III. Kamoro Art: Continuity and change

The numbers of art objects made is determined by the Kamoro people's need for them when they participate in the big feasts. It is thus obvious that the continued existence of Kamoro art has a direct connection with the continuation of traditional culture, with its feasts and ceremonies. Feasts of this kind were still taking place at the beginning of the 1950s.
At about that time, however, artists also began to produce woodcarvings for sale. To a certain extent these were small-scale replicas of the traditional large items such as spirit poles. There were also items representing concepts introduced from outside, sometimes combined with a traditional form (for example, a crucifix in the shape of a spirit pole), sometimes in a shape derived more from western models (for example, as in another crucifix to be seen in the RMV collection).

RMV 4978-1

In c. 1955 some people had the impression that the traditional culture had disintegrated:
'Objects produced or collected after 1955 which could give us an idea of more recent developments have not been found.' ^[28]

A mission report indicates that:
'....Feasts are no longer celebrated, the drums are silent, feast attributes are seldom made, and the imposing ceremonial objects in which Mimika art excelled have disappeared from the villages. The woodcarvers of former times are now old men who rarely pick up a chisel, and there are no young men who have learned the skills.' ^[29]

Nevertheless, for some time now a certain revival of ceremonial and artistic expression has been taking place. According to recent reports, a Karapao (initiation ritual) has once again been held, and feast houses have been built in two villages, in connection with initiation rituals of this kind. Furthermore, spirit poles (mbitoro) have been erected, to fulfill a role in the death ritual. One of these poles, made in 1998, has been acquired by the RMV.
Besides this, a Kaware (canoe ritual) has once more been celebrated. This ritual serves a double purpose: first, to train men as woodcarvers, and second, to produce new canoes.
In preparing for feasts these days, the Kamoro have to take account of school, work, and religious calendars, and are obliged to notify the government authorities of their plans in good time.

A particularly stimulating factor is the annual Kamoro Art Festival, held for the first time in 1998. The local population experience this festival as a great feast, which they eagerly anticipate for months beforehand. At the same time there is a definite element of competition. Participants from the villages bring specially created woodcarvings to the festival site, in order to be eligible for the prizes offered for the different categories. An extra event in the festival is a sale of the best works of art selected by a jury of experts. Woodcarvings from many different villages are assembled in one place, permitting the visitor to make a rapid survey of current developments in woodcarving.

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