Hand stencils and communal history: A case study from Auwim, East Sepik, Papua New Guinea

Hand stencils directly represent modern humans in landscape settings around the world. Yet their social and cultural contexts are often overlooked due to lack of ethnography associated with artwork. This paper explores hand from Kundumbue Pundimbung rock art sites, situated traditional boundaries Auwim people East Sepik Province Papua New Guinea. Combining archaeological analysis ethnographic knowledge, we demonstrate that a priority each clan's place-making practices, which they construct community's narratives. Rock shelters also show form communal history is evoked through production contemporary settings, addition having been esoteric magic past. We conclude can have multiple meanings over time across space as widespread marker. However, aspects identities individuals, groups communities who created now static imagery, remain place. Les mains negatives représentent directement les hommes modernes dans leur environnement, et ceci à travers le monde. Cependant contexte culturel étant associé est souvent négligé de par l'absence données ethnographiques liées ces oeuvres picturales. Cet article étudie des sites d'art rupestre Pundimbung, situés sur territoire traditionel habitants du village d'Auwim la région l'Est en Papouasie Nouvelle Guinée. En combinant analyses archéologiques avec savoir éthnographie, nous démontrons que sont une priorité l'espace création chaque clan, autour laquelle construit récits actuels vie sociale communauté. abris rocheux leurs peintures rupestres témoignent aussi d'une forme d'histoire communauté qui évoquée context actuel, plus d'avoir été passé magie ésotérique. Nous concluons peuvent avoir multiples significations temps comme marqueur trés répandue. Cependant, caractéristiques l'identité individus, groupes communautés ont créé l'imagerie mains, maintenant figée, activités rituelles ou ordinaires, toujours présentes. Human found throughout Their representation global assemblage provides unique opportunity explore or better understand image production, physical reality individual artists and/or community produced them. method spraying paint made ochre other pigments onto placed on cave shelter walls ceilings leaving behind an outline original human (see Dobrez, 2013, 2014 for discussion different stencil techniques). They primarily parts northern Africa (e.g., Le Quellec, 2016), Europe Bahn, 1998; Clottes & Courtin, 1996, p. 66; Faurie Raymond, 2004; Morley, 2007, 74, see fig. 6.4; Nelson al., 2006, 2017; Nowell, 2021, pp. 74–76, table 3.3; Pettitt 2014, 2015; Rabazo-Rodríguez Snow, 2013), Americas Guichón Re, 2021; Onetto Podestá, 2011), Southeast Asia (especially Indonesia, Thailand China Aubert 2018; Chazine, 2005; Chazine Noury, 2006; Oktaviana 2016; Solheim Gorman, 1964; Standish 2020; Taçon 2016)), Australia Gunn. Hayward Moore, 1977; Quinnell, 1976; 2010; Walsh, 1979), Guinea Arifin Delanghe, Edwards Sullivan, 2008; Gabriel Gorecki, 2014; Röder, 1938; Tsang 2020, 2022) greater western Pacific islands Ballard, 1992; Rosenfeld, 1988; Sand Specht, 1979; Wilson, 2002; Wilson 2018). Over past century, growing interest because not only ubiquitous artistic behaviour assemblages but undebatable illustration presence Walker Various studies focused technical such size whether female male (Faurie 2013). Some researchers attempted identify hands children Gunn 2006) non-humans Honoré 2016). Furthermore, there dating Island 2018) García-Diezl Pike 2012) well using digital techniques assist questions chronological phases evidence superimpositions Carden Miotti, 2020). But while these crucial our attempt situate cognitive behaviours landscapes, still fully understood. one great challenges studying general complex nature understanding its function interpreting meaning/s given subjective Dowson, 2009; Monney Baracchini, 2018, 530). Ethnography local people's knowledge remains significant almost entirely unexplored means interrogate past-present practices. Communities region continue create creation significance Lamb In particular, (PNG), relevant societies (Edwards Gorecki Jones, 1987a, 1987b; presented methodologies. present new insights Auwim, Province, PNG (Figure 1), use both formal informed methods (Taçon Chippindale, 1998) conducted assessed fieldwork 2018. Our objective here role this case study discuss very briefly how similar differ internationally. To achieve this, utilise perspectives (e.g. manifest observable information current (Monney secondary sources detail into “formal” analysis. Together, provide more contextual meaning stencils. Drawing notions place geography architecture Malpas, 1999, Seamon, model substance anthropology (Kearney 2018), examine place-making. shelter, oral narratives all elements within place, taken together could help us connect comprehend draw anthropological data regarding relation three substantive themes described by Kearney al. (2018, 382). The features include shelters, stencils, below, at certain time. Oral linked individuals owned explored. theme now-static artwork absence representing those whose remain, themselves passed on. although universally occurring motif space, identity clans them various rituals mundane activities. Fieldwork five including (for 186, 1). were systematically photographed panel levels allowing off-site preliminary identification counting motifs. motifs digitally enhanced DStretch (Version 8.3). Following Brady (2005, 2010), recorded classified 4-level hierarchical scheme stylistic variation before linking below). Evidence superimposition was identified shelters. ground-level located Mambanakae sub-clan territorial open sloping limestone conglomerate, approximately 65 m length than 10 height 2). entrance outstanding feature dormant creek once flowed out ritual narrative. Local informants refrained sharing narrative author [R.T.] she female, indicating men's sacred site male/boys’ initiation). There potential excavations has floor deposit, constraints It is, however, subject future research plans. dominated A total 128 3). Of these, 74 (58%) indeterminate 54 (42%) determinate. determinate motifs, appendages. (both right left-hand) account 76% (n = 41/54), followed finger 22% 12/54), + wrist +forearm 2% 1/54) Figure 58% indicate most faded deteriorated. 4a,b showing right-hand stencil). Most 1 ground/surface floor, some required scaffolding production. concentrated middle shelter. majority stencilled flat spaces gravel mixture, purposely chose type wall area marks 5). exposed faded. steep cliff-face overlooking tropical forest Kaemkae village. 300 above sea level, 70 long 16 high 6). entrance, towards end face far wall. consists paintings. 803 identified, 200 previously 1987. 645 (80%) 158 (20%) 7). Figurative Non-figurative), constitute 97% 628) 3% 17) For figurative appendage 577), 54% 309/577), 18% 102/577), forearm 16% 92/577), 11% 61/577) 1% foot 13/577) 4c,d left-hand Ethnographic records times be utilised archaeology connection These stories “explicitly mention actual perceptions interactions art” involve categories about 533). field, approach producing results. relating distinctive respective clan members collected 2018 8). guides assistants visited team. Unstructured, conversational interviews group level meetings), participation visits field observation employed. Guinean assistant, archaeologist (R.T.), interviewed owners two primary sites. Interviews individually elder co-author, SK members, Mark, Peter Timothy Kamuk own meetings Tok Pisin Angarik campsite (usually after visit), central location systematic recording site. As handwritten participants explicitly asked if happy what written down transcribed finalised version considered complete. Also, where gathered, R.T. read script interviewees then verbally approved documented unpublished report (Tsang, National Museum Art Gallery part Papuan Past Project reports. thematic based unstructured questionnaires descriptions sites/motifs undertaken categorise data. instance, matched context, offers because, places, practices present. ongoing exceptional investigate ethnography. Particularly ongoing, example, stencilling 2021). focus emic perspective methods. Baracchini 533–536) describe four initial creators setting. first category record address involves making retouching early 1987, contain recently made. secular used overnight camp stops painted, “there wall, white bark tree it” (Gorecki owns process painting begins age. rock-shelters essentially members’ ownership specific land area/boundary, remember generation earth. may belong person skull deceased clan. Specific message represents another usually occurs when invite someone (who member) stone house (rock-shelter). he/she put mark rock-shelter. reason, hand/finger messages Pukan rock- (Figures 9 10). living memory gave example little boy cousin Fidelis (one assistants). His parents had died her aunt (Fidelis's mother) whom took raised. him (a small boy's thumb folded in) his left hand. order separately rest Indumbukae addition, want distinctively unknown reasons types messages. statements worth noting Samantha Katuk, inspired conversation RT used, riverbed 10a–d). demonstrates how, where, taught succeeding generations, even it ritual-related further needed clarification. reluctant unwilling instance spontaneous called Apuranga surreptitiously study, (2021) leaders intention authors concluded “the team interests shown embedded traditions practices…in network relationships involving traditions, strategies, overcoming fear” (Tsang 192). second observed, (or images) insight 535). range especially ancestors resided being today. Paimbumkanja containing no 2017 between 3000 2000 years BP knapping stratigraphy layers “meals, faeces, vegetable litter fires” (Forestier 2019, 126). After day excavation 2017, stencil. day, 11). According F-XR, men (possibly adolescent comparison F-XR's against 11) indicates clarification Other abandoned contained tradition Nonetheless, again, implications researcher Producing reproducing designs media 2012; 2021), scraping introduced objects steel bush knife (Gabriel 1987b), smearing blood initiation ceremonies, rites depositing important 1987b). Thus, pre-existing inherent changes Current observations existing without Apthorpe, 1962; among despite paintings (Sullivan, 2012). observed scraping, outlining overlaying evidenced world, Sassoon, 1960, 51). terms smearing, locals accompanied Paul Rhys Jones mentioned restricted women, “extensive areas stains smeared parallel lines blood” – piercing penis glans bamboo implements during 2008, 18; 5–6). flour-paste cattle (Balfour, 1956, 83–85), locally understood stenciling Roscoe Telban, deposition common contact period “a large, decorated pot Middle Sepik, platforms bones, woven armbands dead people, sheltered alcove flutes” 6–7). (1987a, 6–7) spent night “two played flutes danced several songs related” 2014). lot memorabilia belongs deceased, hunting trophies bows, arrows, pottery animal skulls 16; Tsang, examples “depositing offerings” “feeding figures” 535 references). third subjects depicted meaning/s. potentially available identifying images names portrayed (i.e., material objects), body-design hand, signs) caves). object kina shell bride price ceremonies long-distance trade networks 2020), bone dagger homicide events 2022). Individual recognised elder's brother cave; able depicted; lastly, belonging known 1987 7, 2014) emotions fear expressed story Such affective relational explained narratives, southwest Gulf Carpentaria Bradley, Apart identifiable objects, link origin created. noted above, reported related sung “these myths formation species birds animals indeed itself” One recounts emanation language 25). consisting foot, leaf way reconnecting feared Important place-marking strategy) place/rock Both creation, sociocultural available, creating settings. last connections graphic expressions source information. sago depicting “mythic beings” “non-figurative act mnemonic devices histories” 2012, 9). engaging photographs representations showed taking telling subjects. anthropologist, Nancy 14, 6 1961). 2010, Sullivan's suggested “Auwim begin sale tourists visitors” indicated difference motifs) 1960s changed much painted 12–13, 16–19, figs. 7a-z 8a-n). huge whereby designs, reflect symbols rather seem Forge (1991) argued. Importantly, recognise 1961 relatives. links recent naming represents, Uook Kumugna mother snake advises 18–19, 8l). are, differences forms surfaces. acrylic pigment colours “charcoal, lime, brown clays make elaborate spiral, animal, anthropomorphic connected artist's clan” 19; Haberland, 1966, 43–44, 13) individual's 15). shows wealth provided shared region. productions ceremonies. hundred percent (although leading indeterminate) 3 On basis