, 19th century
10 Pendant
This polished rock crystal pendant
is attached to a string of black
vegetable seeds.
Made in Brazil, probably Makushi
people, late 18th or early 19th
century


11 Belt
The size and style of this belt
suggest that it was worn by a young
girl on special occasions. It is made
from porcupine quill with a green
beetle wing case hanging from the
centre.
Made in Peru, 19th century




12 Rattle
This object is made from a
hollowed-out gourd, a vegetable in
the squash family. This type of
rattle was used in dances.
Made in Guyana, early 20th century


13 Grater
This tool could be used to grate
plants used for healing or
hallucinogens used by shamans.
The knobbly bone is from the mouth
of a large river fish. The Y-shaped
bone is from a bird wing and may
have been used to inhale the grated
plant.
Made in Peru, 19th century
14 Charm
This charm is made from a giant
armadillo claw. The armadillo’s
huge claws are for breaking into
termite mounds. We don’t know
what this object was for but the
scratches are man-made.
Made in Paraguay, early 20th
century


15 Apron
Amazon women and girls wore
these glass bead aprons during
dance festivals. The apron’s
geometric design was inspired by
patterns in nature.
Made in Guyana, 19th century
Iranian
Identity
through
words and
art
Iranian Identity through
words and art
‘Your written words reveal life’s
hidden secrets’
150-year-old writing on pen box

For centuries Iranian artists have
created objects and images using
written words or ‘calligraphy’ in a
beautiful way. Before 1935 Iran
was known as Persia. The objects
on display show both Islamic and
Persian designs.
Today Iran’s art scene is young and
vibrant. Some artists still use
calligraphy and other ancient art
forms, but make it relevant to now.
Young Iranians living in Brighton
shared their knowledge of objects in
the museum. Their quotes form part of
the labels for this display.
How can you use art to express
ideas that are too big for words?
Writing on the walls
Tile-making in Iran
Tile-making in Iran has a long
history but was at its height in the
13th and 14th centuries.
The tile-making industry was
centred on Kashan, a town in
Isfahan province. The word for tile
in Farsi is kashi, which comes from
the town’s name.
Tile designs often included words
and a religious building might be
covered in tiles praising God. As
well as being able to read the tiles,
the viewer could appreciate the
beautiful effect of thousands of
interlocking tiles of different shapes
and colours.
1 Small star-shaped tiles
‘When you go to mosques in Iran,
their walls are covered in tiles. Each
one is unique. They have to cut tiles
to lots of different angles to fit them
into the arched building. They used
some proper maths!’ – Ciamack
The border patterns on some of
these tiles look like writing but
cannot be read.
Made in Iran, 1275-1340
Made from stonepaste
2 Blue star tiles
‘They use these tiles in mosques
and people who are rich put them in
their homes.’ – Nikta
The borders of these tiles are
decorated with Persian poetry.
Made in Kashan, Iran, 1300-1310
Possibly from the tomb of Shayk
Abd al-Samad in Natanz
Made from stonepaste
3 Pair of large turquoise tiles
‘This colour is very traditional in
Iran, it is very typically Persian.
When I see it I feel like I am in Iran.’
– Arshia
You can see traces of gold paint on
the letters of these glazed tiles.
They come from a frieze. The
joined up Arabic writing is known as
naskhi script.
Made in Iran, probably Kashan,
1260-1300
Made from stonepaste with traces
of gilding
4 Large brown and blue tile
‘This pattern is used in Iranian
carpets. The background shows a
typical Persian pattern with Arabic
lettering in front.’ – Neda
The writing around the borders is
from a chapter of the Qur’an and
reads ’…the heavens and the earth
and it was…’
Made in Kashan, Iran, c1310
Made from stonepaste
What is calligraphy?
‘A calligrapher is a professional
artist who writes poems and words
in an artistic way. It is a real skill
that not all Iranians possess.
However Iranians do value nice,
clear handwriting and often go to
special calligraphy classes to
improve their handwriting.’ – Neda,
26
The art of the word, or ‘calligraphy’,
predates the arrival of Islam in Iran.
Today artists learn calligraphy at
the Iranian Society of Calligraphy.
Some contemporary artists take a
less formal approach. The shapes
of calligraphy form the basis of
Golnaz Fathi’s work, but they
cannot be read.
Untitled painting by Golnaz Fathi
‘The writing is like a secret code.
You can try to read some bits and
guess, but some has been rubbed
out like it says things that cannot be
said.’ – Ciamack, 23
‘I was classically trained as a
calligrapher… In turning to
abstraction I started to break the
rules. However I remain thankful for
those years of studying traditional
calligraphy. I learned the structures of
the alphabets by practising for eight
hours a day. The rhythm is inscribed
in my mind forever.’ – Golnaz Fathi
Made in Iran, 2010
Mixed media on canvas
Purchased with the assistance of
The Art Fund and the James Henry
Green Charitable Trust
1 Calligraphers’ pen boxes, reed
pens and scissors
‘This is a traditional pen box.
Persian calligraphers put their reed
pens inside. This pen box is old but
today similar boxes are made in
cities like Isfahan. Part of the
Persian poem written on it says
“your written words reveal life’s
hidden secrets, the elixir of life
flows from your ink”.’ – Neda
Pen box made in Iran, 19th century
Made from papier-mâché with
varnished painting
Scissors made in Iran, 19th century
Made from damascened metal
The smaller pen box and reed pens
were donated by Mr Shapouri, a
calligrapher, painter and musician
who moved to Brighton from Iran in
1989.
Pen box made in Iran, 1980s
Made from papier-mâché
Reed pens made in Dezful, Iran,
2011
Made from bamboo
2 Holy man’s alms bowl
‘This bowl belonged to a holy person.
It has some prayers in Arabic around
the top. We write our praise in
Arabic.’ – Bahareh
Made in Abadeh, Shiraz, Iran in the
early 19th century
Carved from pear or box wood
3 Carved spoons
‘You could use these spoons for
serving sharbart, which is an
Iranian drink. It is very sweet and
not alcoholic. Alcohol is banned in
Iran because of the Islamic religion.’
– Bahareh
The small spoons were for serving
pickles and the large spoons floated
on the top of large bowls of
sharbart.
Made in Abadeh, Shiraz, Iran in the
early 19th century
Carved from pear or box wood
Human Tapestry by Sadegh
Tirafkhan
‘The image shows individuality in
the crowd. These people are all
different, they all have different
ideas.’ – Nikta, 27
‘I have been using new technology
to combine current events with
historical art. The carpet is
emblematic of Persian culture. It is a
symbol of culture, diversity and
continuity ... I am interested in the
relationship between the intricately
woven object and the people to
whom it belongs.’ – Sadegh
Tirafkhan
Made in Iran, 2009-2010
Digital photo collage
Purchased with the assistance of the
James Henry Green Charitable Trust
Untitled print by Nader Davoodi
from the series Dream Indicator
‘The writing is upside down – it is
quite old and even torn in places
but the photo looks new. It is a
contrast, in direction and in time. To
me the meaning is obvious: the
woman was covered with the words
but is now coming out from the
story. It is like wiping the words off
her face so you can see her.’ –
Sara, 25
‘According to Islamic tradition the
face is the only part of the body that
women can show in public. The
portraits in this series focus on the
face. The rest of the picture is
hidden under the page of an old,
torn book to give a sense of religion
and tradition.’ – Nader Davoodi
This piece has never been
displayed in Iran due to the
restrictions on showing women
without head scarves.
Created in Iran, 2011. Printed in
London, 2012
Digital print
Purchased with the assistance of
the James Henry Green Charitable
Trust
Transcript from QR
Code audio recording
This recording is also available to
view in BSL on the computer in the
Resources Area

Neda talking about an Iranian
penbox
Neda: Hello, I am Neda, I am from
Iran and I moved to the UK in 2010
to study interior design in Chelsea
College of Art and Design.
I have this old Iranian penbox in
front of me. They were made to put
special calligraphic pens in them
which are called ‘Qalam’ in Farsi.
This one is made from wood with
miniature paintings on top and lots
of poems on both sides. This, of
course, is because of the
importance of poetry in Persian
culture.
I have translated the two first
verses into English which says
‘your written words reveal life’s
hidden secrets, the elixir of life
flows from your ink. Your written ink
deserves to be made from deer
musk and locks of dark hair’.
In Farsi we would say… [speaks
Farsi].
<Ends>
Transcript from QR
Code audio recording
This recording is also available to
view in BSL on the computer in the
Resources Area

Sara and Pezhman talking about
Golnaz Fathi’s painting
Sara: This piece is called Untitled, by
Golnaz Fathi made in 2010 in Tehran.
I’m Sara, 25 years old. I’m from
Tehran. I moved to London in 2010,
studying illustration at the University of
the Arts, London.
Pezhman: And I’m Pezhman also
from the capital of Iran, currently
studying photography at the
University of Brighton. We’re going
to talk briefly about this painting.
The painting is almost as tall as me,
and as wide as my arms open. It is
done in mixed media on canvas,
mainly in black and white with a thin
red line in the centre, dividing it into
halves.
Sara: Traditional Persian calligraphy
contains strict rules and attempts to
reach perfection by being super fine
and delicate. The artist, Golnaz Fathi,
is herself an expert in the field, but I
think here she tries to break and
challenge the rules that she has learnt
spending eight years in classical
calligraphy.
Pezhman: I notice that she
suggests the forms used in
conventional calligraphy and
regional language in general but
they don’t actually make sense as a
sentence even though I know Farsi.
Sara: What I really like about it is
that the combination of these
shapes, this red line and the grey
shade in the centre, it gives me the
sense of looking at the walls of a
building in Tehran. It kind of
reminds me of the writing and
graffitis on the walls in Tehran,
which is now quite common.
Pezhman: For me it is interesting to
see how a contemporary art work with
this cultural background can
communicate to everyone.
<Ends>
Celebrating
the manau
Celebrating the manau
For Kachin people the annual
festival, manau, held on Kachin
State Day is an opportunity to
celebrate their shared history and
culture in difficult political times.
During the festival thousands of
Kachin people come together to
dance. Through their festival dress
Kachin people display their
diversity; through dance, their unity.
‘Dancing in the manau is important
because it shows the unity of the
Kachin community. No matter who
you are, no matter where you come
from you can participate in the
manau and you can enjoy the
dance.’ Seng Pan, 26
What would you fight to protect?
Rawang ceremonial outfits
Ceremonial outfits worn by a
Rawang man and woman
‘We want to have fun at the festival
but we need to take responsibility
for keeping our culture alive.’ –
Marip Nding Ngang Htoi Awng, 17
Wearing Kachin dress is an
important part of the manau festival.
People buy new clothes from the
local market or have them made by
local weavers and tailors.
Weaver Sang Dawng Tang made
these Kachin Rawang outfits for
Brighton Museum in 2001. The
most important design on the
Rawang man’s jacket is the manau
shadung maka, the manau post
design.
Made in Mytikyina, Kachin State,
Burma in 2001-2002
Image: The outfits being modelled
at the Shatapru manau ground,
Myitkyina, Kachin State.
Photograph taken by Htoi Awng,
2002
Made from cotton, wool, synthetic
thread, satin, cane and cowrie
shells
Image: Sang Dawng Tang weaving
the man’s tufted jacket.
Photograph taken by Salaw Zau
Ring, 2001
Ceremonial outfit worn by a
Rawang man
This jacket, blanket and skirtcloth
were worn by a Rawang man nearly
100 years ago. Similar jackets are
worn by young Rawang men at the
manau festival today.
Rawang people make up one of the
six Kachin ethnic groups. They live
in the colder northern part of Kachin
State hence the men’s thick jackets.
The hat and sword are symbols of
bravery worn with pride. The boars’
tusks and tigers’ teeth that decorate
them come from animals killed by
the first owner of these important
family heirlooms.
Made in Kachin State, Burma in the
early 20th century
Made from cotton, hemp, animal
hair, cane, iron and wood
Image: View down Rawang Valley
from the North side
Photograph by James Henry Green,
c1926
Image: Young Rawang men at the
manau festival, Myitkyina, Kachin
State, 2011
Modern Zaiwa outfit by San Bawk
Ra
‘We made this design this year’ –
Young Kachin woman, manau
festival, 2011
Young Kachin people experiment
with fashion and traditional dress at
the manau festival. With friends,
family and professional tailors they
create exciting new styles based on
old Kachin designs.
Traditional Kachin designs inspire
contemporary fashion designers.
Designer San Bawk Ra creates
Kachin-style fashions for Burmese
pop stars and celebrities. She
created this outfit for Brighton
Museum. It is based on the
traditional designs associated with
Zaiwa people, one of the six Kachin
ethnic groups.
Made in Yangon, Burma in 2011.
Made from cotton, glass, plastic,
Job’s tears seeds, cane and silver
Transcript of Film:
Celebrating the Manau
Gumring: I’m Gumring, I’m 27 years
old, I’m a student living here in the
UK and I’m Kachin.
Gumring: Historically the Kachin
people have lived in Burma, China
and India but now we Kachin also
live all around the world and there’s
about 1.2 million of us.
Gumring: In spite of all the political
challenges we face, our Kachin
culture remains strong because it
brings us all together, through our
unique kinship system, or our
beautiful clothes or our amazing
dances where thousands of people
of all generations can come and
dance together, like manau.
Seng Pan: Being involved in the
manau and dancing in the manau is
important because it shows the unity
of the Kachin people. No matter who
you are, no matter where you come
from you can participate in the
manau and you can enjoy the dance.
Kai Htang Lashi: Every ceremony
that we have – like Christmas,
thanksgiving, state days – we finish
with the manau dance. That’s our
identity.
Seng Pan: When we dance the
manau there are two people or four
people that are leading the dance
and then we have to do the same
as they are doing. It’s showing that
we obey our leaders and we obey
our ancestors.
Gumring: The manau shadung
[dance post design] that I’m
wearing is the symbol of our culture
and for me it’s the symbol of our
identity. The patterns of the dances
that we perform in manau are
represented on these poles, called
the manau shadung. Manau is not
just a dance. It is a festival with
many meanings. At the heart of it is
the manau shadung. These posts
are the symbol of what it means to
be Kachin.
Awng Hkun Mun Shai Makhaw: [In]
another two generations our Kachin
people will disappear from the
planet earth. So that’s [why it’s]
very important to teach all this new
generation about the Kachin
culture, Kachin language and
Kachin writing.
Marip Nding Ngang Htoi Awng: If
we don’t have a culture, we will be
vanished. We hold manau since our
ancestor time, we need to carry on
forever. We are young and want to
have fun at the festival, but we
need to be aware that we need to
take responsibility and keep our
culture alive.
Gumring: Even though I can’t live in
Burma I believe I’m part of a unique
culture and that’s what makes me
Kachin.
<Ends>
Football in
Brighton
and
Bamako
Football in Brighton
and Bamako
How can a game bring people
together?
‘Football is the link between me and
my friends, between me and my
enemies, between me and
everyone. The world has
differences but football is the
common ground. Football is a
culture we’re all part of. Football is
a language we all speak.’ – Jamie,
23
‘My message to players in Europe
is that if they have hearing
problems like me they should
continue to play and never give up
because we can all play football.’ –
Gaoussou, 19
Football unites us, it gives us an
identity and helps us to make
friends. Young people from
Brighton and Bamako in Mali
worked with the museum to create
a film on the subject.
So, is football just a game?
What are the similarities and
differences between young
football players in Brighton and
Bamako?
Young people from Brighton and
Bamako explored this question with
museum staff.
Two football tournaments were
organised with help from Albion in
the Community in Brighton and
Coaching for Hope in Bamako.
‘We organised a tournament to
show how we play here.’ – Yéyé, 22
A museum youth worker visited
Bamako to work with young people
to organise the tournament, record
filmed interviews and collect objects
for the display. A group of young
people in Brighton & Hove made
their own film and collection in
response.
Image: Members of the winning
team sign the ball, Preston Park,
Brighton
Image: Member of the winning team
signs the ball, Bamako, Mali
1 Football shirt
Brighton & Hove Albion
commemorative shirt to celebrate
the opening of the Amex
Community Stadium.
‘I support The Albion because I’m a
born and bred Brightonian. I enjoy
both the lows and the highs.’ –
Azzy, 23
Donated by Albion in the
Community in 2011
Made in Italy. Made from polyester
1 Football shirt
Brighton & Hove Albion
commemorative shirt to celebrate
the opening of the Amex
Community Stadium.
‘I support The Albion because I’m a
born and bred Brightonian. I enjoy
both the lows and the highs.’ –
Azzy, 23
Donated by Albion in the
Community in 2011
Made in Italy. Made from polyester
2 Football boots
‘I started playing football in 2005
and joined my first team in 2008.
I’ve played ever since. This was the
first pair of boots I wore playing
girls’ football for Patcham United. I
got top goal scorer of my league in
these boots.’ – Sadie, 16
Donated in 2012. Made from
leather and plastic
3 Plastic football
Brighton & Hove Albion football
signed by the winning team.
Made in Pakistan, collected in
Brighton
in 2011
Made from plastic


4 Topps trading cards and
sticker
Many African footballers playing in
English teams also play for a
national team in Africa.
Purchased in 2012. Made from
paper
5 Football shirt
Djoliba Athletic Club (Djoliba AC) is
one of the two biggest football
teams in Mali. The team is based in
Bamako.
‘I like to support the Djoliba
because it has the best players.’ –
Moussa, 19
Collected in Mali in 2011. Made
from polyester
6 Plastic shoes
In Mali plastic shoes like these are
worn to play football. Omar, 18,
gave these to the museum.
‘We set off to the market to buy
Omar new football boots, have a
coffee and say goodbye but not
before Yéyé (my guide) and Omar
had swapped numbers and
arranged to play football.’ – Hazel
Welch, youth worker
Collected in Mali in 2011. Made
from plastic and metal
7 Plastic football
Football signed by the winning
team.
Collected in Mali in 2011.
Made from plastic


8 Football made of recycled
materials
‘When I was young I didn’t have a
football so I’d look for stuff like
sponges or rubbish, bundle them
together with old clothes, stitch it
up, and then I’d have a ball and I’d
play with it.’ – Cheick, 18
Made and collected in Mali in 2011.
Made from recycled materials
including charcoal, plastic bags and
socks
9 Bumper stickers
Bumper stickers featuring famous
footballers including Malian players
Frédéric Oumar Kanouté and
Mahamadou Diarra.
Purchased in Bamako market,
2011.
Made from plastic
Worlds apart
This film was made by a group of
young people from Brighton & Hove
as part of a museum project.
‘The project was about showing the
meaning of football. While there are
cultural differences between Mali
and Brighton, the importance of
football remains the same.’ – Hanis,
17
‘It opened my eyes. For me football
is just something I enjoy doing at
weekends but in other parts of the
world it’s a way of life.’ – Azzy, 23
Transcript of Film:
Worlds Apart

<Music playing>
<Text on screen>
Bamako, Mali, West Africa.
<Sound of crowd cheering>
<Text on screen>
Brighton, United Kingdom.
<Text on screen>
I want to be a footballer to get my
family out of their situation.
I like playing football because I
enjoy
the game.


<Text on screen>
Worlds apart. We are the same.
Worlds apart – we are the same.
We are the same. We are the
same.
Some dream of fortune.
Some dream of fortune, some of
fame.
Some dream of making their country
proud.
Some dream of making their country
proud.
To hear the roar of a restless
crowd.
To hear the roar of a restless
crowd.
To hear the roar of a restless
crowd.
To ignite the fire within the soul.
To ignite the fire within the soul.
To kick and hear the world scream
‘goal’.
To kick and hear the world scream
‘goal’.
To find the passion within the ball.
To find the passion within the ball.
To seek the glory and take it all.
To seek the glory and take it all.
To build up on their self esteem.
To build upon their self esteem.
To make a wish and live the dream.
To keep their faith and always
believe.
To keep their faith and always
believe.
And someday what they will
achieve.
And someday what they will
achieve.
Worlds apart we are the same. We
are united in the game.
<End of music>
<Text on screen>
We are united in the game.
I like football because it’s a brilliant
sport. I watch it every week with my
mates.
You make good friends and it
brings people together.
It brings people together.
Cause it’s boosted my confidence.
I love competing, I love winning.
I’ve grown up with it. I’ve been to a
lot of games.
I like watching them because they’re
all fit.
I love the passion for the game.
It’s the one common ground
between me and the people of my
life.
Well basically football keeps me
really fit really, it keeps me healthy.
It’s fun, it’s competitive.
And it’s the one thing that me and
all my friends share in common.
<Film ends>
Arctic
Worlds
Arctic Worlds
‘Knowledge and tradition were
passed onto us as young
people…Our parents taught us how
to respect the land, the animals and
our culture. We do not want our
youth to lose what is within us’ –
Lena Ayalik Kamoayok
Indigenous peoples have lived in
the Arctic for thousands of years.
They have survived through
understanding their environment
and by using resources sustainably.
In the past knowledge about
hunting, carving and sewing and
the land was passed down through
generations. Today elders continue
to pass down these skills but also
recognise the need to adapt to a
changing world. Work by
contemporary Arctic artists reflects
both tradition and change.
Students from Patcham High
School created an animation about
hunting and living on the land,
inspired by objects in the collection.
How would you survive if you
had to make everything you
needed from local, natural
materials?
Hunting and living on
the land in Labrador
and Newfoundland,
Canada
These objects were made in
Newfoundland and Labrador,
Canada, before 1925.


1 Sled shoes
‘In Hebron we only had dog teams
and sleds, no skidoos.’ – Rita
Andersen
The walrus ivory sled shoes formed
the base of a sled. Today in
Labrador people still use sleds with
snowmobiles for taking children to
school and for hunting.
2 Walrus ivory harpoon head
(nauluk)
‘A nauluk is made from walrus tusk.
Now we don’t use them anymore –
we only use metal. A nauluk was
used for bigger animals like walrus
and white whales.’ – Wilson
Jararuse


3 Harpoon, seal skin float and
line
‘You have to be a really good shot
to get a seal. You have to hit it right
in the ear otherwise the skin will be
useless for making the float or
container.’ – John Jararuse
The seal skin float is attached to the
line with the harpoon head and
harpoon. It stops the animal from
sinking once it has been speared.
4 Snow goggles
Snow goggles helped prevent snow
blindness when travelling long
distances. These were made in the
20th century, probably for traders
as they would normally be made
from bone.
Hunting and living on
the land in Northern
Canada
These objects were made in
Northern Canada before 1925 from
bone, sinew, and ivory.


5 Bird sling net (bolas)
The bird sling net was made from
whale bone and sinew. It would be
thrown into the path of low-flying
birds.
6 Narwhal tusk harpoon and
harpoon head
This harpoon once had a harpoon
head attached and was used to
spear large animals like walrus or
seal. The narwhal is a whale.
Hunting and living on
the land in Alaska
These objects were made in Alaska
in the 18th and 19th century.
7 Seal scratcher
This tool was used to scratch the
ice around a breathing hole, making
the
seal think other seals are above
and that it is safe to come up. When
the seal surfaced it was killed using
a harpoon or gun. The tool is made
from seal’s claws, bone, wood and
baleen (bristles from a whale’s
mouth).
8 Fishing rod
The line of this rod from the Bering
Strait was made using baleen.
9 Harpoon rest
This ivory harpoon rest from the
Bering Strait is in the form of two
polar bear heads. The rest is for a
large whale-hunting harpoon and
was placed at the front of an umiak
(open boat). The engravings show
different hunting scenes such as
bears fighting, and caribou, whale
and walrus hunting.
10 Tool for straightening arrow
shafts
The caribou head on this Iñupiat
ivory tool serves to ask the caribou
spirit to ensure that the caribou
migrate on time and in the right
place.
Making, designing and
creating
Before 1950 Arctic women stayed
in the camp and looked after
children when the men went
hunting. They made the camp –
which meant preparing skins,
sewing clothing and tents, making
tools, tending lamps and preparing
food. Today some Arctic women
still make clothing; others create
textiles and prints.


Objects 11, 13 and 14 were made
in the Canadian Arctic in the 19th
and 20th centuries. Object 12 was
made in the North American Arctic.
11 Dress (appulik)
‘This appulik is only worn for
celebrations at church or like
Christmas, New Year or birthdays.
You don’t wear this every day –
only on special occasions.’ – Rita
Andersen
12 Sewing kits with leather
thimbles
Sewing kits kept tools together
safely. Needles were stored in the
ivory tubes. Women used sewing
kits to make clothing and tents, a
highly skilled and vital job.
13 Dolls
Making dolls’ clothes from leather
helped girls learn how to prepare
skins and to sew – essential skills
for adult life.
14 Large lamp (hudlick) and
game pieces
The lamp was the centre of the
household. Seal or walrus oil was
burned using a peat wick to create
light and heat during long winter
evenings. Adults and children would
gather together in the light of the
lamp to tell stories which shared
knowledge of the land, to carve and
play games. The carved duck game
pieces were thrown in the air and
played like jacks.
Art, images and the
spiritual world in
Northern Canada and
Alaska
Objects 15 were made in the North
American Arctic before 1925. The
cheek studs (16) were probably
made in Northern Canada and the
lip plug was made in Southern
Alaska before 1925.
Objects 17 and 18 were made in
Alaska in the 19th century or earlier.
15 Ivory carvings of a seal, a sea
otter, a beluga whale and a bear,
and a pair of seal head toggles
Carvings could be used as toys or
as amulets for protection. The
carving of a seal has been pierced
with a hole and so was probably
worn on a string for luck and
protection. The toggles could be
used, with a thong attached, to pull a
dead seal or a small sled.
16 Cheek studs and lip plug
Worn with the balls pointing out,
walrus hunters wore the stone cheek
studs in imitation of walrus tusks to
bring luck. The slate lip plug was
worn by older women to show higher
status.
17 Carved figures
Made from ivory, these figures could
be used as dolls by girls, or as
charms or fertility amulets.


18 Bow drill and scraper
The Iñupiat ivory bow drill shows
images of numbers of animals
caught, skins laid out, caribou
migrating, seal hunting, and places
visited and lived in. It may also show
shamanistic visions or dreams.
The Iñupiat slate and wooden
scraper was used to scrape the flesh
from animal skins and to soften
them – one of the hardest parts of
women’s work.
It has also been decorated with
hunting scenes.
land in the Copper Inuit
Territory and Central
Arctic regions, Canada
These objects were made before
1925 from bone, sinew, and ivory.
Metal for making knives was
obtained from European and
American whalers, travellers and
traders.


19 Bow, arrows and wristguard
‘When you’re aiming at the game the
feather in the arrow helps it go
straight towards the animal ...
Because we had no guns in those
days the bow and arrow were used
to catch whatever game we could,
like geese and caribou.’ – Mary
Aknaoyuk Kaniak
20 Tool (kaput) for hunting
caribou
‘You are in the kayak, you have the
paddle in one hand and the kaput in
the other, the caribou is swimming
past you and you poke it by the
kidney. You know its position by the
way the animal is swimming.’ –
Tommy Kilaodluk


21 Bone tool (nuvit) for fishing
‘This tool pierced the heads of fish
which were then strung on a rope.
Sometimes hundreds of fish were
strung onto one rope and men
would drag the rope back to the
camp together. That’s how they
worked – together. Survival is to
work in harmony.’– Tommy
Kilaodluk
22 Bone and steel snow knife
‘It is used for building igloos. Today
people mainly build igloos for shelter
if they don’t have a cabin to go to
overnight ... it’s warm once you are
inside.’– Tommy Kilaodluk
23 Knife or grooving tool
‘This is called the ‘pilautit-hauvik’,
the grooving tool. It was used to
groove different types of bone, antler
and wood. It’s very sharp.’ – Tommy
Kilaodluk
24 Fishing rod
‘The ivory carved fish at the end of
the line is for the fish to see. It will
attract the fish ... this short rod is for
ice fishing at a seal hole.’– Mary
Aknaoyuk Kaniak
25 Bowdrill (pitihhiq-ikuutaq),
bowdrill mouthpiece (okomiaq)
and sled runner
‘They would use the bowdrill to drill
the sledrunner on the bottom of the
sled. They would use caribou antler
or musk ox horn pegs to screw
them onto the sled shoe.’ – Tommy
Kilaodluk
The mouthpiece holds a stick in
place and the bow is operated in the
other hand. The pressure makes a
hole.
26 Knife (ulu) with musk ox horn
handle
‘This ulu is for butchering and
preparing meat. Smaller ones were
used for sewing and skin
preparation. Ulus are used every
day when you’re having your caribou
meat.’ – Lena Ayalik Kamoayok,
Mabel Punkok Elegik
Living on the land
‘My parents and grandparents told
me it was important to respect
what’s around you – the people, the
animals, the land.’ – Lena Ayalik
Kamoayok
Arctic peoples have always had a
strong connection with their land and
a respect for the animals they hunt.
Today hunting remains important but
hunting trips last a few days rather
than months. Older people continue
to teach young people some hunting
skills such as tracking or navigation.
Arctic people in Nain, Labrador, still
rely on hunting for food because
imported goods are expensive. A
community freezer ensures food is
available to Elders and to others in
need.
Image: Luc Paul Uviluq works with
Elders to build igloos in Cambridge
Bay, Nunavut, Canada, 2012
‘I want to keep the Inuttitut language
alive.’ – Toni White
Over the last 50 years life for Arctic
peoples has changed dramatically.
People live in permanent
settlements and the climate is
warming making hunting on the ice
harder. However the desire to
maintain their languages and culture
is strong. Whilst many traditions are
shared, there are local differences in
textiles or music, for example.
Inuit Elders from the Torngasok
Cultural Centre in Nain, Labrador,
and the Kitikmeot Heritage Society
in Cambridge Bay, Copper Inuit
Territory, gave personal responses
to images of our objects. Some of
these appear in the object labels.
Family of Eight by Tim Pitsiulak
‘Riding all-terrain vehicles (ATVs)
with lots of people is a common
thing up in the north. It’s like car
pooling. Most people can’t afford
cars or trucks so ATVs provide
family transportation.’ – Tim
Pitsiulak
Pitsiulak depicts contemporary
subject matter especially local
forms of transport such as boats
and ski-doos. He is one of a new
generation of Arctic artists seeking
to represent the realities of life in
the north today as well as
continuing the graphic skills shown
on many of the historical carvings
on display.
Pitsiulak is from Cape Dorset,
Baffin Island, Canada.
Made in 2008. Lithograph on paper
Tooth Brush by Jamasie
Pitseolak
Sculpture has long been a feature
of Arctic life. Restrictions on the
trade of walrus ivory, the traditional
medium, mean contemporary artists
often work with stone.
Whilst most Inuit artists carve from
a single block of stone, Pitseolak
combines different materials.
Instead of traditional images of
hunting and wildlife he depicts
objects reflecting life today such as
motorcycles and guitars. Tooth
Brush offers a humorous play on
words.
Pitseolak is from Cape Dorset,
Baffin Island, Canada.
Made in 2008 from stone, caribou
antler and plastic
Faces by John Terriak
‘When I travel on the land I am
always seeing faces in the
mountains so this is what I have
carved here – faces in the
mountains.’ – John Terriak
Terriak is an artist and hunter from
northern Labrador, Canada. He
carves in both stone and bone.
Often he has to travel far from his
home to find the right sort of stone.
Terriak uses sculpture to bring to life
the animals, people and places of
his home. He believes art is an
important vehicle for passing on
myths, legends and knowledge.
Made in 2010 from serpentine
Angel in Town by Shuvinai
Ashoona
‘When I start to draw I remember
things that I have experienced or
seen ... Sometimes they come out
realistically but sometimes they turn
out completely different. That is what
happens when I draw.’ – Shuvinai
Ashoona
In this print Ashoona pictures a
contemporary Inuit settlement with
modern buildings. The buildings
stand on blocks to keep them above
the snow and to prevent them
sinking when the soil thaws in
summer time. Incongruously an
angel is shown wearing sandals.
Ashoona is from Cape Dorset, Baffin
Island, Canada.
Made in 2008. Lithograph on paper
Transcript of Film In
conversation with Inuit
Elders at the Kitikmeot
Heritage Society in
Cambridge Bay, Canada

<Text on screen>
Ulu knife
<Text on screen>
Are ulu still used today?
Voice: They are used every day,
when you are having your meat and
also your frozen caribou and fish.
<Text on screen>
How do you cut and prepare
skins using an ulu?
Voice: This is what they did. They
had no pens to measure out. They
would use the small sewing ulu to
make lines.
<Text on screen>
Bow drill and mouth piece
<Text on screen>
What was the bow drill used for?
Voice: It was used for anything you
need to drill and make holes in. It
can be used for preparing or
making your bow and arrow, or to
fix your sled runner, or to fix your
kayak. It was basically used for
many purposes as well as lighting a
fire. It was a very important tool.
<Text on screen>
Sled shoes
<Text on screen>
Do you have memories of dogs
and sleds?
Voice: The sled was used to haul
goods, travelling to and from the
land, when you’re out on the land.
Voice: Everybody has memories of
using dogs and sleds. They would
travel distances using the dog and
the sled; it’s called a dog team.
Voice: They are still used today, it’s
the tradition, it’s the culture.
<Text on screen>
Snow knife
<Text on screen>
Do you still make igloos here?
Voice: Today people still make
igloos mainly for shelter, if they
don’t have a cabin to go to or for
overnight if they don’t have shelter.
Voice: The igloo shelters you when
you are on the land. It’s warm too
once you are inside. It becomes
warm as soon as you close the
entrance door.
<Text on screen>
New generations and the future
<Text on screen>
What are the reasons for keeping
traditional culture alive?
Voice: The knowledge and tradition
was passed on to us as young
people so it’s important that we
keep the Inuit culture and tradition
going, because it’s what our
parents taught us: to respect the
land, the animals and our culture.
Voice: We do not want our youth to
lose what is within us.
<Text on screen>
Thanks to:
Mabel Punkok Etegik, Anna Hikok
Nahogaloak, Jimmy Maniyogina,
Emily Angulalikaak Angulalik,
Tommy Kilaodluk, Lena Ayalik
Kamoayok,
Mary Natit Kilaodluk, Mary Akariuk
Avalak, Annie Panak Atighioyak,
Mary Aknaoyuk Kaniak and Renee
Krucas
This film is dedicated to the
memory of Tommy Kilaodluk, 1935-
2012
<Ends>
Objects
for the
Afterlife
Objects for the Afterlife
How did these 500-year-old objects
make their 6,000 mile journey to
Brighton?
‘People from Peru had objects
buried with them to help them in the
afterlife’ – Caz, 23
In ancient Peru people were buried
with personal possessions to
support and protect them into the
next world. The original entry in the
museum’s register states that the
objects on display are from the
grave of an Inca princess. But can
this be true?
Young people from Whitehawk Art
Group used creative writing to
explore questions raised by these
objects. They recorded a spoken
word piece which you can listen to.
What special things would you
take with you into the next
world?
How did these 500-year-
old objects make their
6,000 mile journey to
Brighton?
Objects entering a museum
collection are logged in an
accessions register. When these
objects were donated in 1933 they
were recorded as having been
‘found in the grave of an Inca
princess’.
We don’t know much about their
donor, Mrs Lyons of 7 Sussex
Square, Brighton, and she may have
been told this story by whoever sold
or gave her the items – but we doubt
it is true. It was not unusual for
ancient Peruvian objects to be called
‘Inca’ or associated with royalty to
increase their value. Whilst we know
that these objects belonged to
someone important, we know they
are not from a royal burial as there
would have been objects made from
gold. The mystery remains
unsolved…
Preparing for the
afterlife
500 years ago in the Peruvian
Andes, life was challenging. High up
on the steep mountain slopes the
wind is strong and the weather often
cold. The only way to survive was to
farm your own land and to wrap up
warmly against the elements.
It is perhaps, then, not surprising
that Andean people buried their
loved ones with some form of
protection for the next world.
In this display case are some burial
goods. What can these tell us about
the lives of the person or people
who owned them? Which of these
would you take to help you in the
afterlife?
1 Bag for carrying possessions
It’s hard to believe this bag is
between 300 and 500 years old. We
think it is made of llama skin. The
geometric designs on the woven
cotton handle are still typical of
Andean textiles. The pink shell is
from the coast of Ecuador. These
shells were more valuable than gold
and silver and getting hold of one
was difficult. The owner of this bag
must have had money and
connections.
Made in Peru, 1532-1700. Made
from leather (probably llama), wool,
cotton and shell
2 Knives, probably for preparing
food
Like most people living in the Andes
at the time, the owner of these
knives probably liked to eat guinea
pig, llama, rice and potatoes.
Made in Peru, 1400-1532. Made
from copper


3 Pin for holding clothes in place
Piercing tool and needles for
sewing
Andean women wore lengths of
cotton wound around their bodies
and pinned over their shoulders.
These objects belonged to a
woman.
Made in Peru, 1400-1532. Made
from silver and copper
4 Armlets for special occasions
These armlets were worn just above
the wrist, perhaps only for special
occasions. Their size and material
suggest that they belonged to a
young woman of high status.
Made in Peru, 1200-1470. Made
from silver


5 Stone carvings for good luck
These carvings seem to show a
bean pod and animals including
llamas and guinea pigs. These were
important food sources and common
sacrificial offerings.
Made in Peru, 1400-1532. Made
from stone
Whitehawk Art Group
Young people from Whitehawk Art
Group developed a spoken word
piece for this display. The group
looked at these ancient Peruvian
objects and discussed their known
history. Their response focussed on
the questions they still had about the
items, many of which can never be
answered for certain.
The resulting spoken word piece is
performed by the young people
themselves and accompanied by
some traditional flute music from the
High Andes, where these objects
may have come from.
‘It’s been amazing. I’ve loved
learning about new things and
writing poems.’ – Sam, 20
Image: Sam, Lily, Mike, Pearce and
Caz with ancient Peruvian objects
from the museum’s collection
Transcript of
Audio point
Poems by Whitehawk Art Group
Poem 1
It was in the ground a long time
Is it right to have these things here
in the museum? 6,000 miles away?
Animal skin
It is made of iron? No
What type of person would have
worn it? Why?
Really expensive
Where is it from?
Perhaps they are stones from the
garden
Perhaps it’s a slug
We don’t think so any more
We don’t think so
It might be 400 years old, it might
be 600 years old
We don’t know
Poem 2
Who did it belong to?
Perhaps it was a woman?
The bag belonged to a woman
Really expensive
It looks like a friendship bracelet
Llamas gave food and their coats
kept her warm
Animal skin
Where is it from?
Perhaps it was in the ground a long
time
Perhaps it was in the ground a long
time
How is she going to eat food in the
afterlife if she’s dead?
She would have been important and
rich in the afterlife
Really expensive
It looks like a friendship bracelet
Perhaps it’s a snake
Or perhaps just a pulled thread
Poem 3
Perhaps it’s a pin
Perhaps they had a pin on each
shoulder
Perhaps it was to pin a cloak and
keep her warm
Perhaps it’s a nail
Perhaps it’s a slug
Perhaps they liked beans
Perhaps it’s a llama
Perhaps it’s an eel
Perhaps it’s a snake
Perhaps it smells funny
Perhaps
Poem 4
Who would have carried this bag?
Not me! It’s old fashioned
What kind of person was she?
I’m still not sure
Why did somebody take these
from a grave?
I wouldn’t want to have anything
to do with that
Is it disgusting to have these things
here in the museum?
Yes, yes
It’s pulling up the memories of the
people
<Ends>
Making
Malagan
Making Malagan
‘We are all born and we all die.
Every human being has some
experience of this.’ – Victoria, 21,
Art in Mind
Malagans are dramatic wooden
sculptures displayed in special
ceremonies which link the living and
the dead. Visual symbols on the
sculptures remind everyone of their
shared history.
‘This malagan represents our clan
… It was carved in certain steps. It
uses special writing. Every colour is
a word or saying.’ – Memaai
(Orator) Julius Bokawa Laisie
Young people from Art in Mind, a
local art group for young people
with experience of mental health
issues, made a sculpture inspired
by malagan.
If you commissioned a sculpture
in your memory, what symbols
might you include?
‘Big-Mouth got him’
Big-Mouth Fish Sculpture
Being swallowed by a giant fish is a
symbol of death in malagan
carvings. When someone dies
people may say ‘big-mouth got
him’.
This sculpture is full of rich animal
symbolism.
‘If you look, there are patterns all
over the fish. I like the
representations of animals that
change into other animals.
Something starts out as a bird
shape but then perhaps changes
into a snake.’ – Charlene, 21, Art in
Mind
This Big-Mouth Fish sculpture is
made from soft wood carved with
metal tools and painted with natural
pigments. It was collected in the
Nalik region of New Ireland in 1931.
This photograph shows the
museum’s Big-Mouth Fish sculpture
in its original display house on New
Ireland in 1931. Photograph by
Alfred Bühler
Bolxuaam, Big-Mouth Fish
sculpture by Michael Homerang
‘Through malagan we know who we
are related to, we know our blood
and our ties to the land … It is like a
mapping for us. When I look at a
malagan I know where my
footprints are, where they have
been and where they will go.’ –
Jenny Homerang
The figure on the fish’s back wears
a shell pendant. Its design
represents the Moxomaaraba clan.
This sculpture was made in Madina
village in 1993 for Tamun Kosep, a
Moxomaaraba clan elder.
The similarity between the two Big-
Mouth Fish sculptures is striking.
The older one may have been
carved by Michael Homerang’s
father, Silaamangaas Lauriman
Lerakin.
Purchased with the assistance of
the V&A Purchase Grant Fund and
the James Henry Green Charitable
Trust
Tatanua masks
Tatanua masks are worn by male
dancers at the end of a malagan
ceremony. The ceremony is used to
settle things after someone dies.
The tatanua dancers help return life
to normal.
The dancers must remain silent
when they wear their masks. They
keep their bodies hidden under
bunches of fresh leaves. While they
dance, other men sing old songs
and play a friction drum.
Tatanua masks are carved from a
soft wood and painted with natural
pigments. Realistic eyes are made
from sea snail shell. The crested
hairstyle is made from plant fibres,
decorated on one side with lime
plaster.
1 Tatanua mask
Made in New Ireland, 1880-1900
Made from wood, lime plaster,
vegetable fibres, sea snail shell and
natural pigment


2 Tatanua mask
The printed cloth on this mask was
brought to New Ireland by
European traders.
Made in New Ireland, 1870-1885.
Made from wood, lime plaster,
vegetable fibres, sea snail shell,
trade cloth and natural pigment
3 Tatanua mask
Tatanua masks are still made and
worn. This mask was made in 1985
by Lanngiri Urban. It echoes the
design of the older masks but is
bigger and uses modern materials.
Made in Langania village, northeast
New Ireland, 1985. Made from
wood, raffia, knitting yarn, plastic,
paint, beads and sea snail shell
Malagan friezes
Historic malagan friezes
‘Seeing the friezes close up is
incredible. Imagine the skill of the
artist. The shapes, the holes, the
layers – how did they do that?’ –
Lisa, 21, Art in Mind
These two friezes were collected
before 1885. They are early
examples of malagan carvings
made with steel tools. European
traders introduced metal tools to
New Ireland in about 1870.
Called kobo-kobor, these friezes
use a symbolic visual language to
remind New Ireland communities,
or clans, of their shared history.
They were displayed together in a
specially-created shelter, on racks,
one above the other.
Contemporary malagan
frieze
This artwork was created by
members of Art in Mind, a local art
group for young people with
experience of mental health issues,
and artist Jill Parsons.
‘Inspired by malagan themes of the
natural world, repeated patterns,
symbols and colours, the sculpture
balances an earthy feel with an
urban, industrial look.
The sculpture symbolises mental
health struggles, the individual
versus the group and freedom
versus oppression. It also suggests
the pressures young people face in
a society based on social
networking.
The cogs represent the mind,
society and barriers to overcome.
The phoenix represents strength,
flight and freedom. The hands
cooperation and support and the
leaves growth and new chapters.’ –
Tom, 19, Art in Mind
Made from clay, plaster, wood and
acrylic paint in 2011
Image: Tom, artist Jill Parsons,
Rosie, Lisa, Helena, Sam, Charlene
and curator Georgina Gilmore
Transcript from QR
Code audio recording
This recording is also available to
view in BSL on the computer in the
Resources Area

Rosie and Lisa from Art in Mind
talk about their contemporary
malagan sculpture
My name is Rosie. I’m 22 years old
and I live in Brighton. I just
graduated from the University of
Sussex, studying Media Practice
and Theory, specialising in
Photography, which is a great
passion of mine.
I am part of a group called Art in
Mind. We are a group of young
people with some experience of
mental health issues, either
personally or through a family
member or a close friend.
We meet regularly in order to create
art that helps to raise awareness
around mental health. We also use
the art as a therapeutic tool and find
that producing art as a group
promotes safety and security.
We are going to tell you more about
the sculpture we have made at
Brighton Museum. The piece we’ve
created for the museum is a
sculpture made from plaster, clay,
wood and wire. It’s about as wide
as my outstretched arms and its
height is roughly from the ground
up to my knees.
The sculpture is made up of a brick
wall made from plaster with many
different symbols, shapes and
patterns on it. It’s surrounded with
leaves and there are hands
clasping parts of the wall. These
are made from clay.
In the centre there is a bird carved
from wood, bursting through the
wall.
There is a CCTV camera at the top
of the wall looking down at the bird.
And finally there are bricks missing
which reveals a moody skyline
behind the wall.
For me I think that the leaves
surrounding the piece are an
important aspect when it comes to
my own mental health. I feel
happier amongst nature and living
in a city it is important to find
escapism by visiting the
countryside. The leaves and the
bird counter the mechanical,
metallic and solid nature of the wall,
providing an interesting contrast.
My name is Lisa. I’m 21 years old. I
was born and live in Brighton. I am
an artist and I use a variety of
mediums from paint to sewing. I
love music and often find inspiration
in songs.
Our sculpture is inspired by the Big
Fish at the museum, which is from
New Ireland in Papua New Guinea.
The Big Fish is a family history
themed sculpture and is covered in
symbols and rich warm colours.
Our sculpture was a group decision.
We all had some input and say into
how it would look and that was very
important to us. It symbolises group
strength and unity. I am very proud
of what our group has achieved.
I particularly like that when I look at
it I can feel an energy. It reminds
me of our group. It makes me
reflect on my own mental health
and situation. Cogs were important
to me as they represent my
depression; the way that one
negative thing, no matter how
small, can have a knock-on effect to
my mood. I like how the bird feels
very powerful and free, that it has
burst through and broken the wall.
<Ends>

								
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