The story of ethnographic collecting is one of cross-cultural encounters. This book focuses on collecting encounters in the Kamoro region of Papua from the earliest collections made in 1828 until 2011. Exploring the links between representation and collecting, the author focuses on the creative and pragmatic agency of Kamoro people in these collecting encounters. By considering objects as visualizations of social relations, and as enactments of personal, social or historical narrative, this book combines filling a gap in the literature on Kamoro culture with an interest in broader questions that surround the nature of ethnographic collecting, representation, patronage and objectification.

This book celebrates the long neglected art of the Kamoro, a people living along the southwest coast of Papua. Traditional Kamoro culture was characterized by an almost uninterrupted series of feasts and ceremonies. Some of these feasts are still celebrated today. Woodcarvings made in a distinct style play an essential part in the proceedings. For the first time, a selection of major pieces from the collection of the Rijksmuseum voor Volkenkunde, augmented by rare objects from other museums in The Netherlands, has been brought together. Many of the objects, some collected as early as 1828, are unique. Recently collected woodcarvings show the versatility of the Kamoro in continuing the tradition while adding innovation changes to their repertoire. This book, edited by Dirk Smidt, includes a substantial essay by Jan Pouwer on major ceremonial feasts, and contributions by other experts in the field, including Todd Harple, Karen Jacobs, Methodius Mamapuku, and Hein A. van der Schoot.

This study, based on a lifelong involvement with New Guinea, compares the culture of the Kamoro (18,000 people) with that of their eastern neighbours, the Asmat (40,000), both living on the south coast of West Papua, Indonesia. The comparison, showing substantial differences as well as striking similarities, contributes to a deeper understanding of both cultures. Part I looks at Kamoro society and culture through the window of its ritual cycle, framed by gender. Part II widens the view, offering in a comparative fashion a more detailed analysis of the socio-political and cosmo-mythological setting of the Kamoro and the Asmat rituals. These are closely linked with their social formations: matrilineally oriented for the Kamoro, patrilineally for the Asmat. Next is a systematic comparison of the rituals. Kamoro culture revolves around cosmological connections, ritual and play, whereas the Asmat central focus is on warfare and headhunting. Because of this difference in cultural orientation, similar, even identical, ritual acts and myths differ in meaning. The comparison includes a cross-cultural, structural analysis of relevant myths. This publication is of interest to scholars and students in Oceanic studies and those drawn to the comparative study of cultures.

Museum Object Lessons for the Digital Age explores the nature of digital objects in museums, asking us to question our assumptions about the material, social and political foundations of digital practices. Through four wide-ranging chapters, each focused on a single object – a box, pen, effigy and cloak – this short, accessible book explores the legacies of earlier museum practices of collection, older forms of media (from dioramas to photography), and theories of how knowledge is produced in museums on a wide range of digital projects. Swooping from Ethnographic to Decorative Arts Collections, from the Google Art Project to bespoke digital experiments, Haidy Geismar explores the object lessons contained in digital form and asks what they can tell us about both the past and the future. Drawing on the author’s extensive experience working with collections across the world, Geismar argues for an understanding of digital media as material, rather than immaterial, and advocates for a more nuanced, ethnographic and historicised view of museum digitisation projects than those usually adopted in the celebratory accounts of new media in museums. By locating the digital as part of a longer history of material engagements, transformations and processes of translation, this book broadens our understanding of the reality effects that digital technologies create, and of how digital media can be mobilised in different parts of the world to very different effects.

This book examines the possibilities and limitations of corporate social responsibility in minimising the violent conflict often associated with natural resource exploitation. Through detailed and penetrating empirical analysis, the author skilfully asks why previous corporate social responsibility practices have not always achieved their aims. This theme is explored though an analysis of two of the most complex and protracted conflicts linked to natural resources in the Asia Pacific region: Bougainville (Papua New Guinea) and West Papua (Indonesia). Drawing on first-hand accounts of corporate executives and communities affected by resource conflict, this book documents the translation of global corporate social responsibility into local peace. Covering topics as diverse as post-colonialism, law, revenue distribution, security, the environment and customary reconciliation, this ambitious text reveals how and why current corporate social responsibility initiatives may be unable to assist extractive companies avoid social conflict. The study concludes that this is attributable to the failure of extractive companies to respond to the social and environmental issues of most concern to local host communities. The idea is that extractive companies could actively contribute to peace building if they were to engage with the interdependencies between business activity and the root causes of conflict. What sets this book apart is that it offers a holistic framework for extractive companies to engage with the complexity of resource conflict. ‘Interdependent Engagement’ is an integrated model of corporate social responsibility that encourages extractive companies to deal with the underlying causes of resource conflict, rather than applying solutions or critiques of their symptoms.

In a series of newly commissioned essays by both established and emerging scholars, Globalization and Contemporary Art probes the effects of internationalist culture and politics on art across a variety of media. Globalization and Contemporary Art is the first anthology to consider the role and impact of art and artist in an increasingly borderless world. First major anthology of essays concerned with the impact of globalization on contemporary art Extensive bibliography and a full index designed to enable the reader to broaden knowledge of art and its relationship to globalization Unique analysis of the contemporary art market and its operation in a globalized economy

‘Authenticity’ and authentication is at the heart of museums’ concerns in displays, objects, and interaction with visitors. These notions have formed a central element in early thought on culture and collecting. Nineteenth century-explorers, commissioned museum collectors and pioneering ethnographers attempted to lay bare the essences of cultures through collecting and studying objects from distant communities. Comparably, historical archaeology departed from the idea that cultures were discrete bounded entities, subject to divergence but precisely therefore also to be traced back and linked to, a more complete original form in de (even) deeper past. Much of what we work with today in ethnographic museum collections testifies to that conviction. Post-structural thinking brought about a far-reaching deconstruction of the authentic. It came to be recognized that both far-away communities and the deep past can only be discussed when seen as desires, constructions and inventions. Notwithstanding this undressing of the ways in which people portray their cultural surroundings and past, claims of authenticity and quests for authentication remain omnipresent. This book explores the authentic in contemporary ethnographic museums, as it persists in dialogues with stakeholders, and how museums portray themselves. How do we interact with questions of authenticity and authentication when we curate, study artefacts, collect, repatriate, and make (re)presentations? The contributing authors illustrate the divergent nature in which the authentic is brought into play, deconstructed and operationalized. Authenticity, the book argues, is an expression of a desire that is equally troubled as it is resilient.

How do images circulating in Pacific cultures and exchanged between them and their many visitors transform meanings for all involved? This fascinating collection explores how through mimesis, wayfarers and locales alike borrow images from one another to expand their cultural repertoire of meanings or borrow images from their own past to validate their identities.

In this book the concept of mobility is explored for the archaeology of the Amazonian and Caribbean region. As a result of technological and methodological progress in archaeology, mobility has become increasingly visible on the level of the individual. However, as a concept it does not seem to fit with current approaches in Amazonian archaeology, which favour a move away from viewing small mobile groups as models for the deeper past. Instead of ignoring such ethnographic tyrannies, in this book they are considered to be essential for arriving at a different past. Viewing archaeological mobility as the sum of movements of both people and objects, the empirical part of Amotopoan Trails focuses on Amotopo, a small contemporary Trio village in the interior of Suriname. The movements of the Amotopoans are tracked and positioned in a century of Trio dynamics, ultimately yielding a recent archaeology of Surinamese-Trio movements for the Sipaliwini River basin (1907-2008). Alongside the construction of this archaeology, novel mobility concepts are introduced. They provide the conceptual footholds which enable the envisioning of mobility at various temporal scales, from a decade up to a century, the sequence of which has remained a blind spot in Caribbean and Amazonian archaeology.