MAVE Mal, the MARQUESAS ISLANDS (Review) Sidsel Millerstrom University of Berkeley
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The Hakaea Beach Site, Marquesan Colonisation, and Models of East Polynesian Settlement
Archaeol. Oceania 45 (2010) 54 –65 The Hakaea Beach site, Marquesan colonisation, and models of East Polynesian settlement MELINDA S. ALLEN and ANDREW J. M cALISTER Keywords: Polynesia, settlement models, coastal geodynamics, climate change, colonisation process, sea level fall Abstract Field explorations at the newly recorded Hakaea Beach site, Nuku also the processes and mechanisms which might account for Hiva, Marquesas Islands were spread across a 12,500 m 2 area on regional patterns of mobility and settlement, is emphasized. the western coastal flat. The site’s geomorphic and cultural history is reconstructed based on nine strata and ten radiocarbon determinations. The Hakaea record illustrates the range of Hakaea Valley powerful environmental processes, including sea level fall, climate change, tsunamis, and tropical storm surges, which have operated Hakaea is a long narrow valley on the windward coast of on Marquesan shorelines for the last 800 years, and the ease with Nuku Hiva (Figure 1). It opens onto a ca. 300 m wide which past human activity can be obscured or erased. The results coralline sand beach (Figure 2) and a deep narrow bay. This highlight the need to systematically search for protected coastal coastline has a dynamic and complex geomorphic history, contexts and geomorphic settings where older surfaces might be with the narrow topography of both the valley and the bay preserved. Radiocarbon assemblages from the 13th century potentially aggravating the impact of terrestrial and marine Hakaea Beach site and seven other early Marquesan sites are forces, both of which have left dramatic signatures on the considered in light of three models of East Polynesian dispersal: 1) contemporary landscape. -
2020) Gauguin and Van Gogh Meet the Ninth Art. Euro- Pean Comic Art, 13 (1
Screech, Matthew (2020) Gauguin and Van Gogh Meet the Ninth Art. Euro- pean Comic Art, 13 (1). pp. 21-44. ISSN 1754-3797 Downloaded from: https://e-space.mmu.ac.uk/625715/ Version: Accepted Version Publisher: Berghahn Books DOI: https://doi.org/10.3167/eca.2020.130103 Please cite the published version https://e-space.mmu.ac.uk Gauguin and Van Gogh Meet the Ninth Art Postmodernism and Myths about Great Artists Matthew Screech Abstract This article analyses how a late twentieth-century/early twenty-first- century development in bandes dessinées, which combines historical novels with bi- ographies, expresses paradoxical attitudes towards mythologies surround- ing Paul Gauguin and Vincent Van Gogh. Firstly, I demonstrate that the paradox stems from a simultaneous desire for and suspicion of master narratives, identified as intrinsic to postmodernism by Linda Hutcheon. Then I establish how eight graphic novels perpetuate pre-existing mytho- logical master narratives about Gauguin and Van Gogh. Nevertheless, those mythologies simultaneously arouse scepticism: myths do not express ex- emplary uni versal truths; myths are artificial and fictionalised constructs whose status in reality is dubious. The albums convey tension between desire and suspicion regarding myths by a variety of devices. These include sequenced panels, circular plots, unreliable witnesses, fictional insertions, parodies and mock realism. Keywords: Gauguin, graphic novels, great artists, Linda Hutcheon, mythology, postmodernism, Van Gogh Over the period spanning 1990 to 2016 -
Paul Gauguin 8 February to 28 June 2015
Media Release Paul Gauguin 8 February to 28 June 2015 With Paul Gauguin (1848-1903), the Fondation Beyeler presents one of the most important and fascinating artists in history. As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together over fifty masterpieces by Gauguin from leading international museums and private collections. This is the most dazzling exhibition of masterpieces by this exceptional, groundbreaking French artist that has been held in Switzerland for sixty years; the last major retrospective in neighbouring countries dates back around ten years. Over six years in the making, the show is the most elaborate exhibition project in the Fondation Beyeler’s history. The museum is consequently expecting a record number of visitors. The exhibition features Gauguin’s multifaceted self-portraits as well as the visionary, spiritual paintings from his time in Brittany, but it mainly focuses on the world-famous paintings he created in Tahiti. In them, the artist celebrates his ideal of an unspoilt exotic world, harmoniously combining nature and culture, mysticism and eroticism, dream and reality. In addition to paintings, the exhibition includes a selection of Gauguin’s enigmatic sculptures that evoke the art of the South Seas that had by then already largely vanished. There is no art museum in the world exclusively devoted to Gauguin’s work, so the precious loans come from 13 countries: Switzerland, Germany, France, Spain, Belgium, Great Britain (England and Scotland), -
Marquesan Adzes in Hawai'i: Collections, Provenance
University of Hawai‘i at Hilo HOHONU 2015 Vol. 13 outside the Marquesas have never been found in the Marquesan Adzes in Hawai‘i: island group (Allen 2014:11), but this groundbreaking Collections, Provenance, and discovery was spoiled by the revelation that a yachtsman who had visited both places had donated the artifacts, Sourcing and apparently mixed them up before doing so (202). Hattie Le‘a Wheeler Gerrish Researchers with access to other sources of information Anthropology 484 can avoid possible pitfalls. Garanger (1967) laments, Fall 2014 “What amount of dispersed artifacts were illegally exported by the numerous voyagers drawn by the Abstract mirage of the “South Seas” and now irrevocably lost to In 1953, Jack and Leah Wheeler returned to science?” (390). It is my intent to honor the wishes of Hawai'i with 13 adze heads and one stone pounder my maternal grandparents, Jack and Leah Wheeler, that they had obtained during their travels in the Marquesas, the artifacts they (legally) brought home to Hawai'i from Tuamotus, and Society Islands. The rather general the East Pacific not be “irrevocably lost to science.” I provenance of these artifacts presents a challenge will attempt to source their stone artifacts, and discover that illustrates the benefits of combining XRF with what geochemistry can tell us of these tools of uncertain other sources of information, and the limits of current provenance. My experience strengthens my belief that knowledge of Pacific geochemistry. EDXRF reveals that combining non-destructive EDXRF with other sources five of the artifacts are likely made of stone from the of information such as oral history, written accounts, Eiao quarry, and the rest may represent five additional and morphological comparison, enhances the value of sources. -
The Marquesas
© Lonely Planet Publications 199 The Marquesas Grand, brooding, powerful and charismatic. That pretty much sums up the Marquesas. Here, nature’s fingers have dug deep grooves and fluted sharp edges, sculpting intricate jewels that jut up dramatically from the cobalt blue ocean. Waterfalls taller than skyscrapers trickle down vertical canyons; the ocean thrashes towering sea cliffs; sharp basalt pinnacles project from emerald forests; amphitheatre-like valleys cloaked in greenery are reminiscent of the Raiders of the Lost Ark; and scalloped bays are blanketed with desert arcs of white or black sand. This art gallery is all outdoors. Some of the most inspirational hikes and rides in French Polynesia are found here, allowing walkers and horseback riders the opportunity to explore Nuku Hiva’s convoluted hinterland. Those who want to get wet can snorkel with melon- headed whales or dive along the craggy shores of Hiva Oa and Tahuata. Bird-watchers can be kept occupied for days, too. Don’t expect sweeping bone-white beaches, tranquil turquoise lagoons, swanky resorts and THE MARQUESAS Cancun-style nightlife – the Marquesas are not a beach holiday destination. With only a smat- tering of pensions (guesthouses) and just two hotels, they’re rather an ecotourism dream. In everything from cuisine and dances to language and crafts, the Marquesas do feel different from the rest of French Polynesia, and that’s part of their appeal. Despite the trap- pings of Western influence (read: mobile phones), their cultural uniqueness is overwhelming. They also make for a mind-boggling open-air museum, with plenty of sites dating from pre-European times, all shrouded with a palpable historical aura. -
PAUL GAUGUIN (Paris 1848 - 1903 Hiva Oa)
PAUL GAUGUIN (Paris 1848 - 1903 Hiva Oa) Mask of a Savage Patinated plaster 9 7/8 x 7 3/4 inches (250 x 195 mm) Executed between 1893-1897 PROVENANCE: Vollard Collection, Paris, France John Rewald 1957-58 The Phillips Family Collection Dr. Joachim Theye, Zurich Private Collection, Switzerland EXHIBITED: Washington, D.C., National Gallery of Art, The Art of Paul Gauguin, 1 May – 31 July 1988; Chicago, Art Institute of Chicago, 17 September – 11 December 1988; Paris, Grand Palais, 10 January – 10 April 1989, illustrated catalogue no. 210 Dallas, Dallas Museum of Art, on extended loan, 1991 – 1994 Baltimore, The Walters Art Gallery, Gauguin and the School of Pont-Aven, 20 November 1994 – 15 January 1995, illustrated in addendum Boston, Museum of Fine Arts, 1995 Williamston, Massachusetts, Sterling and Francine Clark Art Institute, on extended loan 1997 – 1998 Martigny, Switzerland, Fondation Pierre Gianadda, Gauguin, 10 June – 22 November 1998, illustrated, catalogue no. 117 London, England, Ordovas, Tales of Paradise Gauguin, 4 February – 18 April 2014, illustrated p. 60 Riehen/Basel, Switzerland, Fondation Beyeler, Paul Gauguin, 8 February – 28 June 2015 As were many symbolist artists, Gauguin was fascinated by the idea of a disembodied face or mask.1 In 1893, at the very end of his first trip to Tahiti, Gauguin developed the essential characteristics of our mask in Hina Te Fatou (Fig. 1), now in the Museum of Modern Art, New York. It is interesting to note that Degas purchased this painting from the Paris exhibition of Gauguin’s work held at the Galerie Durand-Ruel in the autumn of 1893. -
Biogeography of the Fauna of French Polynesia: Diversification Within And
Phil. Trans. R. Soc. B (2008) 363, 3335–3346 doi:10.1098/rstb.2008.0124 Published online 5 September 2008 Review Biogeography of the fauna of French Polynesia: diversification within and between a series of hot spot archipelagos Rosemary G. Gillespie1,*, Elin M. Claridge2 and Sara L. Goodacre3 1Department of Environmental Science, University of California, 137 Mulford Hall, Berkeley, CA 94720-3114, USA 2UC Berkeley Gump Research Station, BP 244, Maharepa, Moorea 98728, French Polynesia 3Institute of Genetics, University of Nottingham, Nottingham NG7 2UH, UK The islands of French Polynesia cover an area the size of Europe, though total land area is smaller than Rhode Island. Each hot spot archipelago (Societies, Marquesas, Australs) is chronologically arranged. With the advent of molecular techniques, relatively precise estimations of timing and source of colonization have become feasible. We compile data for the region, first examining colonization (some lineages dispersed from the west, others from the east). Within archipelagos, blackflies (Simulium) provide the best example of adaptive radiation in the Societies, though a similar radiation occurs in weevils (Rhyncogonus). Both lineages indicate that Tahiti hosts the highest diversity. The more remote Marquesas show clear examples of adaptive radiation in birds, arthropods and snails. The Austral Islands, though generally depauperate, host astonishing diversity on the single island of Rapa, while lineages on other islands are generally widespread but with large genetic distances between islands. More recent human colonization has changed the face of Polynesian biogeography. Molecular markers highlight the rapidity of Polynesian human (plus commensal) migrations and the importance of admixture from other populations during the period of prehistoric human voyages. -
Traditional Marquesan Agriculture and Subsistence: the Historical Evidence
Rapa Nui Journal: Journal of the Easter Island Foundation Volume 20 | Issue 2 Article 5 2006 Traditional Marquesan Agriculture and Subsistence: The iH storical Evidence David J. Addison ASPA Archaeological Specialists Department Supervisor Follow this and additional works at: https://kahualike.manoa.hawaii.edu/rnj Part of the History of the Pacific slI ands Commons, and the Pacific slI ands Languages and Societies Commons Recommended Citation Addison, David J. (2006) "Traditional Marquesan Agriculture and Subsistence: The iH storical Evidence," Rapa Nui Journal: Journal of the Easter Island Foundation: Vol. 20 : Iss. 2 , Article 5. Available at: https://kahualike.manoa.hawaii.edu/rnj/vol20/iss2/5 This Research Paper is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in Rapa Nui Journal: Journal of the Easter Island Foundation by an authorized editor of Kahualike. For more information, please contact [email protected]. Addison: Traditional Marquesan Agriculture and Subsistence Traditional Marquesan Agriculture and Subsistence: The Historical Evidence Part I of IV - General Descriptions, Garden Locations, the Agricultural Calendar, Hydrology and Soils, Cultigens, and Agricultural Techniques David1. Addison* HE MARQUESAS ISLANDS (Figure 1) have long captivated nario for the prehistoric involution of Marquesan power T the attention of social scientists. Members of the Bishop structures. Museum's Bayard-Dominick Expedition did the first fonnal While social and political structures and relationships anthropological and archaeological research in the archipel have been dominant research topics, little attention has been ago (Figure 2) in the early 20'h century (e.g. -
Physical Anthropology of the Pacific – Michael Pietrusewsky
PHYSICAL (BIOLOGICAL) ANTHROPOLOGY – Physical Anthropology of the Pacific – Michael Pietrusewsky PHYSICAL ANTHROPOLOGY OF THE PACIFIC Michael Pietrusewsky Department of Anthropology, University of Hawaii at Mānoa, Honolulu, 96822 U.S.A. Keywords: Physical anthropology, skeletal biology, bioarchaeology, paleopathology, craniology, biological distance, multivariate statistics, dental studies, genetic studies, Polynesian origins, Lapita skeletons Contents 1. Introduction 2. Pacific Islands: Geology, Prehistory and Linguistics 3. First Impressions/Early Paradigms (Table 1) 4. Pacific Relationships and Polynesian Origins (Table 2) 5. Health, Disease, and Lifestyle of Early Pacific Islanders (Table 3) 6. Regional Studies in Skeletal Biology 7. Conclusions and Future Prospects Acknowledgements Glossary Bibliography Biographical Sketch Summary A brief summary of studies in physical anthropology and skeletal biology of the Pacific and Polynesia is presented. Commencing with early studies in physical anthropology in the mid-nineteenth century, which included studies of living as well as prehistoric inhabitants of the Pacific, this survey focuses mainly on two topics: What studies of skeletons from the region have revealed about 1) the initial peopling of the Pacific and the origins of the Polynesians and 2) the health and lifestyle of past Pacific Islanders and Polynesians. Despite the limited number of studies in the physical anthropology of the Pacific and issues surrounding repatriation, a significant amount of information about the past inhabitants of this region continues to emerge from work involving human skeletons. 1. Introduction This chapter summarizes previous work in physical anthropology and skeletal biology of the Pacific. Although evidence from other areas in physical anthropology (e.g., genetic and dental studies) is included, the major focus will be what studies of human skeletons and teeth reveal about the origins, health, and lifestyle of the indigenous inhabitants of the Pacific, particularly Polynesians. -
Reproducing the Marquesas Islands Through the Body
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses Summer 2015 Small Islands, Big Heart: Reproducing the Marquesas Islands Through The Body Patrick E. Molohon Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Other Anthropology Commons, and the Social and Cultural Anthropology Commons Recommended Citation Molohon, Patrick E., "Small Islands, Big Heart: Reproducing the Marquesas Islands Through The Body" (2015). All Master's Theses. 278. https://digitalcommons.cwu.edu/etd/278 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. SMALL ISLANDS, BIG HEART: REPRODUCING THE MARQUESAS ISLANDS THROUGH THE BODY __________________________________ A Thesis Presented to The Graduate Faculty Central Washington University ___________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Science Resource Management ___________________________________ by Patrick Evan Molohon July 2015 CENTRAL WASHINGTON UNIVERSITY Graduate Studies We hereby approve the thesis of Patrick Evan Molohon Candidate for the degree of Master of Science APPROVED FOR THE GRADUATE FACULTY ______________ _________________________________________ Dr. Lene -
Managing a Miconia Invasion on Fatu Hiva (French Polynesia)
iconia trees (MMiconia calvescens) Managing a Miconia invasion on Fatu Hiva (French Polynesia) Environmental Directorate for French 1 Polynesia (DIREN) n The directorate is a public agency for French Polynesia in charge of preserving and valorising the natural environments and resources of the islands. n Contacts: Christophe Brocherieux - [email protected] and r f Matai Depierre - [email protected] . h p a r g o I t ntervention site r a C n The tropical forests of the Pacific islands, including those © of French Polynesia, are considered hotspots of biodiversity, 2 particularly in terms of the endemic plants. However, numerous invasive alien species threaten that biodiversity. n Miconia trees were introduced to Tahiti for the first time in 1937 as an ornamental plant in a private botanic garden and subsequently dispersed to several islands in the Society and Marquesas groups. They have since become a major i a priority in efforts to preserve the wet forests of the islands. r a n u They were reported on the island of Fatu Hiva (southern t u p a Marquesas) for the first time in 1995-1996, where they were T . R probably introduced accidentally by road-building equipment © arriving from Tahiti to make the road between the villages of Omo’a and Hanavave. 1. Position of Fatu Hiva in the Marquesas group. 2. Fruition of a Miconia tree. n Subsequent inspections revealed its presence in a number of small valleys near the road. D n The presence of the pathogenic fungus Cgm was also isturbances and issues involved observed on Fatu Hiva (see the management report titled n The development of Miconia trees into dense, virtually Introduction of a pathogenic fungus to check the growth of single-species stands results in a severe reduction of light for Miconia trees and restore the wet forests of Tahiti 1 ). -
Collecting, Exhibiting and Engaging with East Polynesia at the Museum of New Zealand Te Papa Tongarewa
Tuhinga 24: 105–138 Copyright © Te Papa Museum of New Zealand (2013) Collecting, exhibiting and engaging with East Polynesia at the Museum of New Zealand Te Papa Tongarewa Sean Mallon* and Grace Hutton** * Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ** Museum of New Zealand Te Papa Tongarewa, PO Box 467, Wellington, New Zealand ([email protected]) ABSTRACT: The Pacific Cultures collection of the Museum of New Zealand Te Papa Tongarewa (Te Papa) holds significant artefacts from the islands of East Polynesia, including the Austral Islands, Society Islands, Marquesas Islands, Tuamotu Archipelago, Pitcairn Island and Rapa Nui (Easter Island). Some artefacts are important because of their historical association with the voyages of eighteenth-century English explorer James Cook. Others are less well documented but of outstanding aesthetic quality and once belonged to the early twentieth-century English collector William Oldman. In this survey article, we describe the holdings of East Polynesian material culture in Te Papa and argue for their relevance in the national museum of New Zealand. We also examine other holdings in Te Papa that have associations with East Polynesia, and outline a short history of outreach and engagement with communities from this region. KEYWORDS: East Polynesia, material culture, Austral Islands, Society Islands, Marquesas Islands, Pitcairn Island, Rapa Nui (Easter Island), Te Papa, Tahiti, James Cook, William Oldman. Introduction Rapa Nui (Easter Island). We do not cover the Tuamotu Archipelago or Mangareva (Gambier) Islands, as there are Given New Zealand’s twentieth-century colonial ties to the no cultural artefacts from these locations at Te Papa.