String figures from the highlands of West New Guinea

Bulletin of FIGURES the International String Figure Association, Vol. 17, 129-204, 2010 STRING FROM WEST NEW GUINEA 129 String figures from the highlands of West New Guinea collected by JULES CAMPS† OFM transcribed and annotated by STEPHAN CLAASSEN, Best, the Netherlands ABSTRACT In the 1970s Jules Camps OFM made two films on string figures while working as a missionary in the New Guinean highlands. One stems from the Grand Valley of the Balim river, the other from the Ilaga valley. Here transcriptions and reconstructions of twenty-one of the twenty-two different string figures in the films are presented, along with a short introduction and comparative notes. They are the first published construction methods for figures from West New Guinea. Six of the figures were hitherto unknown. In an Appendix, construction methods of two other string figures from the New Guinean highlands are presented. German researcher Irenäus EiblEibesfeldt filmed them among the Eipo in 1979. INTRODUCTION In 1972 H.C. and H.E. Maude made an urgent call for the collecting of string figures in New Guinea1, in particular in the non-Melanesian highlands. They expected that such collecting would result in additions to the corpus of world class string figure designs (Maude & Maude 1972:1103). Perhaps urged by this call, Dutch missionary Jules Camps OFM, working in the highlands of West New Guinea, made two short films on string figures only some years later. These films were hidden in an archive in the Netherlands until ISFA director Mark Sherman tracked them down. 129 130 J. CAMPS AND S. CLAASSEN When studying the known literature on string figures from New Guinea, one is struck by the fact that there are only construction methods available from the eastern half of the island. Although a few drawings and photographs of string figures from the western part of New Guinea have been published2, and some photographs and films are known to exist in archives3, no construction methods have been described until now. This makes the films made by Camps the more valuable. In the current publication, transcriptions and reconstructions of all but one of the string figures in these films are given, accompanied by contextual and comparative notes. Jules Camps and his films4 Jules Camps was born on the 24th of November 1924 in Venray, in the south of the Netherlands. Already as a young boy he knew he wanted to become a missionary in Papua New Guinea. He joined the Franciscan order, was ordained a priest and in 1952 he left for Dutch New Guinea, the place he would live and work the rest of his life, until his death in 1995. Camps started his work in the Mimika-area on the south coast of the island. From 1963 onward he worked in the Balim-valley, in Wamena, in Pugima, and from 1969 until 1974 in Jiwika. It was in Jiwika that Jules Camps got interested in making films, i.e. for universities5. At his request, in 1972 the Franciscans purchased the necessary equipment and shipped it to New Guinea. Camps would produce over 40 films (more than 12 hours of footage), which is preserved by the Papua Cultural Heritage Foundation in Utrecht, the Netherlands6. Camps’ main interest was Papuan culture, but he also filmed important local and church-related events. In Jiwika Camps received several guests. Karl Heider, renowned American anthropologist who wrote a monograph on the Grand Valley Dani people, stayed at Camps’ house for several months (Heider 1973:76), and the Belgian king Leopold III, interested in insects, spent the night in the missionary house in 19737. It was during his Jiwika period that Camps made the film “Hele-Mule – touwfiguren”, dedicated to string figures. From 1974 to 1977 Jules Camps served as a priest in Ilaga. Here he shot his second string figure film, Ilaga. In 1977 Camps began to have health problems. Because of these, and because of the many tribal wars and revolts in the area, he moved to the Wissel-lakes district. After a visit to the Netherlands, and a trip to family in Argentina Camps returned to New Guinea in 1994 to continue his work in Sentani. There he died on 2nd of March 1995, while talking on the telephone. He was buried there the next day. With his films Jules Camps left the world a large amount of inside footage on Papuan culture. It interested even National Geographic Magazine and the BBC, although it is not clear whether they have actually made use of it in publications or broadcasts. STRING FIGURES FROM WEST NEW GUINEA 131 The Balim valley and its Grand Valley Dani people Camps’ film “Hele-Mule – touwfiguren” was made during his stay in Jiwika, in the Grand Valley of the Balim river. The film must stem from the Grand Valley Dani people, not only because Jiwika is situated in Grand Valley Dani territory, but also because the women in the film wear the characteristic string nets from their heads, and have parts of their fingers and their ears amputated8. Furthermore, the term “Hele-Mule” for string figures is the same term as found by Karl Heider, describing Grand Valley Dani (Heider 1970:198). The Grand Valley of the Balim river in the central highlands of West New Guinea (139 degrees eastern longitude, 4 degrees southern latitude) is situated at an altitude of about 1650 meters above sea level, and is surrounded by high and rugged mountain peaks of up to 4500 meters9. It covers a relatively flat and small area of 45 kilometers long and up to 20 kilometers wide. The climate is mild (with the annual mean temperature ranging from 15 degrees Celsius in the morning to 24 degrees at midday) and wet (more than 2000 millimeters of rain annually). The Balim valley was unknown to westerners until 1938, when American researcher Richard Archbold coincidentally spotted it from his airplane. Except for some minor visits, it lasted until 1954 before regular contact with the western world was established. In that year the Christian and Missionary Alliance landed some of its personal on the Balim river. In 1956 the Dutch government and Dutch missionaries of the Franciscan order made their way into the valley. From 1961-1963 the area was visited by an expedition of the Harvard Peabody Museum, led by Robert Gardner and including ethnologist Karl Heider. They settled some 10 kilometers north of Wamena, in the northeast corner of the valley. The expedition yielded a lot of information, photographs and films; the filmic material served as the basis of Gardner’s documentary “Dead Birds” (1964), and Karl Heider wrote a monograph based on his field work there (Heider 1970)10. The people living in the Balim valley are regularly known as Dani. Linguistically they are Papuans, speaking a non-Austronesian language. The main means of existence of the Grand Valley Dani are intensive gardening (mainly sweet potatoes, cultivated in gardens interlaced with garden ditches), and pig husbandry. Pigs occupy a central place in Dani culture. The number of pigs is important for the status of a man. Pigs are the only regular source of meat for the Dani, yet they are almost exclusively butchered and eaten in a ceremonial context (funeral rites, marriage and initiation, and at the large pig feast, held approximately every three years ). Men perform both the heaviest and the finest work; they cut wood and dig the garden ditches, but they also weave shell bands and plait women’s skirts. Women take care of the planting, the harvesting and the cooking. They raise children and pigs, and they make carrying and ceremonial nets. In Dani society war and conflict between individuals or groups occur often. War is considered by Dani men as a life necessity, and is thought to be necessary for the community welfare (Peters 1965:79-81). 132 J. CAMPS AND S. CLAASSEN Among the Grand Valley Dani various games are current. Karl Heider divides them into educational games (in which the child learns behavior and skills useful for life as an adult, such as war games, hunting, house building and pigging), and non-educational ones, such as making various noises, and knotting stalks of grass together (Heider 1970:193-199). To the last category Heider also reckons the making of string figures. Heider writes that string figures are sometimes made by girls or boys11, with a string loop of about sixty centimeters long. Usually a single person knows no more than ten figures; Heider hasn’t been able to find an expert with a large repertoire. Thirteen figures are described briefly in his book (unfortunately without drawings or photographs)12. The Ilaga Camps’ second film on string figures was made in or around Ilaga, another valley in the central highlands of West New Guinea, to the north of the central mountain range, and some 150 kilometers to the west of the Balim valley. In the Ilaga live two distinct ethnic groups: the Damal (also called Amung or Amungme13) and the Western Dani. The Damal appear to be the residents of old, the Western Dani having moved into the valley from the eastern side only during the last century; they now outnumber the Damal (Cook 1995:64-65). The Damal/Amung occupy several valleys to the southwest of Dani territory (Cook 1995:72). Their main means of subsistence are the cultivation of sweet potatoes, taro and greens, foraging and hunting in the forest, and pig husbandry (Cook 1995:58). Carolyn Cook, working in the neighboring Tsinga valley in the 1990s, encountered some children’s games, but didn’t find any string games (Cook 1995:107). The Western Dani are linguistically related to the Grand Valley Dani of Jules Camps’ first string figure film; they occupy several valleys to the northwest of the Grand Valley of the Balim. Their main means of existence, just like those of the Grand Valley Dani and the Damal, are sweet potato gardening and pig husbandry (O’Brien 1969:30, 47). The Western Dani have trade connections with the Grand Valley (O’Brien 1969:37-47). Since Carolyn Cook didn’t find string games among the Damal, this could mean that the film Ilaga was not filmed among the Damal. Yet although the people in the film wear several skirts of bark fiber string and necklaces, they don’t wear the characteristic string bags of which O’Brien says a Dani woman is seldom without (O’Brien 1969:26-30). And the people in the film Ilaga don’t have their phalanxes amputated, a practice which was current among the Western Dani until 1961 (O’Brien 1969:105-106). These observations might point to the other cultural group, the Damal. Unfortunately no information on their dressing customs was available to the author. To which cultural group the string figures of Ilaga belong therefore remains undetermined. STRING FIGURES FROM WEST NEW GUINEA 133 The two films on string figures The film Ilaga (7’47 minutes, color, mute) starts with a storyboard in light blue, which unfortunately can’t be read14. It then shows two girls and a young woman sitting in the grass, making 11 string figures in total, some alone and some together. It is likely to be a string figure session especially organized by the filmer. The film was recorded by Father Camps in August of 1975 in the Ilaga valley15. The names of the performers have not been preserved. In the film the young girl sits to the left of the woman, the elder girl to the right. Father Camps recorded the film “Hele-Mule – Touwfiguren” (3’30 minutes, color, mute) in the early 1970s in the Balim valley16. The film starts with a brown storyboard, containing the text “Hele – Mule .-. Touwfiguren”. Two women are sitting under a roof on a wooden floor, making 14 different string figures in total. Most are figures for one player, which usually each makes for herself. Behind the women a piece of white cloth is hung from the wall, in front of which final figures are displayed. Very likely the string figure session was organized by the filmer. Besides the filmmaker, there are some spectators present, amongst whom are two girls and a boy. The woman sitting on the right is missing all first phalanxes of her left hand. On her right hand there are no amputations. The woman on the left is missing all first phalanxes of her left hand, and first phalanxes of her right middle and little fingers (see endnote 8 for an explanation of this phenomenon). TERMINOLOGY See the Nomenclature section at the end of this volume. INFORMANTS The names of the informants in both films have not been recorded. Their repertoire is as follows: Ilaga Young girl: Ilaga 1, Ilaga 5, Ilaga 6, Ilaga 7, Ilaga 9, Ilaga 10, Ilaga 11. Elder girl: Ilaga 1, Ilaga 3, Ilaga 4, Ilaga 6, Ilaga 9, Ilaga 10, Ilaga 11. Woman: Ilaga 1, Ilaga 2, Ilaga 5, Ilaga 6, Ilaga 8, Ilaga 10. Hele-Mule Woman on the left: Hele-Mule 1, Hele-Mule 2, Hele-Mule 3, Hele-Mule 4, Hele-Mule 5, Hele-Mule 6, Hele-Mule 7, Hele-Mule 9, Hele-Mule 10, HeleMule 11, Hele-Mule 13, Hele-Mule 14 Woman on the right: Hele-Mule 1, Hele-Mule 2, Hele-Mule 3, Hele-Mule 4, (Hele-Mule 5), Hele-Mule 6, Hele-Mule 7, Hele-Mule 8, Hele-Mule 9, HeleMule 12, Hele-Mule 13, Hele-Mule 14. 134 J. CAMPS AND S. CLAASSEN NOTES ON THE TRANSCRIPTIONS The two films made by Jules Camps contain footage on 22 different string figures and tricks. Often the construction of a figure is filmed, but almost nowhere completely. As a rule the opening movements are missing, and sometimes also movements further on in the construction. In some cases more than one construction attempt is (partly) filmed. Partial reconstructions are therefore unavoidable. The reconstructions below are first of all based on the films themselves. When similar (intermediate) figures are formed in the same film, the filmed construction of one figure can shed light on the construction of another where it is not filmed. In cases where the filmic material is not sufficient for a reconstruction, construction methods of related figures in string figure literature (preferably from New Guinea itself, or else from the Oceanic area) are used. Sometimes the general outline of the reconstructed movements can be seen on the film, but not in sufficient detail to allow for a real transcription. Such reconstructed movements are printed indented and in a smaller font size. When movements are wholly lacking from the filmic material, they are placed between square brackets ([ ]). Sources used for the reconstructions are given in the remarks following each figure. In the Ilaga film, the young girl consistently uses a variant of Opening A, instead of Opening A itself. Her variant slightly facilitates exchanging index loops after Opening A, a movement that is used in several figures in the Ilaga film. The young girl’s variant of Opening A is constructed as follows: 1. Position 1. 2. With R3 pick up L palmar string and return. 3. With L2 from above enter R3 loop, then pick up R palmar string. Return through R3 loop. Transcriptions have been normalized to regular Opening A in all cases. When in the film the young girl's variant is used, this is indicated in the remarks with YG-Opening A. All figures are followed by comparative notes, in which the figure and its construction are compared with recorded figures from the New Guinea area. It has been attempted to include all literature containing instructions in these notes17. The Hele-Mule figures are also compared with photos from the Harvard Peabody expedition of 1961-1963, when applicable. A brief (and not exhaustive) comparison with figures from Oceania18 and the world usually follows. STRING FIGURES FROM WEST NEW GUINEA 135 STRING FIGURES Ilaga 1 Two players (labeled A and B) are sitting side-by-side, roughly facing in the same direction. B is situated at A’s left side. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. [Player A: Murray Opening (Hold loop between tips of R123, fingers pointing away, so that it hangs down from RH. The hanging loop has a left string and a right string. Bring LH towards RH and with L123 grasp left string approximately 15 cms below RH. Bring hands at same level. Move RH away from the body and to the left to make a small hanging loop. Pass 2 over the strings held by 123 then towards the body through both hanging loops. Point fingertips of 2 upwards and extend, releasing the strings held by 1 and 3. There are now two loops on 2, upper and lower 2f strings crossing.) Player A: With 1, between 2n strings, pick up lower 2f. Player A: With 1, over upper 2n, pick up upper 2f.] Player A: With 5, over upper 2n, pick up lower 2n. Player A: There is a triangle at the palmar base of each 5, formed by upper 2n, 5f, and a 5n string running along the palm to become lower 2n. With 2 from above enter this triangle and hook up upper 2n, turning 2 towards the body and up. Player A: Release 1 loops and extend, palms pointing away from the body, 2 pointing upwards. Player A: In the middle of the figure there is a “W”-like structure, formed by strings that originate as lower and middle 2f strings. With 1, from below (away from the body), enter 5 loop close to 5, then pick up respective double side-arm strings of “W”-like structure in the figure. Player A: With the help of the LH remove all loops from R2 and release them; with the help of the RH remove all loops from L2 and release them. [Player A: Move 1 away from the body over 1f and 5f , then downwards, towards the body and up, picking up 1f and 5f, which become 1f strings. Player A: With R123 remove the two L1 loops (by grasping the two L1f strings close to L1), turn them half a turn towards the body and replace them on L1. Release the strings held by R123. Player A: Movement 10 with L123 on the two R1 loops. Player A: With R123 remove L5 loop (by grasping L5n close to L5), turn it half a turn away from the body and replace it on L5. Release the strings held by R123. Player A: Movement 12 with L123 on the R5 loop. Player A: Caroline Extension, simultaneously turning the figure 90 degrees in a clockwise direction (as seen by Player A) by bringing RH below LH, R palm pointing towards the body and R2 pointing to the left, L palm pointing away from the body, L2 pointing to the right (fig. 1a).] 15. Player B: The figure held by Player A is suspended from two suspending strings running straight from one hand to the other. The left suspending string runs from L5 downwards towards tip of R2, the right suspending string runs from tip of L2 downwards towards R5. Bring LH and RH be- 136 16. 17. 18. 19. J. CAMPS AND S. CLAASSEN tween A’s body and the figure. With L5, away from A’s body, enter the figure to the right of the left suspending string close to but above A’s horizontally held R2; with R5, away from A’s body, enter the figure to the left of the right suspending string close to but above the base of A’s horizontally held R1. Player B: Move both hands along the figure towards A’s LH. With L1, away from A’s body, enter the figure to the right of the left suspending string close to but below the base of A’s horizontally held L1; with R1, away from A’s body, enter the figure to the left of the right suspending string close to but below A’s horizontally held L2. Player A: Release all loops. Player B: Extend. Display vertically, palms facing each other, RH over LH (fig. 1b). Player A: With L1 and L5 enter B’s L1 loop from below (respective to B); with R1 and R5 enter B’s L5 loop from below (respective to B). Fig. 1a - Ilaga 1 (after movement 14) STRING FIGURES FROM WEST NEW GUINEA 137 20. Player A: Move both hands along the figure towards B’s RH. With L2 enter B’s R1 loop from below (respective to B); with R2 enter B’s R5 loop from below (respective to B). Pass 1 under 2f, then bring tips of 1 and 2 together. 21. Player B: Release all strings. 22. Player A: Turn palms towards each other, fingers pointing upwards (B’s former R5 and R1 loop slip onto A’s R1 and L1 respectively in the process). Caroline Extension. A figure with three diamonds appears (fig. 1c). 23. Player A: From the near side with the mouth bite the connection between the middle and right diamond. Release 2 loop, but keep the 1f string in place which was pressed between 1 and 2 during the Caroline Extension. Bring hands away from the body, so that a double loop is formed between the mouth and hands. 24. Player A: With 12345 from above enter double mouth loop, and twist hands around the wrist towards the body then up, bringing them against the cheeks with crooked fingers, thumbs pointing upwards. Release mouth loops. Fig. 1b - Ilaga 1 (after movement 18) 138 J. CAMPS AND S. CLAASSEN 25. Player A: With left part of mouth grasp string which is pressed between L1 and L2 (running along palmar side of L2 towards near side of L wrist); with right part of mouth grasp string which is pressed between R1 and R2 (running along palmar side of R2 towards near side of R wrist). (Upper left part of mouth should grasp string part closest to L1 and L2; upper right part of mouth should grasp string part closest to R1 and R2 ) 26. Player A: Release strings pressed between 1 and 2, move hands downward and up, releasing all loops except 5 loop. 27. Player A: With 1 from below enter corresponding mouth loop. Release mouth loops. Fig. 1c - Ilaga 1 (after movement 22) 28. Player A: Display vertically, palms facing each other, fingers pointing away from the body, RH over LH (fig 1d, left). 29. Player B: In the middle of the figure there are four strings stretched between the hands. One of them originates from R1n running straight to L1n, one of them originates from R5f, running straight to L5f. These two side strings are situated on the lower (nearest to A’s body) side of the figure. Between the two side strings, at the upper (farthest from A’s body) side of the figure two middle strings can be distinguished. These middle strings should be in the middle between the side strings. If necessary rearrange the strings of the figure so that middle strings are in between both side strings. 30. Player B: With L5 from below (respective to Player A), in the middle between A’s hands, enter the space between A’s R1n side string and STRING FIGURES FROM WEST NEW GUINEA 31. 32. 33. 34. 139 middle strings; with R5 from below (respective to Player A), in the middle of the figure, enter the space between A’s middle strings and R5f side string. [Player B: Bring both hands along the figure towards A’s RH. With R1 from below (respective to Player A) enter A’s R5 loop close to R5; with L1 from below (respective to Player A) enter A’s R1 loop close to R1. Player A: Release all loops. Player B: Extend. Display vertically, palms facing each other, fingers pointing away from the body, RH over LH. Player A: Should there occur a knot in the strings in the middle of the figure, untangle it (fig. 1d, right).] Fig. 1d - Ilaga 1 after movement 28 (left) and after movement 34 (right) 140 J. CAMPS AND S. CLAASSEN 35. Player A: With L1 and L5 from below (respective to Player B) enter B’s L1 loop close to L1; with R1 and R5 from below (respective to Player B) enter B’s L5 loop close to L5. 36. Player A: Bring both hands upwards along the figure. With L2 from below (respective to Player B) enter B’s R1 loop close to R1; with R2 from below (respective to Player B) enter B’s R5 loop close to R5. Pass 1 under 2f, then bring tips of 1 and 2 together. 37. Player B: Release all strings. 38. Player A: Turn palms towards each other, fingers pointing upwards (B’s former R5 and R1 loop slip on A’s R1 and L1 respectively in the process). Caroline Extension (fig. 1e). Remarks • Part of the series is filmed thrice. The film starts with the woman creating the opening figure. Only part of its construction is filmed. Afterwards two players (the elder girl as player A, the young girl as player B) sitting opposite each other, are seen picking up each other’s figures distally. This series goes wrong when player A in movement 23 bites the wrong connection between the diamonds. After that, part of the series is filmed again by players sitting side-by-side (the woman as player A, the young girl as player B), picking up each other’s figures proximally. The instructions below are based on the second (“proximal”) performance. Nevertheless, it Fig. 1e - Ilaga 1, final figure after movement 38 STRING FIGURES FROM WEST NEW GUINEA • 141 could also be performed picking up figures distally, in which case some of the instructions have to be modified accordingly. Reconstructions based on Shishido & Noguchi 1987:66-69, nr. 27 No name known. The series in the film is a variation of a series recorded by Shishido & Noguchi in the Mount Hagen area (Shishido & Noguchi 1987:66-69, nr. 27 No name known). This series has been used to reconstruct parts of the Ilaga 1 movements. The way player A inserts her hands in player B’s figure in Ilaga 1 movements 19-20 and movements 35-36 is interesting. Thumbs and little fingers are inserted in the lower loops, and the index fingers inserted in the upper loops, after which the index loops are placed from above on the thumbs. This brings the figure immediately in position for the Caroline Extension (movements 22 and 38, respectively). The player in the series recorded by Shishido needs additional movements for this purpose (i.e. Shishido & Noguchi 1987:66-69, nr. 27 movements 7 and 8). A significant difference occurs at Shishido & Noguchi nr. 27 movements 912, which correspond to Ilaga 1 movements 23-28. In Shishido & Noguchi nr. 27 the other player assists, in Ilaga 1 the movements are done by one player with the aid of the mouth. After these movements, the figures occurring in both series are slightly different. The final figure of Shishido & Noguchi nr. 27 is again the same as the one in Ilaga 1. When comparing the distribution of intermediate figures between the players in the two series, it is remarkable that in Ilaga 1 all figures using Caroline Extensions (after movements 14, 22 and 38) are displayed by player A, whereas in Shishido & Noguchi nr. 27 the first three are displayed by player A (after movements 4, 8 and 14), the last two (after movements 16 and 20) by player B. Ilaga 1 appears to be more of a showcase for one player, Shishido & Noguchi nr. 27 for two players. The opening movements of Ilaga 1 (1-8) are the same as those in Ilaga 9 (movements 1-8). Ilaga 2 1. 2. 3. 4. 5. [Opening A. Pass 2 over all intermediate strings towards far side of 5f, and move it towards the near side, bringing 5f, 5n and 2f with fingerprint side of 2; with 2, under 2n, from above enter 1 loop, then turn it away from the body and up, picking up 1f in the process to become upper 2n. Release 1 loop. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tips of 1 and 2 together, then turn 2 away from the body over double 2f and 5n, down into the 5 loop (close to 5), towards the body and up. Separate 1 and 2. The 5n string has now become a third 2f string. 142 J. CAMPS AND S. CLAASSEN 6. 7. 8. 9. 10. 11. 12. 13. 14. In the center of the figure there is an upside-down triangle. With 1 pick up triple 2f in the center of the figure (= the base of the upside-down triangle). With L12 release R2 loops;] with R12 release L2 loops. Pass L2 over L palmar string and L5f towards far side of L5f, then, keeping this string on L2’s fingertip, with L2 from above enter double L1 loop. Turn L2 away from the body then up. The original double L1f strings have become double L2n strings. Movement 7 with R2 on RH. Release 1 loops. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tips of 1 and 2 together, then turn 2 away from the body over double 2f and 5n, then down, towards the body and up. Separate 1 and 2. The 5n string has now become a third 2f string. With 1 from below enter double 2 loops, avoiding the 2n string that runs to 5. Bring tips of 1 and 2 of each hand away from each other, release 5 loop and extend, fingers pointing upwards. You have the intermediate figure (fig 2a). In the middle of the figure there’s a central triangle, which is directed upside-down. Its base is formed by the triple 2f strings. It has a left side Fig. 2a - Ilaga 2, intermediate figure after movement 13 STRING FIGURES FROM WEST NEW GUINEA 15. 16. 17. 18. 19. 20. 21. 143 and a right side, both of which are located at the lower side of the figure. Move figure towards L foot, then with L big toe from below enter the central triangle. With L5, from below, enter the figure directly to the left of the left side of the central triangle; with the dorsal side of L5 pick up the left side of the central triangle. Simultaneously with R5, from below, enter the figure directly to the right of the right side of the central triangle; with the dorsal side of R5 pick up the right side of the central triangle. Release 2 loops. At the palmar side of 1 each double 1 loop is encircled by a small loop, of which the upper string originates in the 5n string of the same hand. With 2, over double 1f, pick up this upper string. Bring tips of 2 together and exchange 2 loops, right over left. Return 2 to Normal Position. With L3 from above enter L2 loop, then pick up double L1f (L1 assists by pressing double L1f against the near side of L3). Return through L2 loop. With R3 from above enter R2 loop, then pick up double R1f. Return through R2 loop. Release 1 loops, but do not extend. Fig. 2b - Ilaga 2, after movement 25 144 J. CAMPS AND S. CLAASSEN 22. With L1, under all intermediate strings, pick up R5f close to R5. Release R5 loop. 23. R1, from below, removes L1 loop. 24. With L1, under all intermediate strings, pick up L5f close to L5. Release L5 loop. 25. Release 2 loops and extend (fig. 2b). 26. A second player, facing the first player, quickly inserts R2 from above into the central circle of the figure (between the double 3 loops), and removes it again. This is repeated a couple of times. 27. To catch second player’s R2, release double 3 loops and extend quickly (fig. 2c). Fig. 2c - Ilaga 2, after movement 27. In the photograph player 2 has inserted L2 rather than R2. Remarks • Performed by the woman; the elder girl inserts finger in movement 26. • Reconstructions based on a figure from the Solomon Islands (Maude 1978:94-95, nr. 69 Totokiri). STRING FIGURES FROM WEST NEW GUINEA 145 An identical figure was found among the Dani (see below, Hele-Mule 1). The intermediate figure (occurring after movement 13) for this figure has been recorded in the Mount Hagen area by Shishido & Noguchi (1987:55-56, nr. 18 No name known) and in the Managalas and Musa districts by Philip Noble (1979:119-122, nr. 69 Esau, movements 1-6). The intermediate figure is also used in other figures in the films by Jules Camps (Ilaga 8, Hele-Mule 1, Hele-Mule 6), and its construction can be seen on the Harvard Peabody photographs (see Hele-Mule 1 for more details). More is filmed of the construction of this intermediate figure at Ilaga 8; it is clear that it is constructed according to the method used on the Solomon Islands, which is different from the method of the related New Guinea/Oceanic figures (see comparative notes for Ilaga 8). Ilaga 3 1. 2. 3. 4. 5. 6. 7. [Murray Opening (See Ilaga 1 movement 1)] With 1 from above enter upper 2 loop, then pick up lower 2f. Return through upper 2 loop. Release upper 2 loop. With 2, over all intermediate strings, pick up 1n string. Release 1 loop. With 1 and 3 of each hand grasp upper 2n close to 2, and push this string bit by bit towards the center of the figure (fig. 3) until upper L2n and upper R2n touch. With 1 and 3 of each hand grasp upper 2f close to 2 (1 passing between upper and lower 2n strings), and push it bit by bit towards the center of the figure so that upper L2n and upper R2n move away from each other. Fig. 3 - Ilaga 3, action at movement 6 146 J. CAMPS AND S. CLAASSEN Remarks • Performed by the elder girl. • Movement 1 is not on the film, and has been reconstructed. The figure appears to be quite common in the New Guinea area. It has been recorded several times, and is also found in the film Hele-Mule (see Hele-Mule 12 below). On the South Coast the figure is called Boy meets girl (Noble 1979:177-178, nr. 122). Bringing the string crossings together resembles a boy and a girl going to the garden to meet and kiss. Moving them away from each other represents the boy and girl having had a quarrel. Probably the action in Meeting and parting, recorded by Shishido and Noguchi in the Mount Hagen area (Shishido & Noguchi 1987:39, nr. 1) has a similar meaning. Philip Noble recorded the figure again as Two men fighting in the South Fly River district (Noble 2007:75-77, nr. 27). Here moving the loops together resembles two men meeting to fight, moving them away from each other resembles their retreat. The construction and the action of the first stage (moving the loops towards each other) in all three cases is identical. Moving the loops away from each other proceeds in various ways19. In Noble’s 2007 figure it is done by pulling upper 2f string towards the center of the figure with thumbs and middle fingers, as in Ilaga 3 movement 7. In Shishido & Noguchi’s 1987 figure the upper 2n string is pulled towards the palms, which is much more difficult to perform. In Noble’s 1979 recording there is a transformation of the figure by repeating movements 2-4, after which the upper 2n strings are pulled towards the center again with thumbs and middle fingers. The figure is also seen on the Trobriand Islands (Senft 1986:124-125, nr. 17 Tonubasi), but no method has been recorded20. Also without instructions is a drawing from the Lower Watut River area (Fischer 1960:183, 206, nr. 48 Elalewik (“Meeting each other”)). It shows a similar figure, but different string crossings are suggested. Ilaga 4 1. 2. 3. 4. 5. 6. 7. [Opening A. With 1 and 345 from below enter 2 loop, so that 2 loop becomes wrist loop] With L2 from above enter L5 loop close to L5, then keeping the L5n string on the fingertip of L2 from above enter L1 loop close to L1. Turn L2 away from the body and up. L1f becomes an L2n string in the process. Movement 3 with R2 on RH. Release 1. 1, from below, removes 2 loop (= transfer 2 loop to 1). Bring RH towards far side of LH; with tips of R123 grasp L dorsal wrist string, bring it upwards over fingertips of LH, then place it on L1 and L5 STRING FIGURES FROM WEST NEW GUINEA 8. 9. 10. 11. 12. 13. 14. 15. 147 as in Position 1. Release the string held by R123. Movement 7 with L123 on R dorsal wrist string. With L2 from above enter L5 loop close to L5, then keeping the L5n string on the fingertip from above enter L1 loop close to L1. Turn L2 away from the body and up. L1f becomes an L2n string in the process. Movement 9 with R2 on RH. Release all loops from L5, then with L5, over all intermediate strings, pick up L2n close to L2. Release L2 loop. Bring LH to RH over all intermediate strings; with tips of L123 grasp R2n and remove the loop from R2. Release all loops from R5. Move L123 along the palmar side of RH and pass the string held by L123 to RH dorsal side between R4 and R5 and release it to become an R5f string. Extend. The palmar string of each hand is crossed by a loop, of which the lower transverse string runs straight from one hand to the other. With 2, over palmar string, from above enter figure directly to the far side of the lower transverse string and close to palmar string. Hook up lower transverse string by turning 2 towards the body and up. Release 1 loop and extend, fingers pointing away from the body. Twist hands around the wrists to and fro several times, so that the strings in the middle separate into two halves (each consisting of a diamond and a triangle) that slide towards the hands (fig. 4). In the film this movement is accompanied by laughter of the viewers. During the last part of the sliding, L1 and R1 can be inserted from below into the halves of the figure; they assist in the sliding by pushing each figure-half towards the palm of the hand. No fixed method for this can be derived from the film. Fig. 4 - Ilaga 4 148 J. CAMPS AND S. CLAASSEN Remarks • Performed by the elder girl. • Reconstructions based on Shishido & Noguchi 1987:59-60, nr. 20 Breaking a bridge. • The figure is filmed twice, starting exactly at the same point. Shishido and Noguchi have recorded an identical figure in the Mount Hagen area (Shishido & Noguchi 1987:59-60, nr. 20 Breaking a bridge). Philip Noble recorded a similar figure twice (Noble 1979:16-18, nr. 5 No name known, Managalas & Musa district; Noble 1979:153-154, nr. 101, Black bokis, Highlands area). In both these figures the “weave”-like movement of the index in movements 3-4 and 9-10 is reversed (index fingers picking up 1f string first, then the 5n string). This results in a slightly different (though symmetrically equivalent) figure, which is displayed on thumbs and index fingers. The figure has been recorded several times elsewhere in Oceania. The figure from the Gilbert Islands (Maude & Maude 1958:22-23, nr. 5 Kani Mumun) is in form and construction identical to Ilaga 4, as is an Australian figure (Davidson 1941:817-818, nr. 15 Two Kangaroos). The figures from the Tuamotus (Emory & Maude 1979: 120-121, nr. 64 Kahegahega) and the Society Islands (Handy 1925:73-75 Te tumu o te papa) are identical and differ slightly from Ilaga 4 in final movements and display (on thumbs and indexes). The figure from the Caroline Islands (Jayne 1906:176 No name21) is displayed on thumbs and indexes but has slightly different final movements than the Tuamotus and Society Islands figures. All Oceanic figures have “weave”-like movements similar to those of Ilaga 4. It is remarkable that the reverse order of the weaving is only found in the two figures recorded by Noble, each of them stemming from a different area. The figure is known in other places in the world (Easter Island, Central Africa, Mozambique, Netherlands), but is constructed in various ways (Claassen 2010, Letters to the Editor). In New Guinea another figure has thrice been recorded which is remotely related to Ilaga 4 (Noble 1979:109-111, nr. 62 Hornbill22, Managalas & Musa district; Jenness 1920:309, nr. 15 Guva’ta (“The seine”), D’Entrecasteaux archipelago; Fischer 1960:179, 197-198, nr. 9 & 10 (“Coconut” and “Two strands with coconuts”), Lower Watut River area, without instructions). The construction methods for these figures are related to each other but different. The figure that resembles Ilaga 4 is here part of a series. During the continuation the two halves into which the figure has dissolved are connected again. The way the strings are twisted around the hands during display are different from Ilaga 4, which make it a principally different figure. As can be expected, the construction method differs accordingly. STRING FIGURES FROM WEST NEW GUINEA 149 Ilaga 5 Two players (labeled A and B) are seated side-by-side, facing the same direction. Player B is to the right of A. 1. 2. 3. 4. 5. [Player A: Opening A] Player B: With L123 grasp A's 1n string and with R123 grasp A's 5f string. Bring LH and RH together above the figure, and with L123 grasp R123 string. Release the string held by R123, and move RH to the far side of A's hands. Player B: With R123 from A’s far side, under all intermediate strings, from below enter A’s 2 loop, move upwards and grasp A’s 1n and 5f string in the center of the figure (held by B’s L123). Release the strings held by L123, and bring RH downwards under the figure. Player B: With L123 from above grasp the dorsal segments of A’s R2 loop and L2 loop, removing them from A’s fingers. Bring LH upwards to extend the figure. Player A and B perform a sawing motion: Player A brings hands horizontally towards each other while Player B moves hands vertically away from each other. Next, Player A moves hands horizontally away from each other while Player B brings hands vertically towards each other. Repeat this sequence several times (fig. 5). Fig. 5 - Ilaga 5 150 J. CAMPS AND S. CLAASSEN Remarks • Performed by the young girl (player A) and the woman (player B). • Movement 1 is not on the film. In the film, the young girl must have used the YG-Opening A (see above under Notes on the transcriptions). The reconstruction has here been normalized. • The construction is filmed twice. First movement 2 is filmed, and in the second try movements 2-5. The figure has probably not been recorded before in other parts of New Guinea, nor in the world. The principle of its action, however, is related to an action figure known worldwide, and often referred to as The saw (see Probert 1999:245). Ilaga 6 Two players (labeled A and B) are seated facing each other. 1. 2. 3. 4. 5. 6. 7. 8. [Player A: Opening A] Player A: With tips of 2 pointing towards each other, exchange 2 loops, L2 loop over R2 loop. Player B: Bring R towards far side of figure (relative to A), palm facing the floor, in the middle between A’s hands. Move R23 through A’s figure towards A’s body in the following way: Move R23 from A’s far side under A’s 5f string; move R3 over A’s L5n string and R2 over A’s R5n string; move R3 under A’s L2f string and R2 under A’s R2f string; move R3 under A’s L2n string and R2 under A’s R2n string; move R3 over A’s L1f string and R2 over A’s R1f string; move R23 under A’s 1n string. Make sure to keep strings on R23 dorsal side well separated. Player A: Release all loops. Player B: A’s former 5f, 2f, 2n and 1n strings are hanging over dorsal side of B’s R23. On dorsal side of R23 with L123 grasp A’s former 5f string (the string closest to the base of R23), lift it (only) over A’s former 2f string and place it between A’s former 2f and 2n string on dorsal side of R23. Release the string held by L123. Player A: On dorsal side of B’s R23 with L123 grasp A’s former 1n string (the string closest to the tips of B’s R23), lift it (only) over A’s former 2n string and place it between A’s former 2n string and A’s former 5f string (placed there by Player B in movement 5) on dorsal side of B’s R23. Release the string held by L123. Player A: On dorsal side of B’s R23 with L123 grasp A’s former 2n string on B’s R3; on dorsal side of B’s R23 with R123 grasp A’s former 2n string on B’s R2. Player B: On dorsal side of R23 with L345 grasp A’s former 2f string on R2, then with L12 grasp A’s former 2f string on R3. Withdraw R23 from all its loops. STRING FIGURES FROM WEST NEW GUINEA 9. 10. 11. 12. 13. 14. 15. 151 Player B: With R123 grasp string held by L12 and release L12. With L123 grasp string held by L345, and release the string held by L45. Player A & B: Extend horizontally (fig. 6a). A figure with two triangles appears, one triangle close to Player A, one close to Player B, apexes pointing towards the players. In the film the players from above pretend to bring their chin and head into their respective triangles a couple of times. Player A & B: With L1 and L5 from below enter loop held by L123 (placing it on the hand as in Position 1) and release string held by L123; with R1 and R5 from below enter loop held by R123 (placing it on the hand as in Position 1), and release string held by R123. Player A & B: With R2 over all intermediate strings pick up L palmar string. With L2 from above enter R2 loop, then pick up R palmar string. Return through R2 loop. Player A & B: With tips of 2 pointing towards each other, exchange 2 loops, L2 loop over R2 loop. Player A & B: With L3, from the far side, press the crossing of 2f strings under 2n and 1f strings (and over 1n string). Grasp the crossing with mouth. (Make sure the strings originating from LH are at the left side of the mouth, the strings originating from RH at right side of mouth). Player A & B: Release both hands. With 123 of each hand grasp respective double mouth strings, and release mouth strings. Extend (fig. 6b). Fig. 6a - Ilaga 6, after movement 10 152 J. CAMPS AND S. CLAASSEN Fig. 6b - Ilaga 6, after movement 15. If desired, a third player can arrange each half of the figure to reveal a diamond flanked by two triangles. Remarks • Performed first by the woman as player A and the elder girl as player B; this goes wrong. Next performed by the young girl as player A and the woman as player B; this goes wrong again. Finally it is performed by the elder girl as player A and the young girl as player B. • The construction method as described here is a reconstructed combination of the various fragments. • The young girl in movements 1 and 12 picks up L palmar string with R3 and next R palmar string with L2. As a consequence she in movement 2 and 13 transfers L2 loop to R2 and R3 loop to L2, instead of transferring the L2 and R2 loops. • The elder girl uses Opening A throughout. The woman uses Opening A* throughout, and as a consequence in movements 2 and 13 exchanges R2 loop over L2 loop. Above transcriptions have been normalized for Opening A. • At movement 14, there appears to be no fixed finger with which to press the string crossing. The young girl uses L3 twice, the woman uses R4 and R3, the elder girl uses R4 and L3-L4. The first part of the series (movements 1-10) is also found among the Dani (see Hele-Mule 9 below). Apart from this, the series has probably not been recorded in other places of New Guinea, nor elsewhere in the world. The series contains a characteristic movement: a string crossing is pressed STRING FIGURES FROM WEST NEW GUINEA 153 by a fingertip to the near side of the figure, where the mouth picks it up (movement 14 above). A similar movement has been recorded by Philip Noble as part of a long series (Noble 1979:55-61, nr. 30 Asura II (“Baby”), Managalas & Musa district, movement 20; the whole series has been explained by Mark Sherman in String Figure Magazine (Sherman 2003)). Movements 12-15 are similar to the last movements of the two-player series Ilaga 11 (movements 39-43; see below). Ilaga 7 1. 2. 3. [Opening A. ] Bring hands together, so that tips of 2 touch each other, and exchange 2 loops, L2 loop over R2 loop. Bring hands back to Normal Position. Release L2 and extend (fig. 7). Display diagonally, LH above RH. Remarks • Performed by the young girl. She actually uses the YG-Opening A (See above under Notes on the transcriptions). Fig. 7 - Ilaga 7, displayed horizontally An identical figure was recorded by Philip Noble in the North Fly District (Noble 2007:50, nr. 6 Spear I). It was also found in the Torres Straits (Haddon 1912:324, nr. 2 Dab (“A spear”); Maude 1987:8-9, Baiag (“A fish”); for a description see also Jayne:1906:131-132). Dab has a short continuation. The figure is known in other places in Oceania (Australia (Roth 1902, Plate V fig. 6 Duck in flight, reproduced in Jayne 1906:378) and New Caledonia & the Loyalty Islands (Maude 1984:33-34, nr. 31 Fish spear and fish’s eye)). It also occurs in other places of the world (South Africa (Haddon 1911:8)). 154 J. CAMPS AND S. CLAASSEN Ilaga 8 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. [Opening A. Pass fingertip of L2 over all intermediate strings towards far side of L5f, then, keeping fingertip pointing down move L2 towards near side, catching L5f, L5n and L2f with the fingerprint side of L2; with L2, under L2n, from above enter L1 loop, then turn it away from the body and up, picking up L1f in the process to become upper L2n. Pass fingertip of R2 over all intermediate strings towards far side of R5f, then, keeping fingertip pointing down move R2 towards near side, catching R5f, R5n and R2f with the fingerprint side of R2; with R2, under R2n, from above enter the R1 loop, then] turn R2 away from the body and up, picking up R1f in the process to become upper R2n. Release 1 loop. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tips of 1 and 2 together, then turn 2 away from the body over double 2f and 5n down into 5 loop (close to 5), towards the body and up. Separate 1 and 2. The 5n string has now become a third 2f string. In the center of the figure there is an upside-down triangle. With 1, from below, in the center of the figure pick up triple 2f (= the base of the upside -down triangle). Release 2 loops. Pass fingertip of L2 over L palmar string and L5f towards far side of L5f, then, keeping this string on L2’s fingertip, with L2 from above enter double L1 loop. Turn L2 away from the body then up. The original double L1f strings have become double L2n strings. Movement 7 with R2 on RH. Release 1 loops. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tips of 1 and 2 together, then turn 2 away from the body over double 2f and 5n, then down, towards the body and up. The 5n string has now become a third 2f string. With 1 from below enter double 2 loops, avoiding the 2n string that runs to 5. On each hand separate 1 from 2, release 5 loop and extend, fingers pointing upwards. You have the intermediate figure (the same as fig. 2a). In the middle of the figure there’s a central triangle, the point of which is directed towards the body; its base is formed by triple 2f strings. It has a left side and a right side, both of which are located at the lower side of the figure. With L5 from below enter the figure directly to the left of the left side of the central triangle; with the dorsal side of L5 pick up the left side of the central triangle. With R5 from below enter the figure directly to the right of the right side of the central triangle; with the dorsal side of R5 pick up the right side of the central triangle. On each hand there is a double dorsal 12 string running at the dorsal base STRING FIGURES FROM WEST NEW GUINEA 17. 18. 19. 20. 21. 155 of 1 and 2. Turn L palm slightly away. With R1, pick up from below double dorsal L12 strings. With mouth grasp all four strings on the back of R1. Release all loops from 1 and 2 and pull tight. Bend L5 to palm, and with L1 from above (= away from the body, since L5 is bent) remove L5 loop. Bend R5 to palm. With R12 grasp near string (former far string) of bent R5. With R34 share R5 loop from below (= towards the body). Release mouth loops. Hold hands so that palms face each other and thumbs are pointing away from the body. There are two double dangling strings hanging down from the center of the figure. These loops are fixed to the L1f-R5f string, but can freely slide along the 1n string (fig. 8). With a twisting motion of the RH it is possible to move the dangling strings to the left and the right: With R2345 press string originating as R1f firmly against the palm of the hand, and simultaneously twist RH around the wrist in a clockwise direction. When R palm points up, release pressure of R2345, twist RH around the wrist in an anti-clockwise direction until the dorsal side of RH points up (allow the string to slip around R1 and along R palm). Again with R2345 apply pressure on the string originating as R1f string, and twist RH around the wrist in a clockwise direction. Continue this movement until two double dangling strings reach LH. Then with R2345 press string originating as R1f firmly against the palm of the hand, and simultaneously twist RH around the wrist in an anti-clockwise direction. When the dorsal side of RH points up, release pressure of R2345, twist RH around the wrist in a clockwise direction until R palm points up (allow the string to slip around R1 and R palm). Again with R2345 apply pressure on the string originating as R1f, and twist RH around the wrist in an anti-clockwise direction. Continue this movement until two double dangling strings reach RH. Fig. 8 - Ilaga 8 156 J. CAMPS AND S. CLAASSEN Remarks • Performed by the woman. • Reconstruction based on a figure from the Solomon Islands (Maude 1978:94-95, nr. 69 Totokiri). A related, unnamed figure was recorded by Shishido and Noguchi in the Mount Hagen area (Shishido & Noguchi 1987:55-56, nr.18 No name known). The Mount Hagen figure is upside-down when compared with Ilaga 8, and it has shorter dangling loops (resulting from the insertion of 5 inside the central triangle in movement 14 and 15, instead of next to it). The action of the figure is the same. The figure recorded by Shishido and Noguchi is also a common figure in Oceania (see comparative table in Maude 1978:172, figure Piro), although it varies slightly in construction and outlook. A final figure related to Ilaga 8, including its action, is known from New Caledonia (with the common Oceanic figure as intermediate (Maude 1984:3941, nr. 36 Viaso ni saru)23). The figure displayed upside down when compared to Ilaga 8, but with a similar action, is known from the Tuamotus (Emory & Maude 1979:66-69, nr. 48 Moko), New Zealand (Andersen 1927:14-19 nr. 2 Mouti) and Pukapuka (Beaglehole & Maude 1989:36-38 Tikoni koni). The figure approximately displayed as Ilaga 8 but with no action is known from the Gilbert Islands (Maude & Maude 1958:120-121, nr. 102a Taninga-n te kimoa). The common Oceanic method for making the intermediate figure does not match the movements that are visible in the film. A slightly longer method that matches the film is used on the Solomon Islands (but there leading to a different final figure) (Maude 1978:94-95, nr. 69 Totokiri). This longer method has been used for the reconstruction above, and for the reconstruction of the identical intermediate figures of Ilaga 2 and Hele-Mule 1 and 6. Ilaga 9 Two players, here labeled A and B, are facing each other. 1. 2. 3. 4. [Player A: Murray Opening: (Hold loop between tips of R123, fingers pointing away, so that it hangs down from RH. The hanging loop has a left string and a right string. Bring LH towards RH and with L123 grasp left string approximately 15 cms below RH. Bring hands at same level. Move RH away from the body and to the left to make a small hanging loop. Pass 2 over the strings held by 123 then towards the body through both hanging loops. Point fingertips of 2 upwards and extend, releasing the strings held by 1 and 3. There are now two loops on 2, upper and lower 2f strings crossing.) Player A: With 1, between 2n strings, pick up lower 2f. Player A: With 1, over upper 2n, pick up upper 2f. Player A: With 5, over upper 2n, pick up lower 2n.] STRING FIGURES FROM WEST NEW GUINEA 5. 6. 7. 8. 9. 157 Player A: There is a triangle at the palmar base of R5, formed by upper R2n, R5f, and an R5n string running along the R palm to become lower R2n. With R2 from above enter this triangle and hook up upper R2n, turning R2 towards the body and up. Player A: Movement 5 with L2 on upper L2n string. Player A: Release 1 loops and extend, palms pointing away from the body, 2 pointing upwards. Player A: In the middle of the figure there is a “W”-like structure, formed by strings that originate as lower and middle 2f strings. With 1, from below (away from the body), enter 5 loop close to 5, then pick up respective double side-arm strings of the “W”-like structure in the figure. With the help of R2 release all loops from L2. With the help of L2 release all loops from R2. Player A: Caroline Extension (fig. 9a). Fig. 9a - Ilaga 9, after movement 9 10. There is a triangle in the center of the figure, with double side strings. If necessary rearrange the double side strings to fit the following description: String originating from L2n should be to the left of string originating from L5n in left double side string. String originating from R2n should be to the right of string originating from R5n in right double side string. Player B: From A’s far side insert RH between the double side strings closest to A’s left hand, and LH between the double side strings closest to A’s right hand. 11. Player B: Press palms against the face, forearms touching each other. 12. Player A: Release 2 loop, then bring hands between B’s body and B’s 158 J. CAMPS AND S. CLAASSEN forearms, and release all strings of both hands, leaving strings there (fig 9b). 13. Player A: Two strings originate between B’s forearms to form an “X” at the far side of B’s forearms (respective to B) (the string segments closest to the hands in fig. 9b). With the tips of L123 grasp the lower arm of the “X” that passes over B’s R forearm; similarly with the tips of R123 grasp the other lower arm of the “X” . Draw both hands quickly towards the body. Player B is released from all strings. Fig. 9b - Ilaga 9, after movement 12 Remarks • Performed by the elder girl as player A, the young girl as player B. • Reconstruction based on Shishido & Noguchi 1987:39-40, nr. 2 Mount Hagen axe. STRING FIGURES FROM WEST NEW GUINEA 159 The figure itself has been recorded in New Guinea several times. Maude & Wedgwood recorded it as an intermediate figure in a two-player series (Maude & Wedgwood 1967:223, nr. 20 Asea (“The bag”), movements 1-6, North Coast). Philip Noble and Shishido & Noguchi recorded an identical figure Mount Hagen axe, both in the Mount Hagen area (Noble 1979:149-150, nr. 95; Shishido & Noguchi 1987:39-40, nr. 2). All these recordings are identical in construction and outlook to Ilaga 9. Yet the usage as a release is unique to Ilaga 9. Ilaga 9, and the intermediate figure after movement 7, often serve as intermediate figures in the construction of other figures24. The opening movements of Ilaga 9 (1-8) are the same as the opening of Ilaga 1 (movements 1-7). The figure with its construction method is also known in Oceania. H. Maude recorded it as an intermediate figure several times on the Solomon Islands (Maude 1978:112-113, nr. 86 Bosu; Maude 1978:115, nr. 87 Ru; Maude 1978:134-135, nr. 96 Wouho). On New Caledonia the figure is called Ophlehle (Maude 1984:27-28, nr. 26 Okubase/Ophlehle). Ilaga 10 Three players (here labeled A, B and C) are sitting in a circle facing each other. B is situated at the left side of A, C at the right side. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Player A: Opening A. Player B: With LH, dorsal side pointing upwards, grasp all strings in the middle of the figure and hold them in the fist. Player B: With R2 from above remove A’s L5 loop, twist it 10 times away from the body, then replace it on A’s L5 (fingertips pointing towards each other during the transfer). Player B: Movement 3 with R2 on A’s L2 loop. Player B: Movement 3 with R2 on A’s L1 loop. Player C: With R2 from above remove A’s R5 loop, twist it [10] times away from the body, then replace it on A’s R5 (fingertips pointing towards each other during the transfer). Player C: Movement 6 with R2 on A’s R2 loop. Player C: Movement 6 with R2 on A’s R1 loop. Player B: With R1 from above remove A’s L5 loop. Player B: With R2 from above remove A’s L2 loop. Player C: With R2 from above remove A’s R5 loop. Player C: With L2 from above remove A’s R2 loop. Player A: With 2 from above remove 1 loop. Player A: Bring the loop held by L2 over loop held by R2 towards RH and grasp it between R1 and R2. Withdraw L2 from its loop, and with L2 from above remove original R2 loop. Then with R2 from above remove loop held between R1 and R2. 160 J. CAMPS AND S. CLAASSEN 15. Player C: Bring loop held by R2 to LH and grasp it between tips of L1 and L2. Withdraw R2 from its loop and with RH from below grasp the strings of the figure being held by B. Player B: release strings held by LH. 16. Player B: With L2 from below remove R1 loop. 17. Player C: Release strings held by RH. 18. Player C: Exchange C’s R2 loop with Player B’s L2 loop, C’s R2 loop passing under B’s L2 loop. Extend (fig. 10). 19. Simultaneously the players alternately move their LH and RH forwards and backwards. Fig. 10 - Ilaga 10 Remarks • Performed by the young girl as player A, the elder girl as player B and the woman as player C. • Movement 1: the young girl actually performs YG-Opening A (See above under Notes on the transcriptions). Instructions have been normalized for regular Opening A. STRING FIGURES FROM WEST NEW GUINEA • • • 161 Movement 3: Not the whole construction process was filmed; only the last twist (on A’s 1) by players B and C can be seen in full. Both players there used 10 twists. It is assumed that the twisting on A’s fingers 5 and 2 consisted of a similar number of turns. Movements 3-8: After the twisting, the strings can become tight around the R2 of B and C, so that they don’t slip off easily. The mouth can be used to help remove them from R2 in order to replace them on A’s finger. Movements 3-5 and 6-8 are performed at the same time. A two-player figure related to Ilaga 10 has been recorded by Philip Noble in the Oro province (Noble 2001:10-11, nr. 3 Pit pit) and by Diamond Jenness in the D’Entrecasteaux archipelago (Jenness 1920:324, nr. 41, Naia (“A boat sail”)). The construction methods of these figures are identical (except for some minor details), and are also similar to the construction of Ilaga 10. A three- (or more) player version of the figure was found by Hans Fischer in the Lower Watut River area (Fischer 1960:184, 209, nr. 62 Go (“Pot”)), but no construction method was given. Joseph D’Antoni proposed a reconstruction of this figure (D’Antoni 1998a:23-24). In movements 14 and 18 of Ilaga 10 the loops are exchanged between hands and players to undo the distribution of loops resulting from Opening A in order to arrive at a hexagonal figure. This exchange also results in an equally spread distribution of the twisting directions of the six loops, which prevents the figure from entangling too easily (each loop is twisted in an opposite direction from its neighbors). Joseph D’Antoni arrived at a similar distribution by letting each player twist his left index finger clockwise and his right index finger anticlockwise25. In the two-player version of the figure (as recorded by Jenness and Noble) the index loops are released to arrive at a square figure with four loops. In this case not every loop has neighbor loops twisted in the opposite direction. Ilaga 11 Two players (here labeled A and B) are facing each other. A third player can assist in the end. 1. 2. 3. 4. [Player A: Opening A* (similar to Opening A except take R palmar string first). Player A: Release 1 loop. Player A: Bring hands down, fingers pointing to the floor, and place the figure on the lap. Release all strings. There are now two loops on the lap, a near lap loop (nearest to the body) and a far lap loop (farthest from the body). Player A: With hands from above (towards the floor) enter the near lap loop, then move hands towards the body to pick up the near string of this loop on the wrist. Bring hands upwards and twist hands around the wrist to Normal Position (palms facing each other, fingers pointing upwards). 162 J. CAMPS AND S. CLAASSEN 5. 6. 7. 8. 9. Player A: Move hands away from the body to far side of far lap loop. With 5 from the far side and from below pick up far string of far lap loop and lift the figure off the lap.] Player A: There is now a wrist loop (with the far wrist string running straight from hand to hand), and a 5 loop (with 5f string running straight from hand to hand). With R123 remove L wrist loop (by grasping the L near wrist string) and place it on L1. Release the string held by R123. Player A: Movement 6 with L123 on R wrist loop. Player A: With 1 pick up 5n. Caroline Extension (fig. 11a). Fig. 11a - Ilaga 11, after movement 9 10. Turn hands so that 2 points away from the body, palms facing the floor. There is now a figure parallel to the floor, with a lower side (closest to the floor) and an upper/above side (closest to the ceiling). 11. Player B: With fingerprint side of L2 from A’s far side and from below, catch A’s 2f string (running straight from L2f to R2f) midway between A’s hands, and bring it slightly towards the body (in this way B’s L2 enters the upper small triangle in the middle of A’s figure). 12. Player B: A’s figure consists of four diamonds numbered 1 to 4 from A’s left to A’s right. With R123 from above grasp the string which forms the upper right side (as seen by Player A) of diamond-1 and the lower left side of diamond-2; place it over (B’s) L2 and release the string held by R123. 13. Player B: With R123 from above grasp the string which forms the upper left side (as seen by Player A) of diamond-4 and the lower right side of diamond-3; place it over (B’s) L2 and release the string held by R123. 14. Player B: There are now three loops on B’s L2. Navajo lowest L2 loop (which is the string running straight from A’s L2f to A’s R2f) over both upper loops. 15. Player A: Release 2 loops. 16. Player B: Bring L2 towards the body, so that A’s figure becomes somewhat triangular. Locate the triangular spaces labeled “X” and “Y” in fig. 11b. With the RH from below enter the right triangle at “X”, bring RH towards the left, then with R5 from above enter left triangle at “Y” and pick up the triangle string that runs from B’s L2 to A’s R1. STRING FIGURES FROM WEST NEW GUINEA 163 Fig. 11b - Ilaga 11, after movement 15 17. Player A: Release all loops. 18. Player B: Extend (fig. 11c). To widen the double L2 loop, insert L1 from above and L345 from below. Display vertically, bringing LH below RH. Fig. 11c - Ilaga 11, during movement 18, before vertical display 19. Player A: With LH from above enter B’s R5 loop, then with L5 from below pick up the string segment running close to B’s RH at the upper side of the figure, perpendicularly crossing all strings running from B’s RH to B’s LH. 20. Player B: Release R5, then with R5 from below (respective to A) share A’s L5 loop. Release LH strings. A and B simultaneously extend, moving their hands away from each other. 21. There is now a wrist loop and a 5 loop on B’s RH and A’s LH. Player B: With L123 remove R wrist loop and place it on R1; release L123. Player A: with R123 remove L wrist loop and place it on L1; release the string held by R123. 164 J. CAMPS AND S. CLAASSEN 22. Player B: With L123 from above grasp R5n and place it over R1 (= sharing R5 loop with R1); release the string held by L123. Player A: With R123 from above grasp L5n and place it over L1 (= sharing L5 loop with L1); release the string held by R123. 23. Player B with RH and Player A with LH: Caroline Extension. At the same time, B turns right forearm three-quarters of a turn in a clockwise direction (relative to B), while A turns left forearm three-quarters of a turn in a counterclockwise direction (relative to A), maintaining tension in the figure (fig 11d). Fig. 11d - Ilaga 11, after movement 23 (A’s LH and B’s RH) 24. There is now a four-diamond figure parallel to the floor, with a lower/ below side (closest to the floor) and an upper/above side (closest to the ceiling). B’s R2 now points to the left and RH palm faces the body (relative to B); A’s L2 points towards the right and LH palm faces the body (relative to A). There is a string running straight from B’s R2 to A’s L2; it is called the 2-string. There is a string running straight from the base of B’s R1 to the base of A’s L1; it is called the 1-string. Player B: With L1 from above enter figure to the left of the 1-string close to dorsal side of base of R1, then move L1 to the right and from below pick up 1-string. At the same time with L5 from above enter figure to the right of the 2-string close to dorsal side of R2, then move L5 to the left and from below pick up 2-string. 25. Player A: With R1 from above enter figure to the right of the 1-string close to dorsal side of base of L1, then move R1 to the left and from below pick up 1-string. At the same time with R5 from above enter figure to the left of the 2-string close to dorsal side of tip of L2, then move R5 to the right and from below pick up 2-string. 26. Player A and player B: Move respective RH and LH towards each other in the center of the figure, and interlock each other’s fingers there. STRING FIGURES FROM WEST NEW GUINEA 165 27. Player B: Remove RH from the figure. Move RH towards Player A on the right side of the figure (respective to Player B) and close to the dorsal side of A’s RH. 28. Player B: With R5 from the right (respective to B) and away from the floor pick up the 1-string (running between A’s LH and A’s RH; B’s R palm more or less faces left during this pick up). Move R1 towards the left (respective to B) over all intermediate strings and over the dorsal side of A’s R wrist, and with R1 from the right and away from the floor pick up the 2-string (running between A’s LH and A’s RH; B’s R palm more or less faces Player A during this pick up). 29. Player A: Release all loops. 30. Player B: With 1 pick up 5n. 31. Player B: Caroline Extension (fig. 11e). Fig. 11e - Ilaga 11, after movement 31 32. Player B: With 2 pointing away from the body and palms facing the floor, put figure on lap. Release 1 and 2 (but keep 5 loops). 33. Player B: The figure has a lower/below side (closest to the floor) and an upper/above side (closest to the sky), a near side (closest to the body) and a far side (away from the body). Player B: In the center of the figure there is a small triangle, with its apex pointing towards the body. A straight transverse string crosses the triangle from near left to far right. With L1, over all intermediate strings, from the left and from below pick up the left side of the small triangle at the far side of the transverse string (string segment marked “X” in fig. 11e). With R1, over all intermediate strings, from the right and from below pick up the right side of the small triangle (string segment marked “Y” in fig. 11e). Extend. 34. Player B: There is a loop hanging from the L palmar string. With R123, grasp the upper string of this loop close to L palm and place it over the tip of L1. Release the string held by R123. 35. Player B: With R1 pick up R5n. 36. Caroline Extension (fig. 11f). 37. Player B: Hold the figure with 2 pointing away from the body, palms fac- 166 J. CAMPS AND S. CLAASSEN Fig. 11f - Ilaga 11, after movement 36 38. 39. 40. 41. 42. 43. 44. ing the floor. The figure now has a top/above side (closest to the ceiling) and a bottom/below side (closest to the floor). Player A: With L1 and L5 from below enter B’s L2 loop, placing it on the hand as in Position 1; with R1 and R5 from below enter B’s L5 loop, placing it on the hand as in Position 1. Player B: Release LH loops. With L1 and L5 from below enter R5 loop, placing it on the hand as in Position 1. Release R5 loop. With R1 and R5 from below enter R2 loop, placing it on the hand as in Position 1. Release R2 loop. Player A and Player B: With R2 over all intermediate strings pick up the L palmar string. With L2 from above enter the R2 loop, then pick up R palmar string and return through the R2 loop. Player A and Player B: With the tips of 2 touching each other, exchange 2 loops, L2 loop over R2 loop. Player A and Player B: With L3, from the far side, press the crossing of 2f strings under 2n strings and over 1n string, and grasp the crossing with the mouth. Player A and Player B: Release all loops from both hands, press the bundle of strings in front of the mouth between both hands and slide this bundle slightly towards the middle of the figure. Rub the bundle of strings between the palms a couple of times, then release the strings held between the hands. Player A and Player B: Between tips of 123 grasp respective part of mouth loop. Extend (fig. 11g). A third player’s LH rearranges the strings in the middle of the design. Remarks • Performed by the young girl as player A, the elder girl as player B. • Reconstructions based on Noble 1979:28, nr. 11 Tiabe (“The hen”), Managalas & Musa district. • Movement 39: The young girl actually uses the YG-Opening A (See above under Notes on the transcriptions). Instructions have been normalized for regular Opening A. STRING FIGURES FROM WEST NEW GUINEA 167 Fig. 11g - Ilaga 11, final figure The series itself has not been recorded elsewhere in New Guinea, nor elsewhere in the world. However, the characteristic movements 23-31 (where players A and B each with one hand make a four diamond figure, turn it over 270 degrees, take it over with the other hand and then interlock hands), are related to similar movements in a long series recorded by Philip Noble in the Managalas and Musa districts (Noble 1979:55-61, nr. 30 Asura II (“Baby”), movements 6-9). But there is a difference. In Asura II movement 9, player A places his hand in line behind player B’s hand (= A’s palm against B’s dorsal hand side) to take over the figure. This results in a symmetrical figure in movement 10. In Ilaga 11 movement 28, player B takes over by more or less placing the dorsal side of her hand against the dorsal side of player A’s hand. This results in an asymmetrical figure in movement 3126. The final movements (39-43) are similar to movements 12-15 of Ilaga 6. The characteristic movements 23-31, found in the New Guinea series Asura II recorded by Philip Noble, also occur in an unnamed series from the Solomon Islands (Maude 1978:154-158, nr. 103), where it is found in movements 8-9. The Solomon Islands series is similar to Asura II (movement 9) in the way player A picks up the strings from player B, and thus differs from Ilaga 11 movement 28. Hele-Mule 1 1. 2. [Opening A.] Pass R2 over all intermediate strings towards far side of R5f, and move it towards the near side, bringing R5f, R5n and R2f with fingerprint side of R2; with R2, under R2n, from above enter R1 loop, then turn R2 away 168 J. CAMPS AND S. CLAASSEN 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. from the body and up, picking up R1f in the process to become upper R2n. Pass L2 over all intermediate strings towards far side of L5f, and move it towards the near side, bringing L5f, L5n and L2f with fingerprint side of L2; with L2, under L2n, from above enter L1 loop, then turn L2 away from the body and up, picking up L1f in the process to become upper L2n. Release 1 loop. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tip of R2 against tip of R1, then turn R2 away from the body over double R2f and R5n, down into the R5 loop (close to R5), towards the body and up. The R5n string has now become a third R2f string. Bring tip of L2 against tip of L1, then turn L2 away from the body over double L2f and L5n, down into L5 loop (close to L5), towards the body and up. The L5n string has now become a third L2f string. In the center of the figure there is an upside-down triangle. With L1 pick up triple 2f in the center of the figure (= the base of the upside-down triangle); with R1 pick up triple 2f strings in the center of the figure (= the base of the upside-down triangle). With LH remove all loops from R2; [with RH remove all loops from L2. Pass L2 over L palmar string and L5f towards far side of L5f, then, keeping this string on L2’s fingertip, with L2 from above enter double L1 loop. Turn L2 away from the body then up. The original double L1f strings have become double L2n strings. Movement 7 with R2 on RH. Release 1 loops. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tip of R2 and R1 together, then turn R2 away from the body over double R2f and R5n, then down, towards the body and up. The R5n string has now become a third R2f string. Bring tip of L2 and L1 together, then turn L2 away from the body over double L2f and L5n, then down, towards the body and up. The L5n string has now become a third L2f string. With 1 from below enter double 2 loops, avoiding the 2n string that runs to 5.] Release 5 loop, bring tips of 1 and 2 of each hand away from each other and extend, fingers pointing upwards (a figure identical to fig. 2a). 14. In the middle of the figure there is a central triangle, which is directed upside-down. Its base is formed by the triple 2f strings. It has a left side and a right side, both of which are located at the lower side of the figure. Move figure towards L foot, then with L big toe from below enter the central triangle. 15. With L5, from below, enter the figure directly to the left of the left side of central triangle; with the dorsal side of L5 pick up the left side of the central triangle. Simultaneously with R5, from below, enter the figure directly to the right of the right side of the central triangle; with the dorsal side of R5 pick up the right side of the central triangle. STRING FIGURES FROM WEST NEW GUINEA 169 16. Release 2 loops, then with 2 from below enter double 1 loop. 17. At palmar side of 12 each double 12 loop is encircled by a small loop, of which the upper string originates in the 5n string of the same hand. These upper strings will be exchanged in movements 17-19, L over R, as follows: With R3 reach over double R2f, and pick up R upper string. 18. Move R123 across to the left side of the figure, and between the tips of R12 grasp the L upper string, R1 being closest to L1. 19. With L12 from above, enter the loop grasped by R12, then between the tips of L12 grasp R3n, L1 being closest to R1. Release R3 loop; return 12, and allow the string they hold to slip over 2. 20. Pass R3 from above through (upper) R2 loop, and with R3 pick up lower double R2f. Return through (upper) R2 loop. 21. Pass R3 from above through (upper) L2 loop, then to the far side of lower double L2f. Hook up these strings and lift them through upper L2 loop, so that they become a temporary double R3 loop. 22. With L3, over upper L2f, from below (= towards the body) remove the temporary double R3 loop from R3. Return L3 and R3. 23. Release 1 loops, but do not extend. 24. With L1, under all intermediate strings, pick up R5f close to R5. Release R5 loop. 25. R1, from below, removes L1 loop. 26. With L1, under all intermediate strings, pick up L5f close to L5. Release L5 loop. 27. Release 2 loops and extend (a figure identical to fig. 2b). 28. A second player, facing the first player, from above inserts R2 into the central circle of the figure (between the double 3 loops). 29. Release double 3 loops and extend. Second player’s R2 is caught (analogue to figure 2c). Remarks • Instructions given as performed by woman on the right. Both women make the figure. • Reconstructions based on a similar figure from the Solomon Islands (Maude 1978:94-95, nr. 69 Totokiri), and on Ilaga 2. • In movement 14 the woman on the left inserts R big toe instead of L big toe. • By means of movements 21 and 22 the player avoids having to perform the rather difficult movement of picking up the double L1f strings with her L3, which has an amputated first phalanx. • In the figure as displayed by the woman on the left the L3 loop (thus probably also the R3 loop) appears to be twisted. This could be the result of picking up double lower 2f strings differently in movements 20-22. The figure is identical (except for some minor construction details) to Ilaga 2 170 J. CAMPS AND S. CLAASSEN (see there for comparative notes). A stage of the construction of this figure is also found on a photograph shot at the Harvard Peabody expedition; this photograph suggests a small construction variant27. Parts of the construction of the intermediate figure after movement 13 appear also on two of the Harvard Peabody photographs28. Hele-Mule 2 1. 2. 3. [Opening A. Release R2 loop and pull tight. Release RH loops. Hold LH with palm facing downward, fingers pointing to the right. 4. Two pending loops hang down from the LH. With R1 and R5 enter the near pending loop from above and the far pending loop from below. Extend and return hands to Normal Position, thus picking up the innermost string of each pending loop (continuations of L2n and L2f). 5. Bring L2 and R2 together so that tips of fingers touch, and transfer L2 loop to R2. 6. With L2 from above enter R2 loop, then with it pick up double R palmar string. Return through R2 loop. 7. Release R1 loops and R5 loops and extend sharply. 8. With mouth grasp double L2n. Release double L2 loop and single R2 loop. 9. With R1 from the far side and from below remove the L5 loop. 10. Share 1 loops with 5. 11. Two loops surround 5f, of which the middle two strings (passing under 5f) are the left side string and the right side string of an inverted triangle whose base is the 5f string. Release R1 loop.] 12. With R2, over all intermediate strings, from above enter the figure directly to the right of the right side string and pick up this string on its back. 13. Release L1 loop. With L2, over all intermediate strings, from above enter the figure directly to the left of the left side string and pick up this string on its back. 14. Release mouth strings; extend vertically, palms facing each other (fig. 12). Fig. 12 - Hele-Mule 2, displayed horizontally STRING FIGURES FROM WEST NEW GUINEA 171 Remarks: • Instructions as performed by woman on the left. Both women are displaying the final figure. • In the literature there are two methods described for making this figure. Maude & Wedgwood give Four gourds (Maude & Wedgwood 1967:206, nr. 2), and Noble has Old woman’s breasts (Noble 1979:23-24 nr. 9), in which Hele-Mule 2 is an intermediate figure. The method of Old woman’s breasts was chosen for the reconstruction of movements 1-11, because this method is very likely also used in the related figure Hele-Mule 5 (thus in the same film). • In the film the L5 string seems to slip off during movement 14. Filming is halted, then the final figure is displayed. • In the vertical extension in movement 14, the woman on the left holds left hand above right hand; the woman on the right holds right hand above left hand Four photographs from the Harvard Peabody expedition show a similar figure, with an action performed on it by a second player29. The figure is extended there on thumb and index finger instead of on index and little finger; this can easily be accomplished by performing Hele-Mule 2 movements 1-9, followed by movement 12-14, except that in movement 13 one shouldn’t release the L1 loop. In the Harvard Peabody photographs the first player has extended the figure vertically, RH above LH. The second player with her right index finger now seems to ascend the figure along the parallel double strings in the middle of the figure, then removing one (or more) loops from the first player’s RH, deconstructs the figure. The figure and this action corresponds exactly to what Heider writes about the figure daluga-daluga (“pandanus-pandanus”). It represents a pandanus tree with spreading roots, trunk and spreading leaves. The second player “climbs” the tree with her fingers then smashes it to the ground (Heider 1970:198). Hele-Mule 2 is almost identical to the penultimate figure of Old woman’s breasts, recorded by Philip Noble in 1979 in the Managalas and Musa districts (Noble 1979:23-24, nr. 9 movements 1-10), which serves as the basis of the above reconstruction. The figure recorded by Noble is extended on thumbs and little fingers, after which the thumbs are released. Maude and Wedgwood recorded an identical figure to Hele-Mule 2 (but with a slightly different construction method) from the North Coast (Maude & Wedgwood 1967:206, nr. 2 Four gourds). This figure has a continuation that was unfortunately not recorded. If the reconstruction is correct, the figure has similar opening movements (17) as to Hele Mule 5 (movements 1-6) and Hele-Mule 13 (movements 1-7). 172 J. CAMPS AND S. CLAASSEN Hele-Mule 2 is a string figure well-known worldwide, and is constructed using various methods (Probert 1999:218-219, 235; Storer 1988:108, 144-147). In Europe it is often called Crow’s feet. The European construction method is different from that of Hele-Mule 2. Hele-Mule 3 1. 2. 3. 4. 5. [Opening A. With 5, over all intermediate strings, from above enter 1 loop and pick up 1n. Release 1 loop. With 1, under all intermediate strings, pick up double 5n. Release 5 loops. With 5, over all intermediate strings, pick up double 1f. In the center of the figure there is a small triangle, its apex pointing towards the body; its base is formed by the double 5f string, its sides by the double 1n string. Insert left big toe, from below, into the small triangle.] 6. With fingertips pointing towards each other exchange 2 loops, left over right. 7. With R3 from above enter R2 loop, then pick up double R1f. Return through R2 loop. 8. With L3 from above enter L2 loop, then pick up double L1f. Return through L2 loop. 9. Release 1 loops. 10. At the palmar side of 5, close to 5, each 5 loop is crossed at the lower side by a double crossing string, originating as double 3n strings of the opposite hand. With 1, under all intermediate strings, from below enter 5 loop close to 5, [and on its back pick up double crossing string. Release 5 loops. 11. Release 2 loop and pull tight. 12. Rotate 3 a half turn away from the body, then release double 3 loops, pulling figure tight between thumbs.] 13. Keeping tension in the figure with the thumbs, move hands towards the toe, then upwards, and continue this movement several times (fig. 13). Remarks • Instructions as performed by woman on the right. Both women are shown making the figure; only the woman on the right is clearly shown with the final figure. • Reconstructed parts based on Roko (Noble 1979:98-99, nr. 54). • Movement 5: Woman on the left inserts right big toe instead of left big toe. • Movement 6: Woman on the left exchanges 2 loops right over left, instead of left over right. • Movement 8: Woman on the left appears to use R3 to assist in picking up double L1f strings through L2 loop (in analogy to movement 21 in HeleMule 1). STRING FIGURES FROM WEST NEW GUINEA • • 173 Movement 11: The woman on the left releases 3 instead of 2. The film is not clear enough to judge whether her figure collapses afterwards or not. The camera immediately focuses on the woman on the right, performing the action figure. Movement 13: In the figure Roko this movement mimics the bird's tail feather motion (Noble 1979:98-99). Fig. 13 - Hele-Mule 3 The figure as seen in the film, including its movement, seems to be identical to Roko (“Bird of paradise”) as recorded by Philip Noble in the Managalas and Musa district (Noble 1979:98-99, nr. 54), which was the basis for the reconstruction above. An almost identical figure, including the action, was recorded in the area around Mount Hagen by Shishido and Noguchi (1987:63, nr. 24 Sing sing (“The dance of Highland people”)); this figure however uses different opening movements (movements 1-4) to arrive at a figure which is analogous to Hele-Mule 3 after movement 5. Shishido and Noguchi state that the final figure could be decorated with a feather put into the central knots. Landtman recorded a similar action figure at the mouth of the Fly River (Landtman 1914:228, nr. 12 A wawing branch of the sagida30)). Most of its construction is the same (except for minor differences). Its opening movements are notably different. In Landtman nr. 12 the big toe is used from the start, whereas in Noble nr. 54 it is only inserted halfway through the construction. In Landtman nr. 12 there is a knot which is tied at the start of the construction, to connect the left and right part of the loop. Such a knot is not used in Noble nr. 174 J. CAMPS AND S. CLAASSEN 54; which uses Opening A to establish a connection between the left and right part of the string loop. Movements 1-4 are used as opening movements of two figures from the Torres Straits (Rivers & Haddon 1902:150-151, nr. 5 & 6 Lem baraigida & Ares). Hele-Mule 4 1. 2. 3. 4. 5. 6. 7. [Place loop on 5 only. Pick up both R5 strings on back of L1 and return LH approximately halfway. Pass R1 over R5 strings; pick up both L5 strings on back of R1. Extend. Pass 2 over both 5 strings towards far side of 5f string, and move it towards near side, catching 5f and 5n with the fingerprint side of 2; with 2, from above, enter double 1 loop, then turn 2 away from the body and up, picking up double 1f in the process to become double 2n. With 2 from above remove double 1 loop. With 1, from below, enter lower double 2 loop, close to 2, then pass 1 towards far side of double upper 2f string. Pinch double upper 2f string between 1 and 2 and return with these strings through the lower double 2 loop by rotating 1 and 2 down, towards the body and up. In the process the lower double 2 loop is released. Bring RH over LH, RH fingers pointing to the left and R palm facing down, and turn LH so that L palm points away from the body and LH fingers point upwards (fig. 14).] Fig. 14 - Hele-Mule 4 Remarks • Both women are shown displaying the figure. Instructions are given for the woman on the right. • Reconstruction based on Black and white snake (Noble 2007:67-68, nr. 20). The woman on the left appears to have followed the description as given by Noble; the woman on the right displays the symmetrically equivalent figure (exchanging Left and Right, as given above). STRING FIGURES FROM WEST NEW GUINEA 175 Hele-Mule 4 is more or less identical to a figure recorded by Philip Noble in the North Fly River district (Noble 2007:67-68, nr. 20 Black and white snake); this figure has been used for its reconstruction. A closely related figure was recorded by Rosser & Hornell (Rosser & Hornell 1932:40-41, nr. 2 Jambura (“Wallaby”), Buna District). After slightly different opening movements an identical intermediate figure appears. The continuation is related, yet leads to a slightly different extension (on thumb and little finger, with two double loops on the thumb and a single loop on the little finger, instead of only one loop each on index and little finger in Noble’s figure). Another related figure was recorded by Philip Noble (1979:40-41, nr. 20 Maha (“Pig”), Managalas & Musa district). Its opening movements are slightly different from Noble’s 2007 figure, which result in a different intermediate figure. After related continuation movements a slightly different final figure is reached. Hele-Mule 4 shows some similarity to another figure occurring in New Guinea in which triangles are also formed by double strings twisted around crossing strings, whose construction also starts with a loop around the little fingers, and which uses a related extension (one palm faces the body, the other palm faces away from the body). This figure is simpler in construction and uses less movements. Landtman recorded Sirima (“A fish”) (Landtman 1914:223, nr. 3, mouth of Fly River), which is identical to Kau’ka (“The crab”) recorded by Diamond Jenness (1920:301-302, nr. 1, D’Entrecasteaux archipelago; in Jenness’ description the middle finger is used instead of the index finger). In the description by Jenness the figure is used as a catch. These differ slightly from more or less identical figures recorded by Rosser & Hornell (1932:39-40, nr. 1 Lahi (“Fire”), area around Port Moresby), Haddon (1934:14-15, nr. 5 Eel, Western Papua) and Noble (1979:33-34, nr. 14, Anamura (insect species), Managalas & Musa district). Noble’s figure is also used as a catch31. In the collection of the Royal Netherlands Institute of Southeast Asian and Caribbean Studies a 1940 photograph can be found on which two boys (probably from Waropen) display two symmetrically equivalent figures (Left and Right exchanged in the instructions) (more or less) identical to Landtman’s Sirima32. Note that the two women in the Hele-Mule film also show symmetrically equivalent figures of Hele-Mule 4. Figures similar to Hele-Mule 4 have probably not been recorded elsewhere in Oceania nor in the world. The simpler figure (Landtman’s Sirima etc.) has been found in the Gilbert Islands (Maude & Maude 1958:151, nr. 122 Te Ntabena’), the Solomon Islands (Maude 1978:162-163, nr. 107 Ou’a) and Nauru Island (Maude 2001:33, nr. 12 Eadum). In the Solomon Islands the figure can be used as a catch33. 176 J. CAMPS AND S. CLAASSEN Hele-Mule 5 1. 2. 3. [Opening A. Release R2 loop and extend. Release RH loops. Hold left hand with palm facing downward, fingers pointing to the right. Two pending loops (a near and a far one) hang down from the left hand. With R5 from above enter near pending loop and pick up the innermost strings of each pending loop , these being continuations of L2n and L2f. Share double R5 loop with R1. Extend and bring hands to Normal Position. 4. With R2 from above remove L2 loop. 5. With L2 from above enter R2 loop and pick up double R palmar string. Return through R2 loop. Extend vertically, RH above LH. 6. Release R1 loops and R5 loops and extend sharply. 7. Return hands to Normal Position. With mouth, over all intermediate strings, grasp double L2f and return. 8. Release double L2 loop and single R2 loop. Bring LH in front of the mouth, L palm facing the body. The double L mouth strings run towards the LH where they pass behind the palmar string, then wrap around either L1n or L5f and connect to form a crossing string on the lower side of the figure. The crossing string runs parallel to the L palmar string and has a near segment (close to L1n) and a far segment (close to L5f). With the RH at the right side of the figure, at a position between the mouth and the crossing string, pass R5 over L5f and pick up the far segment of the crossing string. Pass R1 over the double L mouth strings and pick up the near segment of the crossing string. With R2, over all intermediate strings, pick up the central segment of the L palmar string (the segment between the two L mouth strings). 9. Release mouth loops and extend hands to Normal Position.] 10. The R1 loop and the R5 loop are crossed by small circles. A second person passes a small piece of wood through these circles from the near to the far side. Extend, so that the piece of wood gets stuck in the circles. 11. Release R1 loop and R5 loop and extend. The piece of wood slides along the L1f and L5n strings towards the left hand (fig. 15). Remarks • Final figure displayed by the woman on the left, assisted by the woman on the right. • In the film, preceding the display of the action figure there is a short fragment showing the woman on the right constructing a string figure. She holds a (double?) mouth loop, and the palm of her left hand faces the body with a loop on L1 and possibly on L5. A string seems to encircle the L1 and L5 loop. With her right hand she manipulates the strings running between left hand and mouth. The construction appears to be halted. Immediately afterward we see the woman on the left holding a figure resembling Rope bridge (Shishido & Noguchi 1987:48-49, nr. 10). The woman on the right seems to assist in releasing the R5 loop. The woman on the left releases R1 and moves hands away from each other. Two loops, with a STRING FIGURES FROM WEST NEW GUINEA • • 177 piece of wood inserted, can be seen moving to the left hand. It is not possible to decide with certainty from the film whether the halted construction and the final figure belong together or not. The construction and the display follow each other in the film. However the halted construction in the film is performed by the woman on the right, while the final figure is displayed by the woman on the left; furthermore, the string the woman on the right is using seems to be a short one. Yet all other figures in the film seem to be made with the same loop of string, which would make it improbable that only for this figure another string loop is used. It could be that part of the string is hanging down in a large loop from the left hand, but such a dangling loop is not visible in the film. In the reconstruction it is assumed that the fragment of the halted construction belongs to the construction of Hele Mule 5. Therefore, movements 1-9 are reconstructed on the basis of Old woman’s breasts (Noble 1979:23-24, nr. 9), since in this figure the mouth is used. Movements 10-11 are based on the related figure Making fire & Rope bridge (Shishido & Noguchi 1987:48-49, nr. 10). It is possible that Hele Mule 5 is the figure described by Karl Heider as Hali udluk (“Carry wood on head”)34. Fig. 15 - Hele-Mule 5 The figure has been recorded in Papua/New Guinea at least four times. The construction method of three of them is similar, though differs in details. The action in the final figure and what this signifies varies. In the North Fly River district the figure is called Boy and girl race over the bridge (Noble 2007:66, nr. 18). After releasing right thumb and little finger 178 J. CAMPS AND S. CLAASSEN and extending the hands, two loops, representing the boy and the girl, hang below the figure and slide towards the left. Kathleen Haddon found the figure under the name A bird in the Purari delta (Haddon 1934:30-31, nr. 19). Here the two loops sliding towards the left represent a bird. Hans Fischer saw the figure in Lower Watut River area. He describes the final action (two loops sliding to the other side, representing two brothers), but doesn’t give instructions for making the figure (Fischer 1960:181-182, 203, nr. 36 & 36a Nalu lase lisun (“Two brothers swim”)). Philip Noble has recorded a similar figure in the Highlands area (Noble 1979:147-148, nr. 91 Bridge), where the action is different. Here a stick of wood is inserted through the triangles on the palmar side of right thumb and little finger, and the figure is extended until the triangles disappear into knots. If the stick falls out, the man has fallen off the bridge. The right thumb and little finger loops do not slide towards the left hand in this figure. Shishido and Noguchi have recorded the figure in the Mount Hagen area with an intermediate figure called Making fire (Shishido & Noguchi 1987:4849, nr. 10 Making fire & Rope bridge. This figure has been illustrated by Joseph D’Antoni in String Figure Magazine (D’Antoni 2003)). As in Noble’s 1979 recording, a stick of wood is inserted through the triangles on the palmar side of right thumb and little finger. However, after releasing right thumb and little finger and extending the hands, the stick is carried from right to left, in a similar action as in Noble’s 2007, Haddon’s 1934 recording, and Hele Mule 5. The intermediate figure Making fire in the recording of Shishido & Noguchi is known from other recordings in New Guinea as well. Philip Noble found it in the Mount Hagen area (Noble 1979:148-149, nr. 93 Making fire). Comparing this figure to the one by Shishido & Noguchi, its construction is more direct, making use of a twist of the left index finger to produce the double loop held in the right hand. This same direct method is used in making Bean roots (Noble 1979:149, nr. 94, also from the highlands area), the figure occurring in Shishido & Noguchi’s recording in movement 6, just before releasing right index finger. Philip Noble recorded most of Shishido & Noguchi’s construction method for Making fire as part of another figure (Noble 1979:23-24, nr. 9 Old woman’s breasts) in the Managalas & Musa district. In a film made in 1979 by German ethnographer Irenäus Eibl-Eibesfeldt among the Eipo (Central Highlands), part of Shishido & Noguchi’s construction method can be found in the figure Win (“Screw pine”) (see Appendix 1). In Eibl-Eibesfeldt’s film there is no continuation to figures resembling Making fire or Rope bridge. Hele-Mule 5 has similar opening movements (1-6) as Hele-Mule 2 (movements 1-7) and Hele-Mule 13 (movements 1-7). The figure is also known in other places in the world (i.e. in Belgium (Salika 2007)). STRING FIGURES FROM WEST NEW GUINEA 179 Hele-Mule 6 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. [Opening A. Pass R2 over all intermediate strings towards far side of R5f, and move it towards the near side, bringing R5f, R5n and R2f with fingerprint side of R2; with R2, under R2n, from above enter R1 loop, then turn R2 away from the body and up, picking up R1f in the process to become upper R2n. Pass L2 over all intermediate strings towards far side of L5f, and move it towards the near side, bringing L5f, L5n and L2f with fingerprint side of L2; with L2, under L2n, from above enter L1 loop, then turn L2 away from the body and up, picking up L1f in the process to become upper L2n. Release 1 loop. With 1, under all intermediate strings, from below enter 5 loop close to 5. Bring tip of R2 against tip of R1, then turn R2 away from the body over double R2f and R5n, down into the R5 loop (close to R5), towards the body and up. The R5n string has now become a third R2f string. Bring tip of L2 against tip of L1, then turn L2 away from the body over double L2f and L5n, down into L5 loop (close to L5), towards the body and up. The L5n string has now become a third L2f string. In the center of the figure there is an upside-down triangle. With L1 pick up triple 2f in the center of the figure (= the base of the upside-down triangle); with R1 pick up triple 2f strings in the center of the figure (= the base of the upside-down triangle). With LH remove all loops from R2; with RH remove all loops from L2. Pass L2 over L palmar string and L5f towards far side of L5f, then, keeping this string on L2’s fingertip, with L2 from above enter double L1 loop. Turn L2 away from the body then up. The original double L1f strings have become double L2n strings. Movement 7 with R2 on RH. Release 1 loops. With 1, under all intermediate strings, from below enter 5 loop close to 5.] Bring tip of R2 and R1 together, then turn R2 away from the body over double R2f and R5n, then down, towards the body and up. The R5n string has now become a third R2f string. Bring tip of L2 and L1 together, then turn L2 away from the body over double L2f and L5n, then down, towards the body and up. The L5n string has now become a third L2f string. With 1 from below enter double 2 loops, avoiding the 2n string that runs to 5. Release 5 loop, bring tips of 1 and 2 of each hand away from each other and extend, fingers pointing upwards. 14. In the middle of the figure there is a central triangle, which is directed upside-down. Its base is formed by the triple 2f strings. It has a left side and a right side, both of which are located at the lower side of the figure. Move figure towards L foot, then with L big toe from below enter the central triangle. 180 J. CAMPS AND S. CLAASSEN 15. With L5, from below, enter the figure directly to the left of the left side of the central triangle; with the dorsal side of L5 pick up the left side of the central triangle. Simultaneously with R5, from below, enter the figure directly to the right of the right side of the central triangle; with the dorsal side of R5 pick up the right side of the central triangle. Woman on the left: 16. Release 2 loops. 17. With 234, from above, remove 5 loop and turn fingers towards the body and up until palms face upwards [and pull tight by bringing hands towards the body. Release 1 loops. 18. With 5, from below, share loop held by 234 (fig. 16).] Woman on the right: 16. [Release 2 loops. 17. With 234, from below, share loop held by 5 and pull tight by bringing hands towards the body. Release 1 loops.] Fig. 16 - Hele-Mule 6 STRING FIGURES FROM WEST NEW GUINEA 181 Remarks • Figure made and displayed by both women. Movements 1-15 as performed by woman on the right. • Reconstructions based on Hele-Mule 1 (thus on a similar figure from the Solomon Islands (Maude 1978:94-95, nr. 69 Totokiri), and on Ilaga 2). • Movement 14: Woman on the right inserts right big toe instead of left big toe. • Each woman displays the figure differently, as noted in movements 16-18 above. Hele-Mule 6 and its construction are shown on photographs from the Harvard Peabody expedition35, although it is there extended slightly differently. The extension can be obtained by performing Hele-Mule 6, movements 1-16, then moving the elbows down and away from the body, so that the fingers are pointing upwards. Pull hands as far away from the foot as possible and pull tight with little fingers, then release thumbs and bring little fingers towards the body. The double thumb loops flip over to the far side of the figure. The figure is related to Hele-Mule 1 and to Ilaga 2, with which it shares movements 1-16. Hele-Mule 7 1. 2. 3. 4. 5. 6. [Murray Opening (see Ilaga 1, movement 1). With L1 (under upper L2 loop) from above enter lower L2 loop, pick up lower L2f and return. Bring R1 between lower and upper R2 loops to far side of upper R2f, pick up upper R2f and return (between R2 loops). With L5 over upper L2 loop pick up lower L2n. With R5 over lower R2f and upper R2n pick up lower R2n. On the lower side of the figure there is a transverse index string, running from upper L2n through the figure towards upper R2n (passing below LH and RH palmar strings). Bend 2 down into the 1 loop at the far side of the transverse index string, and hook up the transverse index string by turning 2 towards the body and up. Gently release 1 loop, then with 1 from below enter the triangle at the palmar base of 5. With 1 pick up the string crossing the 5 loop diagonally, and return with that string under the released 1 loop. Extend by spreading the fingers, palms facing each other (fig. 17).] Remarks • Both women display the final figure. • Reconstruction based on Haddon 1934:32-34, nr. 21 A canoe. The figure appears to be identical to A canoe, recorded by Kathleen Haddon on Cape York peninsula, Australia. (Haddon 1934:32-34, nr. 21). As far known, no other construction method for this figure from Papua/New Guinea has been found. However, in a photograph made by Herb Schaan in the Enga province 182 J. CAMPS AND S. CLAASSEN Fig. 17 - Hele-Mule 7 (the region northeast of Mount Hagen) (Titus 2007:267, plate 9) a man displays a similar figure. The figure is related to Sakara (“Moon”), as recorded by Philip Noble in the Managalas and Musa district (Noble 1979:128-129, nr. 75), which is again identical (except for some minor details) with a figure recorded by Diamond Jenness in the D’Entrecasteaux archipelago (Jenness 1920:319-320, nr. 34 Manu’a (“A house”)). In these two figures the middle of the string stretched over the frame strings is on the near index string, whereas it is on the near thumb string in Hele-Mule 7. And they both start with a modified Murray Opening, whereas Hele-Mule 7 probably starts with the regular Murray Opening. A figure recorded by Honor Maude in the Torres Straits (Maude 1987:30, nr. 26 Puineg) is closely related to the figures of Noble and Jenness, but it has different final movements and is displayed differently. It is used as an action figure. This figure starts with the regular Murray Opening, after which the upper right index loop is twisted. Hele-Mule 8 1. 2. 3. 4. 5. 6. 7. 8. 9. [Opening A. With mouth grasp all strings in the center of the figure. Turn hands, over all strings, away from the body downwards, then bring them towards the body upwards with fingers still pointing down, dorsal side of the fingers directed towards each other. Release mouth strings. On the dorsal base of each 2 there is a dorsal 2 string. With left part of mouth grasp dorsal L2 string; with right part of mouth grasp dorsal R2 string. Release 2 loop, and turn hands away from the body, pass them under the far wrist strings and up towards Normal Position. Release 1 loop. With 1 from below remove respective mouth loop and extend. With 1 pick up 5n.] Caroline Extension. A figure with two diamonds appears. With mouth, from the near side, bite central connection between the two diamonds. Move hands away from the body, so that a double mouth loop is formed between the mouth and the hands. With 12345 from above enter double mouth loop, and twist hands around STRING FIGURES FROM WEST NEW GUINEA 10. 11. 12. 13. 183 the wrist towards the body then up, bringing the backs of the hands against the cheeks, crooked fingers pointing downwards. Release double mouth loop. On the dorsal base of each 2 there is a dorsal 2 string. With the left part of the mouth grasp the dorsal L2 string; with the right part of the mouth grasp the dorsal R2 string. Release 2 loop (removing this loop from 1 as well). Move hands away from the body, under the far wrist strings and up towards Normal Position. [Twist hands around the wrist so that palms are pointing away from the body, extending slightly, fingers pointing upwards. Each 5f is surrounded by a small loop; with 123 stretch the loop surrounding 5f a little, and then pull it towards the hand slightly. With each 2 from below remove its respective mouth loop.] Extend by moving hands away from each other, palms pointing away from the body. With 1 press down 5f towards the floor (fig. 18). Fig. 18 - Hele-Mule 8 Remarks • Only the woman on the right is shown constructing and displaying the figure (the woman on the left seems to assist). • The film starts with a very short fragment in which the woman on the left has her right hand above, her left hand below the figure which the woman on the right holds. Next the woman on the right creates a (2- or 4-) diamond figure, displaying it using the Caroline Extension. She then bites the crossing that connects the diamonds in the center of the figure, and inserts hands from above in thus formed triangle between mouth and hands. She releases the mouth, then with opposite hands she arranges loops on the dorsal side of the hands so that they can be easily grasped by the mouth. She then grasps strings with the mouth and brings hands to Normal Position. The film then skips a part of the construction and shows the final 184 • J. CAMPS AND S. CLAASSEN figure. Assuming the initial figure the woman displays is a 2-diamond figure and considering the final figure, the sequence seems to be almost identical to the first part of Cutting leaves (Noble 2007:46-48, nr. 4), on which the above reconstruction is based. The first film fragment could probably be explained by assuming that the strings in the center of the figure are grasped by the woman on the left, instead of by the mouth of the woman on the right (as described in movement 2 above). Related figures/series have been recorded at least three times. Philip Noble recorded Cutting leaves in 2007 in the North Fly district (Noble 2007:46-48, nr. 4), and Honor Maude gives a description of Azir (“Shame”) from the Torres Straits (Maude 1987:27-28, nr. 22). Except for minor details, the construction methods are identical, and probably similar to Hele-Mule 8 (except for the final figure). In 1979 Philip Noble recorded Red pandanus fruit, another variant of the series (Noble 1979:132-135, nr. 79, Managalas & Musa district). In Red pandanus fruit the two-diamond figure (appearing after movement 7 in Hele-Mule 8) is preceded by another figure36. Whereas in Cutting leaves and Azir the mouth is used to arrive from the twodiamond figure to the next figure, this is not the case in Red pandanus fruit. Accordingly, the arrangement of strings prior to the Caroline Extension is different. The recordings by Noble and Maude all arrive at a final figure that is different from Hele-Mule 8. This difference is mainly due to the reconstructed extension in Hele-Mule 8 movements 11-12. The series Cutting leaves and Red pandanus fruit both have a continuation towards an identical final figure (and arrive at it by related movements). HeleMule 8 and Maude’s Azir have no continuation. Hele-Mule 9 Two players (here labeled A and B) are seated facing each other. 1. 2. 3. [Player A: Opening A. Player A: With tips of 2 pointing towards each other, exchange 2 loops, L2 loop over R2 loop.] Player B: Bring hands towards far side of figure (relative to A) in the middle of the figure, palms facing each other, 2 pointing away from the body. Move L2 and R2 through A’s figure towards A’s body in the following way: Move L2 and R2 from A’s far side under A’s 5f string; move R2 over A’s L5n string and L2 over A’s R5n string; move R2 under A’s L2f string and L2 under A’s R2f string; move R2 under A’s L2n string and L2 under A’s R2n string; move R2 over A’s L1f string and L2 over A’s R1f string; move L2 and R2 under A’s 1n string. Make sure to keep strings on L2 and R2 well-separated from each other. Keep hands close together. STRING FIGURES FROM WEST NEW GUINEA 4. 5. 6. 7. 8. 9. 185 Player A: Release all loops. A’s former 5f, 2f, 2n and 1n strings are now hanging down over B’s L2 and R2. Player A: On B’s L2 and R2 with tips of 123 grasp A’s former 1n string (the string closest to the tips of B’s 2), lift it (only) over A’s former 2n string away from the body and drop it between A’s former 2n and 2f string on side of B’s L2 and R2. Player A: On B’s L2 and R2 with tips of 123 grasp A’s former 5f string (the string closest to the base of B’s 2), lift it (only) over A’s former 2f string towards the body and drop it between A’s former 2f string and A’s former 1n string (dropped there in movement 5) on side of B’s L2 and R2. Player A: On B’s R2 with L123 and on B’s L2 with R123 grasp A’s former 2n string. Player B: Between tip of L1 and L2 on L2 and between tip of R1 and R2 on R2 grasp A’s former 5n string. Player A & B: Bring hands towards the body to extend the figure. A figure with two triangles appears, one triangle close to Player A, one close to Player B, apexes pointing towards the players (figure identical to fig. 6a). Remarks • Figure made and displayed by woman on the right as player A, woman on the left as player B. • Reconstruction based on Ilaga 6 (see above). The above figure is the first of a two-figure series in Ilaga 6. Movement 3 slightly differs from the corresponding movement in Ilaga 6; player B here inserts index fingers of both hands into the figure, instead of index and middle finger of only one hand in Ilaga 6. See Ilaga 6 for further comparative notes. The construction of this figure can be seen on several photographs of the Harvard Peabody expedition37. Hele-Mule 10 1. 2. 3. 4. 5. 6. [Opening A. Pass 2345 from above in 1 loop and close them to the palm. With R big toe from above enter 1 loop and pick up 1n string. Return R big toe, and unfurl 2345 to Normal Position. Extend. Bring tips of 5 towards each other and exchange 5 loops, left over right. Bring tips of 2 towards each other and exchange 2 loops, right over left. Extend.] Remarks • Only the final figure is shown on film. The figure is only made by the woman on the left. • Reconstruction based on U (“The coco-nut palm tree”) (Haddon 1911:9), but movement 5 modified on the basis of the photograph from the Harvard -Peabody expedition38. 186 • J. CAMPS AND S. CLAASSEN Karl Heider probably describes this figure as Sin-sin (“AraucariaAraucaria”, a tree species)39. An identical figure can be seen on two photographs from the Harvard Peabody expedition, as specified in the remarks above. Hele-Mule 10 is probably the same as U (“The coco-nut palm tree”), recorded by Alfred Haddon in the Torres Straits (Haddon 1911:9, nr. 3; see also Jayne 1906:195). The figure has probably not been recorded in other places in the world. Fig. 19 - Hele-Mule 10 Hele-Mule 11 Unfortunately it has not been possible to make a reconstruction of Hele-Mule 11. It appears to be a previously unrecorded figure. It is possibly a variation of Hele-Mule 10 or Hele-Mule 13. An impression of the figure can be seen in fig. 20. STRING FIGURES FROM WEST NEW GUINEA 187 Remark • The figure is only made by woman on the left. Fig. 20 - Hele-Mule 11, still from the film Hele-Mule 12 1. 2. 3. 4. 5. 6. 7. [Murray Opening (See Ilaga 1, movement 1). With 1 from above enter upper 2 loop, then pick up lower 2f and return through upper 2 loop. Release upper 2 loop. With 2, over all intermediate strings, pick up 1n. Release 1 loop. With 1 share lower 2 loop. Bring 4 towards the body close to 2 between 2f strings and under (upper) 2n string,] then return 4 to its normal position, simultaneously spreading all fingers. Release 4 loop. (In this movement the dorsal side of 4 pushes the upper 2 strings towards the far side of the figure). Bring 3, from below into 1 loop and push all 2 strings towards the far side of the figure while spreading all fingers (fig. 21). 188 J. CAMPS AND S. CLAASSEN Fig. 21 - Hele-Mule 12 Remarks • Only the final figure, as displayed by the woman on the right, and some of its movements are shown on the film. • After the display of the figure, both women are shown laughing. • Film footage of this figure is of poor quality. Reconstruction based on Noble 2007:75-77, nr. 27 Two men fighting. • Karl Heider possibly describes this figure as Oati (“Copulation”)40. The figure appears to be more or less the same as Ilaga 3 (see Ilaga 3 above for general comparative notes on this figure). However, movements 5-7, including the action of the figure, differ slightly. The viewer of the film gets the impression that the figure was quickly displayed and then immediately abandoned, so that there was no time to reveal the action of the figure in detail. Hele-Mule 13 1. 2. 3. 4. 5. 6. 7. 8. [Opening A. Release R2 loop and pull tight. Release RH loops. Keep left hand with palm facing downward, fingers pointing to the right. Two pending loops hang down from the LH. First with R5, then with R1, enter the near pending loop from above and the far pending loop from below. Extend and return hands to Normal Position, thus picking up the innermost string of each pending loop (continuations of L2n and L2f). Bring L2 and R2 together so that tips of fingers touch, and transfer L2 loop to R2. With L2 from above enter R2 loop, then with it pick up double R palmar string. Return through R2 loop. Release R1 loops and R5 loops and extend sharply. With R big toe from below remove R2 loop. STRING FIGURES FROM WEST NEW GUINEA 189 9. With R5 from below remove L1 loop. 10. With mouth grasp double L2n. Release L2 loops. 11. Move hands away from each other, palms facing each other, fingers pointing away from the body, so that the figure opens up. A large triangle can be distinguished, with the R big toe as its apex and the central segment of the 5n string as its base.] 12. Four strings run from the mouth towards the center of the figure. Two of them cross each other close to the mouth: the right crossing string runs from the left part of the mouth through the figure to become the R5f string; the left crossing string runs from the right part of the figure around the L5 loop to become the left string of the toe loop. With R2, over all intermediate strings, from the right pick up right crossing string. 13. With L2, over all intermediate strings, from the left pick up left crossing string. 14. Release mouth loops and extend (fig. 22). Fig. 22 - Hele-Mule 13 190 J. CAMPS AND S. CLAASSEN Remarks • Instructions given for woman on the left. Both women display the final figure. • In movement 8, woman on the right uses L big toe instead of R big toe. • The above reconstruction is based on the display of the final figure and on Noble 1979:23-24, nr. 9 Old woman’s breasts and Shishido & Noguchi 1987:48-49, nr. 10 Making fire & Rope bridge (See remarks on Hele Mule 5 and Hele-Mule 2). The figure has not been recorded elsewhere in New Guinea. Hele-Mule 13 has similar opening movements (1-7) as Hele-Mule 2 (movements 1-7) and HeleMule 5 (movements 1-6). Hele-Mule 14 Two players (here labeled A and B) are seated opposite each other. 1. 2. [Player A: Opening A. Player B: From B’s near side, bring L1 over and L2 under A’s R5f string and grasp this string close to A’s R5 between tips of L1 and L2.] 3. Player B: From B’s near side pass L3 under A’s R5f and R5n string, then with tip of L3 press A’s R5n string under A’s R5f string towards B’s near side; grasp this R5n string there with tips of R12 from above. Return L3. 4. Player B: Move R12 (over all intermediate strings) over A’s R2f string in the direction of B’s far side. Insert R3 from above into the figure directly at the far side of the string held by the tips of R12 and A’s R2f string, then with its tip press A’s R2f string to the near side and upwards directly at the near side of the string held by the tips of R12. Release R12 carefully (the loop they held resting on fingerprint side of R3) and with them grasp the string pressed upwards by R3 (A’s R2f string). Return R3. 5. Player B: Movement 4 with RH on A’s R2n string. 6. Player B: Movement 4 with RH on A’s R1f string. 7. Player B: Release the string held by L12. Transfer loop held by R12 to L12. 8. Player B: Move L12 over A’s R1n string in the direction of B’s far side. Pass R3 from above to the far side of the string held by the tips of L12 and A’s R1n string, then with its tip press A’s R1n string to the near side and upwards directly at the near side of the string held by the tips of L12. With R12 grasp the string pressed upwards by R3 (A’s R1n string), release the string held by L12, and bring R12 towards the mouth of Player A. 9. Player A: With the mouth grasp the string held by B’s R12. Player B: Release the string held by R12. 10. Player B: From B’s near side, bring L1 over and L2 under A’s L5f string and grasp this string between the tips of L1 and L2. 11. Player B: With R12 from above grasp A’s L5n string close to A’s L5. STRING FIGURES FROM WEST NEW GUINEA 191 12. Player B: From B’s near side bring R12 and R3 over A’s L2f string in the direction of B’s far side. With the tip of R3 press A’s L2f string under A’s L5n string towards B’s near side, then with R1 and R2 from above grasp A’s L2f string at the near side of A’s L5n string. 13. Player B: Move R12 (over all intermediate strings) over A’s L2n string in the direction of B’s far side. Pass R3 from above to the far side of the string held by the tips of R12 and A’s L2n string, then with it press A’s L2n string to the near side and upwards directly at the near side of the string held by the tips of R12. Release the string held by R12 carefully and with them grasp the string pressed upwards by R3 (A’s L2n string). 14. Player B: Release the string held by L12. Transfer loop held by R12 to L12. 15. Player B: Pass L12 over A’s L1f string in the direction of B’s far side. Pass R3 from above to the far side of the string held by the tips of L12 and A’s L1f string, then with its tip press A’s L1f string to the near side and upwards directly at the near side of the string held by the tips of L12. Release the loop held by L12, and immediately grasp with them the string pressed upwards by R3 (A’s L1f string). 16. [Player B: Pass L12 over A’s L1n string in the direction of B’s far side. Pass R3 from above to the far side of the string held by the tips of L12 and A’s L1n string, then with its tip press A’s L1n string to the near side and upwards directly at the near side of the string held by the tips of L12. Release the loop held by L12, and immediately with them grasp the string pressed upwards by R3 (A’s L1n string). 17. Player B: Transfer the string held by L12 to R12, and pass R12 towards the far side of figure (respective to Player B) and to the left of Player A to extend the figure (fig. 23)]. Remarks • Performed by woman on the left as player A, woman on the right as player B. • Reconstruction based on Flying Fox’s wing (Noble 1979:75-77, nr. 41). • Note that the final design is not symmetrical. Philip Noble has recorded three figures in which related weave-like movements are used. Javia taha (Noble 1979:75-77, nr. 41, Managalas & Musa district) is most closely related to Hele-Mule 14; one player holds a basic frame pattern on which the other player weaves. According to Noble the ‘weave’ move is known elsewhere, but the particular design of this figure is unique41. The other “weave” figures recorded by Philip Noble are Bird of paradise (Noble 1979:180-181, nr. 126, South Coast) and Bilum (“String bags”) (Noble 1979:183, nr. 129, North Coast, which is more or less a continuation of Noble 1979 nr. 126, using the same movements). Hans Fischer recorded a related figure (Fischer 1960:185, 211, nr. 68 Tekib (“String bag”)) in the Lower Watut River area, and Diamond Jenness found Anega’la (“A parrot”) in the D’Entrecasteaux Archipelago (Jenness 1920:326, nr. 48). Both are closely related to Noble’s Bilum, although the initial frame 192 J. CAMPS AND S. CLAASSEN Fig. 23 - Hele-Mule 14 pattern varies slightly. The figure recorded by Jenness is actually a trick; by releasing some loops after the ‘weave’-like movements Opening A is formed again42. A figure where a single series of “weave”-like movements on the left hand is used, was recorded in the Torres Straits by A.C. Haddon in 1912 (Haddon 1912:340, nr. 29 Zermoi (“The Pilot Fish”)). Figures constructed with similar ‘weave’-like movements are known all over the world. An overview of related figures can be found in an article by Joseph D’Antoni (D’Antoni 1998b:102-104). CONCLUDING REMARKS The two films made by Jules Camps contain footage of twenty-two different figures; three figures occur in both films. Six figures are probably new to the scientific world. These are Ilaga 2, Ilaga 5, Ilaga 6, Ilaga 11, Hele-Mule 6, and Hele-Mule 13. Ilaga 9 is in itself a common figure in New Guinea, but its use as a release trick was hitherto unknown. There is not sufficient footage to allow for a reconstruction of Hele-Mule 11, which also appears to be a hitherto unknown figure. STRING FIGURES FROM WEST NEW GUINEA 193 The construction of Hele-Mule 7 has until now never been recorded in New Guinea; the film shows only the final figure. However it does appear on another photograph from the highlands of New Guinea, indicating it is probably a common figure there. It is known from other parts in Oceania, on the basis of which a reconstruction was possible. A striking observation is the construction of an intermediate figure, which is identical in both films (in the figures Ilaga 2, Ilaga 8, Hele-Mule 1 and HeleMule 6). This construction method is identical to a method known from the Solomon Islands, but it differs from the recorded construction methods for this figure from elsewhere in New Guinea. Another link to the Solomon Islands is the relationship between the twoplayer series Ilaga 11 and a series from the Solomon Islands. The connection between the string figure repertoire of New Guinea and the Solomon Islands has also been noted by Honor Maude in her foreword to Philip Noble’s monograph (Noble 1979:Foreword). But before one is tempted to formulate daring hypotheses, one should keep in mind the defective state of string figure collections from New Guinea, in particular from the western half; the Solomon Islands construction method is perhaps much more common in this part of the island. The diffusion of string figures and their construction techniques probably occurs foremost by means of face-to-face contacts. Therefore it is likely that the string figure repertoire of a certain region is most closely related to that of neighboring regions, and more distantly related to more distant regions. That is, when natural or social barriers (such as difficult-to-pass mountain ranges or hostilities) are not taken into account. The two films of Jules Camps seem to support such a hypothesis. Significant relations occur between neighboring regions. The films Ilaga and Hele-Mule have three figures in common. Seven of its string figures were also recorded in the eastern Highlands area (of the approximately forty recorded figures), and four figures were more or less identical to those from the North Fly River district (thirty-seven figures recorded in total). There is also a significant relation with the North Coast (two figures identical with some of the twenty-one recorded figures in that region). It becomes also clear that the string figures in the western half of the island have general relations with those in the eastern half. In the two films by Jules Camps there are several figures that also occur in the more distant regions (such as the Managalas & Musa districts and the Trobriand Islands). In this publication, transcriptions of string figures from the highlands of West New Guinea were given on the basis of two short films. We herewith have a first impression of the string figure corpus in this area. Remembering the expectation of the Maudes cited in the introduction (Maude & Maude 194 J. CAMPS AND S. CLAASSEN 1972:1103), we might ask ourselves: are there already any first-class string figures in this small sample? Although criteria for such figures still have to be defined and a certain degree of subjectivity in answering that question cannot be avoided, the two-player action figure Ilaga 5 is definitely a serious candidate for inclusion in the world-class string figure repertoire. It is brilliant in its simplicity, and has a pleasant action to accompany it. Some more photographs from the Balim valley remain to be interpreted43, and it is likely that there is more material from West New Guinea waiting to be discovered in archives, in the Netherlands, in Germany (i.e. the Eipo project), the United States and elsewhere. And hopefully someone will take up the task of recording current string figure making in the area. ACKNOWLEDGMENTS I want to thank the following persons and institutions for their help: • The informants from the highlands of New Guinea (whose names are unfortunately unknown), who shared their string figure skills with us through the camera lens of Jules Camps. • Late father Jules Camps OFM, for his filming of string figure making among two cultures in the highlands of West New Guinea. • Stichting Papua Cultureel Erfgoed (PACE) in Utrecht, the Netherlands, for granting me access to the two string figure films by father Jules Camps, for allowing me to use their library, and for their hospitality. • The Franciscan Order in Utrecht, the Netherlands, for providing information on father Jules Camps OFM, and for permitting me to use his films in this publication. • The Harvard Peabody Museum of Archaeology and Ethnology in Cambridge, Massachusetts, in particular Jessica Desany Ganong, for providing me with scans of photographs of their 1961-1963 expedition to the Grand Valley of the Balim. • Prof. Dr. Irenäus Eibl-Eibesfeldt, for his permission to publish transcripts of the string figures in his film from the Eipo cultural area. • Joseph D’Antoni from Queens, New York, for proofreading the instructions and checking them against the films, and for his suggestions for reconstructions. • Mark Sherman from Pasadena, California, for pointing me to the films in the Utrecht archives, and for providing me with all known literature on New Guinean string figures that contains instructions. • Marleen van Oosten from Best, the Netherlands, for helping with the photographs. Without them, this publication would not have existed. *** STRING FIGURES FROM WEST NEW GUINEA 195 LITERATURE CITED Andersen, J.C. (1927) Maori string figures. (Board of Maori Ethnological Research, Memoirs, Vol. II). Wellington. Bak, K. (no date) “Necrologie: Jules (Rombout) Camps.” Mediant, Tijdschrift Nederlandse Minderbroeders 249-251. Beaglehole, P. & Maude, H.C. (1989) String figures from Pukapuka. Canberra: Homa Press. Camps, J.A.E. (1972) “Book review: Heider: The Dugum Dani.” Irian, Bulletin of West Irian Development 1(2):83-100. <http://www.papuaweb.org/dlib/irian/1-2.PDF> Camps, J.A.E. & Naylor, L.L. (1972) “Book review: Gardner, Robert and Karl-G. Heider: Gardens of War: Life and Death in the New Guinea Stone Age.” Irian, Bulletin of West Irian Development 1(3):96-100. <http://www.papuaweb.org/dlib/irian/1-3.PDF> Claassen, S. (2010) “Traditional Dutch String Figure Rediscovered.” Bulletin of the International String Figure Association 17:219-221. Cook, C.D. (1995) The Amung Way: the subsistence strategies, the knowledge and the dilemma of the Tsinga Valley People in Irian Jaya, Indonesia. (PhD Dissertation). Carbondale: Southern Illinois University. <http://www.papuaweb.org/dlib/s123/cook/_phd.html> D’Antoni, J. (1998a) “A pot.” String Figure Magazine 3(3):23-24. D’Antoni, J. (1998b) “Reconstructing string figure patterns.” Bulletin of the International String Figure Association 5:92-104. D’Antoni, J. (2003) “Rope bridge.” String Figure Magazine 8(2):15-19. [reprinted in Bulletin of the International String Figure Association 14:282-284 (2007)]. Davidson, D.S. (1941) “Aboriginal Australian string figures.” Proceedings of the American Philosophical Society 84:763-901. Eechoud, J.P.K. van (1951). Vergeten aarde. Nieuw-Guinea. Amsterdam: V.H. C. De Boer Jr. Eechoud, J.P.K. van (1962) Etnografie van de Kaowerawédj (Centraal Nieuw-Guinea). (Verhandelingen van het Koninklijk Instituut voor Taal- Land- en Volkenkunde deel 37). ‘s Gravenhage: Martinus Nijhoff. <http://www.papuaweb.org/dlib/bk1/kitlv/eechoud-1962.pdf>, <http://www.papuaweb.org/dlib/bk1/kitlv/eechoud-1962-plates.pdf > Eguchi, M. & Sato, T. (1996) “On the relationship between the string figure series ‘Milky way’ and ‘A flock of birds’.” Bulletin of the International String Figure Association 3:83-88. Emory, K.P. & Maude, H.C. (1979) String figures of the Tuamotus. Canberra: Homa Press. Firth, R. & Maude, H.C. (1970) Tikopia string figures. (Royal Anthropological Institute, Occasional Papers, Vol. 29). London. Fischer, H. (1960) ”Fadenspiele vom Unteren Watut und Banir River (Ost-Neuguinea).” Baessler-Archiv (n.s.) 8:171-214. Gardner, R. & Heider, K.G. (1968) Gardens of war. Life and death in the New Guinea stone age. New York: Random House. Haddon, A.C. (1912) “String figures and tricks.” Reports of the Cambridge Anthropological Expedition to the Torres Straits 4: 320:341. Haddon, K. (1911) Cat’s cradles from many lands. New York: Longmans, Green and Co. 196 J. CAMPS AND S. CLAASSEN Haddon, K. (1930) Artists in string. London: Methuen. Haddon, K. (1934) String games for beginners. Cambridge: Heffer & Sons. [2nd ed., revised and expanded 1942]. Handy, W.C. (1925) String figures from the Marquesas and Society Islands. (B.P. Bishop Museum, Bulletin No. 18). Honolulu: B.P. Bishop Museum. Harbison, R. & Reichelt, R. (1985) “Some string figures from Papua-New Guinea.” Bulletin of String Figures Association 11:18-27. Hawkins Jr., F.N. (1972) “Isolated Catholic mission is an Indonesian oasis.” The FreeLance Star, May 27, 1972. Heider, K.G. (1970) The Dugum Dani. A Papuan culture in the highlands of West New Guinea. Chicago: Aldine Pub. Co. Heider, K.G. (1973) “Further thoughts on the Dugum Dani: a response to a review.” Irian. Bulletin of Irian Jaya Development 2(3):75-79. <http://www.papuaweb.org/dlib/irian/2-3.PDF> Held, G.J. (1957). The Papuas of Waropen. The Hague: Martinus Nijhoff. Holmes, J.H. (1924) In primitive New Guinea. London: Seeley, Service & Co. (pp. 279282, 286.) Hornell, J., (1927) String figures from Fiji and Western Polynesia. (B.P. Bishop Museum, Bulletin No. 39). Honolulu: B.P. Bishop Museum. Inayama, A. (1980) “Bihinama.” Bulletin of String Figures Association 4:12-13. Jayne, C.F. (1906) String figures. New York: Charles Scribner’s Sons. [Reprinted as: String figures and how to make them. New York: Dover (1962)]. Jenness, D. (1920) “Papuan cat’s cradles.” Journal of the Royal Anthropological Institute 50:299-326. Landtman, G. (1914) “Cat’s cradles of the Kiwai papuans, British New-Guinea.” Anthropos 9(1-2):221-232. Le Roux, C.C.F.M. (1948-1950) De bergpapoea’s van Nieuw-Guinea en hun woongebied. 3 Vols. Leiden: E.J. Brill. <http://www.papuaerfgoed.org/files/Le_Roux(I)_1948_Bergpapoea.pdf>, <http://www.papuaerfgoed.org/files/Le_Roux_1950_II_Bergpapoeas.pdf>, <http://www.papuaerfgoed.org/files/Le_Roux_1950_III_Bergpapoeas.pdf> Maude, H.C. (1978) Solomon Islands string figures. Canberra: Homa Press. Maude, H.C. (1984) String figures from New Caledonia and the Loyalty Islands. Canberra: Homa Press. Maude, H.C. (1987) “String figures from Torres Strait.” Bulletin of String Figures Association 14:1-35. Maude, H.C. (2001) The string figures of Nauru Island. [2nd edition] Suva: University of the South Pacific. Maude, H.C. & H.E. (1958) String figures from the Gilbert Islands. (The Polynesian Society, Memoir No. 13). Wellington. Maude, H.C. & H.E., (1972) “String figures.” In: Encyclopedia of Papua and New Guinea, Vol. 2 pp. 1102-1104. Melbourne: Melbourne University Press. Maude, H.C. & Wedgwood, C.H. (1967) “String figures from northern New Guinea.“ Oceania 37: 202-229. Mitten, R. (1983) The lost world of Irian Jaya. Melbourne: Oxford University Press. Naylor, L. L. (1974) Culture change and development in the Balim Valley, Irian Jaya, Indonesia. (dissertation). Carbondale: Southern Illinois University. <http://www.papuaweb.org/dlib/s123/naylor/_phd.html> STRING FIGURES FROM WEST NEW GUINEA 197 Noble, P.D. (1979) String figures of Papua New Guinea. Boroko: Institute of Papua New Guinea Studies. Noble, P.D. (1980) “Echo (imitation) from Southern Papua.” Bulletin of String Figures Association 5:2-5. Noble, P.D. (2001) “Papua New Guinea revisited. An autobiographical account of recent encounters with old string figure friends.” Bulletin of the International String Figure Association 8:1-15. Noble, P.D. (2007) “String figures from the North Fly District, Papua New Guinea.” Bulletin of the International String Figure Association 14:38-100. Noguchi, H. (1978) “A Papua New Guinea string figure ‘Turtle’.” Bulletin of String Figures Association 1:3-4. Noguchi, H. & Shishido, Y. (2003) “Crocodile: A string figure series from Papua New Guinea.” Bulletin of the International String Figure Association 10:256-262. O’Brien, D. (1969) The economics of Dani marriage: An analysis of marriage payments in a highland New Guinea society. (PhD Dissertation). Yale: Yale University, Department of Anthropology. <http://www.papuaweb.org/dlib/s123/obrien/_phd.html> Peters, H.L. (1965) Enkele hoofdstukken uit het sociaal-religieuze leven van een Danigroep. (Dissertation). Utrecht/Nijmegen: Dekker & Van de Vegt N.V. Peters, H.L. (1975) “Some observations of the social and religious life of a Danigroup.” Irian, Bulletin of West Irian Development 4(2) [English translation of Peters 1965] <http://www.papuaweb.org/dlib/irian/4-2.PDF> Ploeg, A. (1966) “Some comparative remarks about the Dani of the Baliem valley and the Dani at Bokondini.” Bijdragen tot de Taal-, Land- en Volkenkunde 122(2):255273. <http://www.kitlv-journals.nl/index.php/btlv/article/viewFile/2505/3266> Ploeg, A. (2004) “The German Eipo research project.” Journal de la Société des Océanistes, 118(1):35-79. <http://jso.revues.org/index263.html?file=1> Probert, M. (1999) “The origin of string figures.” Bulletin of the International String Figure Association 6:212-252. Rivers, W.H.R. & Haddon, A.C. (1902) “A method of recording string figures and tricks.” Man 2:146-153. Rosser, W.E. & Hornell, J. (1932) “String figures from British New Guinea.” Journal of the Royal Anthropological Institute 62:39-50. Roth, W.E. (1902) “Games, sports, and amusements.” North Queensland Ethnography, Bulletin 4:10-11, and Plates III-XII. Salika, C. (2007) “Balloons and bird from Belgium.” Bulletin of the International String Figure Association 14:271-273. Senft, B. & Senft G. (1986) “Ninikula. Fadenspiele auf den Trobriand-Inseln, Papuaneuguinea.” Baessler-Archiv (n.s.) 34:93-235. Sherman, M. (1997) “Puddle.” String Figure Magazine 2(4):5-6. Sherman, M. (2003) “Rock the Baby.” String Figure Magazine 8(3). Shishido, Y. & Noguchi, H. (1987) “Some string figures of highland people in Papua New Guinea.” Bulletin of String Figures Association 14:38-69. Storer, T. (1988) “String figures.” Bulletin of String Figures Association 16 (Special Issue). Titus, D. (2007) “Noisy pigeons, bartered brides, long machetes and 5000 strings.” Bulletin of the International String Figure Association 14:257-268. Wirz, P. (1922) Die Marind-Anim von Holländisch-Süd-Neu-Guinea. Vol. I. Hamburg: L. Friederichsen. 198 J. CAMPS AND S. CLAASSEN APPENDIX I In 1979 German researcher Irenäus Eibl-Eibesfeldt recorded a short film (black & white, 3’30 minutes, mute) containing the construction of two string figures by Eipo boys44. The film is apparently shot on a mountain side in an assembly of a small group of Eipo children and adults. The Eipo are a small ethnic group (consisting of some 400 people) in the eastern highlands of West New Guinea. They live in the rather isolated valley of the Eipo river. The Eipo have been the subject of an extensive German research project since the 1970s45. In this appendix a transcription of the construction of the two figures in the film is given, followed by short comparative notes. Eipo 1. Win (“Screw pine”) 1. Opening A. 2. Release R2 loop and extend. 3. With chin from above press down 1n, then with mouth grasp R1f and R5n. Release RH loops. 4. There is now a double mouth loop, running from the mouth towards LH. With R1 away from the body enter double mouth loop; release double mouth loop. 5. With R5 from below share double R1 loop. 6. Bring RH over tips of L fingers towards L dorsal side, R fingers pointing downwards. With tips of R12 create a small L2 dorsal loop by pulling string running at dorsal base of L2 slightly to the left. With R2 from above enter L2 dorsal loop and remove it from L2. Return RH. 7. With L2 from above enter R2 loop, then with it pick up double R palmar string. Return through R2 loop. Fig. A1 - Win, displayed horizontally STRING FIGURES FROM WEST NEW GUINEA 8. 9. 199 Extend vertically, RH above LH. Release R1 loops and R5 loops and extend sharply, RH above LH (fig. A1). Remarks • Construction of the figure is filmed four times, twice by each boy (once filmed in real time, once in slow motion) . • Movement 2: At the first try Boy A releases R1 loop instead of R2 loop. This is apparently a mistake, since the construction is halted afterwards. • Movement 3 and 4: Boy B replaces these movements with the following: Release RH loops. Hold left hand with palm facing downward, fingers pointing to the right. Two pending loops (a near and a far one) hang down from the left hand. With R5 from above enter near pending loop and from below pick up L2n and L2f after they have passed under the L palmar string. Share double R5 loop with R1. Extend and bring hands to Normal Position. • Movement 8: the figure at the end of this movement is shortly displayed before continuing to movement 9. Comparative notes on this figure can be found above under Hele-Mule 5. Win appears to be the final figure; it does not have the continuation to Rope bridge as in Hele-Mule 5. Eipo 2. Tbye (“Leech”) 1. Place loop on R1 and R5 as in Position 1. A long pending loop hangs down from RH. 2. With right foot from below (respective to RH) enter pending loop, and hold loop with right lower leg. 3. With LH, over R1n, grasp R5f close to lower leg, and wind it around the right foot by bringing LH towards the left, down under the foot then to the right. Release the string held by LH. 4. With L1 and L5 pick up R1n as in Position 1. 5. With R2 pick up L palmar string. 6. With L2 from above enter R2 loop, then pick up R palmar string. Return through R2 loop (fig. A2). 7. With right foot, under all intermediate strings, enter 2 loops in the center of the figure. 8. Release 5 loop and 2 loop, bring hands upwards and extend. The lower leg is freed from all strings. Remarks • Construction of the figure as performed by the same boy is filmed four times (three times in slow motion, once in real time). • Although the action of the figure is a trick (the lower leg is released in 200 J. CAMPS AND S. CLAASSEN Fig. A2 - Tbye movement 8), its name and form point to some sort of resemblance with the leech, which often finds its place on the lower leg when one crosses water. String tricks related to Tbye have been recorded several times in New Guinea. The object around which the string is tied might vary, but the key movement is always the formation of Opening A and the insertion of the object in the index loops to release the string. Hans Fischer recorded the trick in the Lower Watut River area (Fischer 1960:185, 212, nr. 69 Ku katek (“To break the neck”)46). As the name indicates, it is formed around the neck of a single player. After the insertion of the neck in the index loops, thumb loops are released (instead of index and little finger loops in Tbye) to give the impression that the string has gone right through the neck. STRING FIGURES FROM WEST NEW GUINEA 201 Two similar string tricks were recorded by Philip Noble (Noble 1979:88-89, nr. 48 Malolo (“Bamboo cutting hand”), Managalas & Musa district; Noble 2007:85-86, nr. 27 Bamboo cut, North Fly District). Here the string loop is tied around the hand of a second player. Having formed Opening A for the release, the first player releases index and little finger loops, as in Tbye. Related to these last two tricks is another trick recorded by Philip Noble (Noble 1979:105-106, nr. 58 Neck release, Managalas & Musa district). Here the string loop is tied around the neck of a single player, but for the release no Opening A is formed, although the principle used remains the same. More distantly related is the trick recorded by Diamond Jenness (1920:315, nr. 24a Cutting the hand, D’Entrecasteaux archipelago). The string is tied around the hand of a second player using a modified version of Opening A followed by release of the little finger loops, after which the index finger loops are released. For the release Opening A is formed, after which the little finger loops are released. The trick is well known in other places in Oceania and in the world (See Jayne 1906:339-340 Hanging, and Storer 1986:286 and the bibliography given in that volume for trick V.B.7 var. 3). END NOTES 1. 2. 3. 4. 5. This publication follows the practice of Karl Heider to use the anthropological name “New Guinea” to indicate the whole island, consisting of Papua Province (belonging to Indonesia) in the west and Papua New Guinea in the east (Heider 1970:viii). Held 1957:182,362-368; Van Eechoud 1951:79 & plates 45-47; Van Eechoud 1962:176 & plate 26; Wirz 1922:81 & Plate 24 (the original photographs are in the Museum der Kulturen in Basel, Switzerland, F Vb 33663 and F Vb 33664). Thirteen photographs at the Royal Netherlands Institute of Southeast Asian and Caribbean Studies in Leiden, Inventory 150092 – 150104 (three of these were published in Van Eechoud’s 1951 book). The information in the collection states these were probably made in 1940 on the island of Yapen, but they are probably from the area around the Mamberamo river. The performers in the photographs are also the same as in Van Eechoud’s 1962 book. The film shot in 1956 by J.A. van der Hoeven (Primitief Nieuw-Guinea. Merkwaardige Adat gebruiken. (“Primimtive New Guinea. Curious Adat customs”)) contains a short scene from the Maibrat tribe at the Atinjo-lake, where a large group of youngsters is making string figures. The Harvard Peabody Museum in Cambridge, Massachusetts, USA has 23 photographs from its expedition to the Balim river valley in 1961-1963. This short biography of Jules Camps is based on the necrology written by Kees Bak in Mediant, periodical of the Order of St. Francis in the Netherlands (Bak, n.d.). The archives of the Dutch Franciscan Missionary Order are accommodated in the Utrecht Archives. They contain a survey of the correspondence on the purchase of filmic equipment for Jules Camps (606. Franciscanen Nederland, Missie; 1156. Projectnr. 70 t/m 130; 93. Documentaires Jules Camps 1972-1974). 202 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. J. CAMPS AND S. CLAASSEN Due to insufficient income the Papua Cultural Heritage Foundation in Utrecht had to stop its activities in March 2011. Its web page is still accessible: <http:// www.papuaerfgoed.org>. <http://www.papua-insects.nl/Prince Leopold.htm>. This practice is connected with funeral rites of close relatives, killed by an enemy. It is done as a sign of mourning, but also to avoid the wrath of the ghost of the deceased (Le Roux 1948-1950:Vol. 2, 765-771, Vol. 3, Photographs 257-262; Heider 1970:238-240). Denise O’Brien, working among the Western Dani, states that the amputation of phalanxes is no longer practiced there from 1961 onward (O’Brien 1969:105-106). The description of the Balim valley and the Grand Valley Dani people is based on monographs by K. Heider (1970), L. Naylor (1974) and H. Peters (1965). The Harvard Peabody Museum of Archaeology and Ethnology in Cambridge, Massachusetts stores 23 black-and-white photographs (inventory nrs. 2006.17.1.177.5-27) from its 1961-1963 expedition to the Grand Valley of the Balim River. Only one of these photographs has been published so far (Gardner & Heider 1968:68,72). Based on the monograph of Karl Heider, one would think that string figures are only made by Dani children (Peters too classifies string figure making as a children’s game (Peters 1965:39)). But in the film Hele-Mule shot by Camps it is adult women that make the figures. The photographs of the Harvard Peabody Museum of Archaeology and Ethnology stem from the same fieldwork. Carolyn Cook described the usage of the different names (Cook 1995:45,46). It contains at least two lines. The upper line starts with “LI...”, the lower line with “M…”. The film on string figures is part of the longer compilation FI / 40 / 23 Ilaga IV Camps 22 Ilaga IV. E. 222 FI / 40 / 7 Hele-Mule: touwfiguren. Camps 27 (deel 1) Hele-Mule E. 206. The following references contain string figure instructions: Eguchi & Sato 1996; Fischer 1960; Haddon 1911; Haddon 1912; Haddon 1930; Haddon 1934; Harbison & Reichelt 1985; Holmes 1924; Inayama 1980; Jayne 1906; Jenness 1920; Landtman 1914; Maude & Wedgwood 1967; Maude 1987; Noble 1979; Noble 1980; Noble 2001; Noble 2007; Noguchi 1978; Noguchi & Shishido 2003; Rivers & Haddon 1902; Rosser & Hornell 1932; Shishido & Noguchi 1987. For the Oceanic area the following literature has been used: Beaglehole & Maude 1989; Emory & Maude 1979; Firth & Maude 1970; Handy 1925; Hornell 1927; Maude 1978; Maude 1984; Maude 2001. Instructions 2 and 3 in Noble’s 1979 recording (Noble 1979:177-178) must be incorrect, and should be replaced with instructions 2 and 3 from his 2007 recording (Noble 2007:75-77) to result in the drawing given. The loops are there said to be moved with thumbs and indexes, but this should probably be with thumbs and middle fingers (Senft & Senft 1986:124-125, nr. 17). The illustration in Jayne 1906 is correct; the instructions have a slight mistake: the figure is not extended on thumbs and little fingers but on thumbs and index fingers. The instructions given by Noble for this figure are not entirely correct. Instruction 8 for this figure is incomplete (apparently the mouth strings should be taken in the mouth), and the drawing on page 41 does not match the description that the thumbs pick up 5n strings. Probably the figure must be displayed upsidedown (it then resembles an octopus more). STRING FIGURES FROM WEST NEW GUINEA 203 24. The figure occurs various times in Noble 1979 and Jenness 1920. It is also found in Rivers & Haddon 1902, Harbison & Reichelt 1985, Maude & Wedgwood 1967 and Maude 1987. 25. Note that in the drawing by Hans Fischer (Fischer 1960:209, nr. 62) all six loops are twisted in the same direction. This is probably incorrect. 26. Such asymmetrical figures in series are not uncommon in the New Guinea string figure corpus. See for examples Noble 2007:58-64, nr. 16 Looking for bananas, after movement 19, and Maude 1967:226-228, nr. 21 Unggam, after movement 14. 27. Harvard Peabody Museum, item nr. 2006.17.1.177.12. The photograph can be interpreted as: 1. Perform Hele-Mule 1 movements 1-19; 2. With R3 from above enter L2 loop and double L1 loop, then from below pick up double L1f strings and pull them through L2 loop; 3. With L3 from above remove double R3 loop; 4. With L3 from above enter R2 loop and double R1 loop, then pick up double R1f strings and pull them through R2 loop; 5. With R3 from above remove (upper) double L3 loop. The photograph is made during movement 5. 28. Harvard Peabody Museum, item nr. 2006.17.1.177.17 and 20. Photograph 17 probably shows Hele-Mule 1 during movement 4. Photograph 20 probably shows HeleMule 1 during movement 8 (when movement 7 has not yet been performed). 29. Harvard Peabody Museum, item nrs. 2006.17.1.177.5-8. 30. Landtman’s instructions contain a small mistake. Landtman 1914:228, seventh line from above should read “strings running from ulnear side of thumbs to the toe”, instead of “strings running from the radial side of the thumbs to the toe”. 31. Unfortunately the positions where to insert the fingers are not indicated in the drawing. These positions can be deduced from the similar figure from the Solomon Islands (Maude 1978:162-163). 32. KITLV 150103. 33. In the description of the extension of Solomon Islands figure Ou’a (movement 6), it should be indicated that the left hand palm faces the body, the right hand palm points away from the body (Maude 1978:162-163). 34. “One girl makes it with two hands, another girl puts a piece of wood into the design, which is then worked from one side to the other” (Heider 1970:198). 35. Harvard Peabody Museum, item nrs. 2006.17.1.177.15, 16 and 21. 36. In Noble 1979:133 string crossings of the drawing following movement 9 are partly incorrectly drawn. The same holds for the drawing above movement 13. 37. Harvard Peabody Museum, item nrs. 2006.17.1.177.9-10, 27. Photograph 9 shows Hele-Mule 9 movement 2, photograph 10 movement 3. Photograph 27 shows the replacement of the loops in movement 5 and 6. 38. Harvard Peabody Museum, item nrs. 2006.17.1.177.13-14. 39. “Sin sin … represents the araucaria tree. One person makes it with two hands and a foot” (Heider 1970:198). 40. “Oati ... – one girl makes it with two hands. Two loops, representing a man and a woman, are moved in from each side to meet and ‘copulate’ in the middle” (Heider 1970:198). 41. The description of movement 3 in Javia taha (Noble 1979:75-77 nr. 41) is remarkable, and could be incorrect. It results in an extra twist around L5, which doesn’t match the drawing of the final figure on page 77. 42. Jenness remarks in a footnote that the instructions for figure 48 contain some error or omission (Jenness 1920:326). When “Release the upper R1 and upper R5 loop” is added before “clap the hands” in the penultimate line, the trick works as described. 204 J. CAMPS AND S. CLAASSEN 43. A provisional interpretation of the remaining Harvard Peabody photographs is as follows: Harvard Peabody Museum, item nrs. 2006.17.1.177.22-23 appear to be photographs of the figure Beagi (“the chair on which the corpse sits”, Heider 1970:198)), which is made around the thigh. It is probably the same figure as recorded by Noble (Noble 1979:153, nr. 100 “Gutting the Cassowary”) and Fischer (Fischer 1960:183,207 nr. 52 Po lele (“puddle”); see also Sherman 1997). Item nrs. 2006.17.1.177.18-19 seem to be related to construction stages in Hele Mule 1. Item nrs. 2006.17.1.177.24-25 are photographs of some catch figure, executed by releasing the little fingers. Item nr. 2006.17.1.177.11 is difficult to interpret. It might be a two-player figure that went wrong. Item nr. 2006.17.1.177.26 is probably made as follows: 1. Hele-Mule 1 movements 1-5. 2. With 1 from below share double 2 loop. 3. Release 5 loop. 4. Spread 1 and 2 of each hand. 5. With L big toe from below enter the central triangle of the figure. 44. Eipo. E2922. The film was published by the Institut für den wissenschaftlichen Film in Göttingen, which discontinued its activities at the end of 2010. 45. For an overview of the German research project, see Ploeg 2004. 46. The instruction for nr. 69 given by Fischer should be slightly modified. “Schleifen um Nacken gelegt, noch einmal darum gewickelt” should be more specific: “Place the string loop around the neck so that a large loop hangs down on the breast side of the body. With RH grasp right string of the large loop and twist it once around the neck, by moving RH to the left in front of the neck, then backwards, along the backside of the neck to the right, then to the front. Release RH.” (Fischer 1960:185).