Oceania at the Royal Academy of Arts



Oceania, the Royal Academy’s new survey of Pacific Art,  opens with a 35 ft. cascade of polyethylene sheeting, which sweeps through the central octagonal hall like an azure wave. It’s been sewn using traditional techniques by the contemporary Māori women’s collective Mata Aho. An adjoining roomful of seagoing paraphernalia continues the watery theme; here you can marvel at the achievement of the ‘voyagers’ who set out in their double-hull outrigger canoes to colonise 20 million square miles of ocean. Objects range from the utilitarian – elaborate prows, paddles, fishing tackle – to bizarre jeux d’esprit like the extraordinary vessel crewed by carved fish and turtles, all bending to the oar. Navigation charts formed of twisted twigs and shells, beautiful in themselves (move over, Andy Goldsworthy), helped perform feats of seamanship that boggled Captain Cook in 1774.

The RA has divided the show up thematically, and after the initial scene-setting you get sections covering the role of ceremony and ritual, the importance of ‘gifting’, the first encounters with Europeans and so on. There’s a surprising congruence among the exhibits, despite the vast distances involved, so that a decorated beam from Palau, say, or a patchwork quilt from the Cook Islands, might bear remarkable similarities to examples from far-off New Zealand or Papua New Guinea. The aesthetic co-exists with the functional: battle armour may be stitched from coir, with a helmet of fish-skin that is as comical as it is conical, but things don’t get much more badass than a trident studded with shark teeth.

Ahu ula (feather cloak) belonging to Liholoho, Kamehameha II., Early 19th century Feathers, fibre, painted barkcloth (on reverse). 207 cm Museum of Archaeology and Anthropology, University of Cambridge

Wandering through the exhibition and admiring the idols, deities and ancestor figures with their stylised, geometric features feels a bit like snooping around a Modernist’s studio. After a while I gave up bothering to tick off the endless borrowings by the likes of Picasso, Modigliani and Giacometti. One is tempted to fulminate against the questionable blessings of Western civilisation: Captain Bligh, Paul Gauguin, STDs, Margaret Mead and mushroom clouds at Bikini Atoll, not to mention Rogers & Hammerstein or Elvis crooning Aloha ‘Oe. Before railing against cultural appropriation, however, it’s worth remembering that a like proportion of the objects shown here – which come overwhelmingly from European collections – were, in essence, the first tourist souvenirs. Made to order by wily Islanders to satisfy the vogue for ‘artificial curiosities’, nowadays they occupy the half-forgotten cabinets of regional museums in places like Maidstone or Exeter.

‘Oceania’ ends on a melancholy note, evoking memory and loss. In a short film clip, Marshallese poet and activist Kathy Jetnil-Kijine urges her fellow Islanders to ‘tell them/we don’t want to leave/we’ve never wanted to leave/and that we/are nothing without our islands’. But as a nearly caption tersely puts it: ‘rising sea levels threaten to make further voyages of relocation inevitable’.


Oceania at the Royal Academy 29 September-10 December 2018


Canoe prow figure nguzunguzu; wood, pigments, resin, shell; 16,5 x 9 x 15,5 cm; Marovo Lagoon, New Georgia Archipelago, Solomon Islands; collection Eugen Paravicini 1929; (c) Vb 7525; Museum der Kulturen Basel; photo: Derek Li Wan Po; 2013; all rights reserved


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