(piano music)
- [Dr. Zucker] We're in the Oceanic Galleries
in the Metropolitan Museum of Art,
looking at one of their most iconic displays.
It's a stand of these extraordinary, tall Bis poles.
- [Dr. Nuku] This series of sculptures
are from the Asmat region of New Guinea.
- [Dr. Zucker] And this recalls the way
in which the Bis poles would have been displayed
for ritual purpose.
They would've been planted into the earth.
- [Dr. Nuku] The tip, actually, is pointed
so that you could nestle it into the soil or sand.
- [Dr. Zucker] And I love how the museum's display
has the objects below the stone floor,
so that you can see them planted into the earth,
as they would be.
- [Dr. Nuku] Bis pole ceremonies were a means of
bringing the community together to enable
and assist the spirits and souls
of recently deceased people to safely depart,
so they could leave the realm of the living,
and make their way to Safan,
the realm associated with ancestors.
- [Dr. Zucker] And to bring the community
back into a kind of balance.
- [Dr. Nuku] The deaths of leaders
and individuals within the community
can cause this volatile, uncertain time.
So head men in the village
would've worked out when it was necessary
to bring the community together to
commission the Wow Ipits master carvers to carve these.
- [Dr. Zucker] And those master carvers would have
gone into isolation to produce these poles,
which are actually mangrove tree trunks
that have been upended.
That is, they've been turned upside down.
And when you look at the projections towards the top,
those are actually one of the many
root systems that come out from the trunk,
which make mangrove trees so identifiable.
- [Dr. Nuku] The mangrove trees would've been
cut down and felled in the mangrove swamp,
and they would've entered the village
and been welcomed by the women of the village,
as if they were slain enemies.
They were drawn into the main house in the village,
and the master carvers would have blocked out
the initial carved element,
and then they would've withdrawn into
another annex within the house,
where they would've completed the carving.
And they are withdrawn from any
activity and interaction with any other
members of the village.
It's a very sacred activity.
- [Dr. Zucker] I love the idea
that the trees themselves are treated
as if they were fallen warriors.
Its as if the tree itself is a human figure.
- [Dr. Nuku] In the world view of Asmat peoples,
a man is a tree, and a tree is a man.
There was a direct equivalence.
And that plank-like projection at the top
is the remaining buttress root, known as the Cemen.
It is the male principle, or phallus, of the carving.
- [Dr. Zucker] So the poles really have three zones.
There's a canoe, or structural form, at the bottom.
Then there's the figures, and then there's this Cemen.
- [Dr. Nuku] The energy and vitality
of that community coming together,
retelling the histories of the village and community,
feasting together, reaffirming ties
with their neighboring groups.
All of that spiritual essence and vitality
is deemed to flow out through that Cemen, or phallus,
back into the Earth.
So, after the staging of the Bis pole ceremony,
the poles would've been dismantled,
and then carried through to the sago palm grove.
And there they would've been left
to deteriorate and rot.
So, all that spiritual energy and vitality
that has come from bringing the community together
flows out into the soil, so it can ensure
the future prosperity for the village.
So there's this beautiful, reciprocal, cyclical relationship
with the environment, with nature.
- [Dr. Zucker] And the Cemen is clearly a male principle,
but the sago forest was associated
with the female principal.
- [Dr. Nuku] Grubs of the sago beetle
were embedded into the core of the sago palm
at the beginning of the carving of these Bis poles.
And by the time those grubs mature to become beetles,
that indicates the time when the
poles must come out and be presented to the community.
We do have in the collection fabulous ceremonial bowls,
in which these sago beetles would've been presented
very dramatically and dynamically
as these things flowed out
and people would grab them and eat them.
That's very much associated with the female principle,
so you do have this balance.
- [Dr. Zucker] The carving is exceptional,
and it's at its most elaborate
at the top of the Bis poles, in the Cemen.
It's a kind of tracery, which seems at times abstract,
and at time we can make out human figures
or forms that are recognizable.
For instance, birds.
- [Dr. Nuku] That's right, that really fluid,
curvilinear carving is packed with iconography
that relates to headhunting.
So we see the beaks of the hornbill.
We see abstracted references to flying foxes,
which are fruit bats.
So if the analogy is that a man is a tree,
and a tree is a man,
when the fruit bat, the hornbill,
were seen to be plucking the fruit of the tree,
there was an analogy made between the taking of a head.
And so, these were species that they
revered, as a result.
So they incorporate that prowess, that figure,
into the iconography, so that you're drawing that
energy into the carving itself.
- [Dr. Zucker] And you can see that representation
of vigor and power in the representations of
the human figures, as well.
They are muscular, they're strong.
There is clearly a reference to successful warriors.
- [Dr. Nuku] We see this color scheme.
The white is a color that's associated
with Safan and with the ancestors.
It's produced by burning clam shells
to create that very dusty, almost chalky texture.
The red is produced from ocers and clays in the ground.
And the red is a very charged color.
It connotes spiritual power.
And you can see here, it's been used to highlight
the scarification of these figures.
And the black is a charcoal,
and that's been used to highlight
distinctive characteristics, usually in the head and face.
- [Dr. Zucker] In several of the poles,
the bottom most part seems to be more structural,
or at least in one case, is a canoe.
- [Dr. Nuku] This element does relate to
the spiritual passage of ancestors.
- [Dr. Zucker] So we can think about the canoe
quite literally, as a vehicle.
- [Dr. Nuku] Yes, these are vehicles
to encourage and assist the departure
of the souls of recently deceased.
- [Dr. Zucker] So it's important to understand these poles
not as objects that exist in isolation,
but as very much a center point
to a complex ritual that could gather together
nearby villages and extended communities.
- [Dr. Nuku] It's really important to
not think of these things as static artworks,
but really as a dynamic means of
allowing and enabling transition
across boundaries and thresholds
between the land of the living and the land of the dead.
(piano music)