Category Archives: Bodypaintings

Shipibo – Conibo – Stetebo: Patterns cover the Universe

Face pattern from the Conibo culture. (Photo from the book "Body Decoration" by Karl Gröning)

by Christopher Agostino

The intricate rectilinear and curvilinear designs that cover the faces, clothing, houses, ceramics and other objects of the cultures on the Ucayali River of the upper Amazon in Peru derive from the origin of the world, when everything in the universe was covered with such lines in a continuous unified design. The original patterns were lost, or obscured, due to misdeeds of failed proto-humans, but they are still present everywhere if one can see them. Male shamans can reclaim the patterns through hallucinogenic visions and relay them to artists who bring them back into the world through the decorations they create on objects. The women artists are aided in realizing the intricate patterns by placing the colorfully veined leaf of the iponquene plant over their eyelids before they start — the plant is named after a complexly patterned armor-headed catfish. These harmonious designs are associated with human cultivation and prosperity. In rituals, shamans can sing the tunes of songs from this labyrinth of lines.

How’s that for “the story behind the faces”, huh? And it is a story that keeps growing, as I encounter additional information about these cultures, the Shipibo, Conibo and Stetebo, which are related cultures in the headwaters region of the upper Amazon. The story above is pieced together from the Marks of Identity exhibit at the American Museum of Natural History  http://www.amnh.org/exhibitions/bodyart/index.html , from the information in the book Body Decoration by Karl Gröning (see “Books” page on this blog), and from the current Infinity of Nations exhibit at the National Museum of the American Indian http://www.nmai.si.edu/exhibitions/infinityofnations/

Shipibo pottery

The Infinity of Nations exhibit (which spoke specifically of the Shipibo) added some fascinating pieces to the puzzle. For one, that women are the primary artists, which is rare amongst indigenous cultures, and that bit about how they put a leaf on their eyelids to enhance their ability to make the patterns — which fit in so perfectly with the previous information I’d gleaned about the connection between these patterns and cultivation. It also described the technical process of creating the distinct glossy appearance of their pottery, which is achieved not by a fired glaze, but rather by coating the pot with a special tree resin while it is still hot from the kiln so that the resin fuses with the clay surface.

Wooden doll, Shipibo culture, from Infinity of Nations exhibit. The exhibit text states: "Although this doll wears bodypaint, Shipibo people never paint their full bodies, but only their faces, necks, and the tops of their hands and feet.

Like so many native cultures, their traditional lifestyle has been disrupted by the modern world, as commercial fishing companies have moved in to their region and harvested so much of the fish that the Shipibo can no longer feed themselves (as relayed by a member of the tribe in a film at the exhibit). They have turned increasingly to selling ceramics and attracting tourism as a way to survive. Do a Google Image search of “Shipibo” and it leads primarily to sites that sell their pottery, along with images of them in costume and with decorated faces on tourist adventure sites. The exhibit also points out that this need to create a market for their ceramics has altered the style of their work and led them to producing more decorative objects and less utilitarian ones. So much of what we see when we look at the art of traditional cultures is created under the influence of the modern world.

The intricacy of geometric patterning on all these objects remains remarkable. After first seeing it in the Natural History Museum exhibit in 1999 I tried to paint a few faces like this at events, without good results. Partly because I had to work too quickly for that level of detail, but also because I didn’t quite understand the formula. I had a similar experience when I first tried to imitate Southeast Nuba face designs. It wasn’t until I’d read an anthropologist’s account of the design process that I could then follow that process to create my own designs in that style. The text on the Infinity of Nations website includes a description of the process the Shipibo artists follow, so I am going to give it another try.

They start by laying in the primary, heavier lines in a pattern that is always symmetrical and “infinitely expandable in any direction” (now there’s a challenge), then they add a secondary set of smaller lines and finally the very fine lines that fill in the pattern. I note in the examples that only the primary lines are completely symmetrical, the others are not.

One thing I have always retained from my initial exposure to this unique cultural art is the concept that you can sing the design on someone’s face.

Shipibo ceramic, from the book "Body Decoration".

One of the faces I paint back in 2000 after first seeing the example of these patterns in the Natural History Museum exhibit.

A recent example of a face inspired by these patterns.

http://www.agostinoarts.com

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Bark Masks and Bodypainting of the Yamana (or Yaghan) and the Selk’nam (or Ona) of Tierra Del Fuego

by Christopher Agostino

From the first time I saw a photograph of these full-body transformations from the cultures down at Tierra Del Fuego, at the very southern tip of South America, I was amazed, struck particularly by the complete success in disguising/removing the humanity of the individuals by very basic means. The human form is so effectively altered by the shape of the headpiece/mask. The eyes (our most identifiable human feature) are removed. The simple geometric bodypaint designs achieve the fundamental tribal bodyart goal of breaking up the soft curves of the human body to make it un-human. They look like aliens. I think I first saw such photos in the Marks of Identity exhibit at the American Museum of Natural History in 1999 (http://www.amnh.org/exhibitions/bodyart/index.html), and made a sketch of the figures in my notebook. Since then I’ve seen a few other old photos — but only photos, and never thought to see the real thing because these are dissipated cultures.

 Yesterday I saw the real thing, two of the real masks, at the National Museum of the American Indian in New York, part of a fantastic exhibit of major pieces from their collection: Infinity of Nations.  These two masks are from the Yamana or Yaghan culture, from the 1910s, whereas all the other photos I’d seen were from the Selk’nam or Ona culture. In his Historical Atlas of World Mythology, Joseph Campbell talks about these two cultural groups being closely linked in their mythologies and rituals. He describes these as deriving from very ancient hunter-gatherer origins, without much outside influence since their location was so isolated.   http://www.nmai.si.edu/exhibitions/infinityofnations/

*Depending on the text, these two cultural groups are referred to by multiple names. The Selk’nam are also called the Ona. The Yamana are also called the Yaghan.  

The masked figures appeared in initiation rites and were used to impersonate powerful spirits. Worn by already initiated members of the men’s lodge, they would appear to the younger male initiates as manifestations of spirits they were raised to be fearful of and the effect would be truly startling. The initiates would have to fight the spirits and unmask them to learn the truth, and then they would be told the story of world creation and the origin of the masks:

In the time of the Ancestors, all things walked the earth as people. The sun, the moon, the mountains, all were people. Women ruled, and to maintain their rule they created a secret lodge. Led by Kra, the moon woman, the would wear bark masks and bodypaint themselves and would appear to the men so disguised, saying they were the powerful spirits who stayed with the women in their lodge. They would  frighten the men and order them to stay away. Kran, the sun man, discovered the deception. He and the men chased, beat and killed the women. Then they created the men’s lodge and their own spirit masks and disguises.

As a culture, the Selk’nam and the Yamana did not survive the encounter with Europeans. According to information that Campbell relates from Lucas Bridges, the son of an English missionary who lived there, there were about 8,000 Selk’nam in the 1880s, and less then 150 by 1947. They were killed both by exposure to European diseases and through an extermination campaign by ranchers who offered a bounty to hunters for killing the indigenous people.

seeing the real mask gives so much more information about their appearance and how the were constructed then visible in the photographs. This one was made with strips of bark laced together.

This is such an effective transformation of the human identity through such simple means. I can’t think of another example from world cultures that achieves so much so simply.

http://www.agostinoarts.com

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Scraping Paint for the Power of the Ancients — Rock Art from Pecos River area

A caller into today’s Science Friday show on NPR asked archeologist Solveig Turpin how later inhabitants of the Pecos River region responded to the more ancient, more elaborate rock art there as they created their own. She replied that they apparently respected it/ revered it as the work of their ancient ancestors. They didn’t destroy it or paint over it, though they would sometimes add their more modern drawings to it. And then she said something that really caught my attention. There is significant scraping of pigment from some of the ancient rock paintings because apparently the newer cultures would then mix the ancient pigment from the rock paintings into substances they would use or ingest during puberty and other rituals to gain the power of the ancients. “Scraping Paint” kinda feels like what I do when I look to all this stuff and try to find my inspiration in it by re-creating it as bodyart.

She said this Lower Pecos River style of rock art dates back 4-5,000 years, with sophisticated, complex painting techniques.

It features “shamanic” figures (to use that modern term for all of these ancient human/animal transformation figures whose true meaning and purpose we can only guess at), some 12 – 15′ tall. The thematic content of much of the art being interpreted as relating to human to animal transformation (or animal to human?, or humans acquiring animal attributes?) — and the panther is the key animal power figure, just as the lion is in similarly themed “shamanic” images in ancient Eurpoean cave art. Solveig Turpin: Research Fellow, Texas Archaeological Research Laboratory, University of Texas at Austin Author, “The Indigenous Art of Coahuila” (Universidad Autonoma de Coahuila, 2011)

Click here for a video of examples and her discussion of the art:

http://www.sciencefriday.com/embed/video/10392.swf

More examples and some great fotos at  http://www.rockart.org/gallery/index.html (their site asks that they not be reproduced without permission so I am not posting any here) Rock Art Foundation

National Park site information on the area and its indigenous history: http://www.nps.gov/history/history/online_books/amis/crs/sec1.htm

An image of a "shamanic" figure, from the National Parks Services site

http://www.agostinoarts.com

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