Tag Archives: transformation

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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Transformation Facepainting Company — Jennifer’s Faces 2011

Here are a collection of faces painted by one of our artists at a few recent events.  Jennifer Wade has been painting her own uniquely creative faces with my company for more than 15 years. She brings to our Transformation approach a refined color sense and a method of stippling and layering colors to quickly achieve a complex background and create her original scenic designs. In our method, all of our artists are encouraged to develop their own designs and style, and Jennifer is an accomplished designer, bringing a great deal of enthusiasm to the challenge of creating new faces for special theme events like the World Science Festival or the NBA Draft Fan Zone. She is a fine art painter and an accomplished craft artist — a future post will showcase the work she does creating Ceramic Tile Murals with seniors and children. Jennifer is also a highly skilled art therapist and absolutely wonderful dealing with the public and getting kids and adults to join us in the sense of creative adventure that is at the heart of Transformations.

I first brought together a company of artists because I wanted to have the ability to impact large events by filling them with painted faces, and I couldn’t do that alone. Working with this group of artists all these years, however, has been the source of so many additional benefits as we have come to share this adventure together. Encouraging and inspiring each other, supporting each other’s non-facepainting endeavors, playing together, and commiserating with each other about that one rotten customer who wants to ruin a beautiful day of painting. I believe it is this sense of camaraderie that keeps our company together today through all these years.

 

painted at our Bronx Zoo concession

From the Science Festival: the extinct Golden Toad of Costa Rica's cloud rainforest

Science Festival: Albatross

Science Festival: an anthropological design based on an ancient piece of pottery from Guanajuato, Mexico

At the NBA Draft Day Fan Zone

 

NBA - Chicago Bulls logo

 

At the Coney Island Aquarium

 

A "Day of the Dead" design painted at a school's Mexican Fiesta

 

another Mexican Fiesta design

 

Jennifer's foto of me painting the school's Vice Principal at the Fiesta

 

 

for examples of another of our artists’ faces see: https://thestorybehindthefaces.com/2011/05/03/facepainting-event-modern-art-faces-in-philly-pt-1-britt/

http://www.agostinoarts.com