Gerry Barton and Sabine Weik: The Paruai malagan
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The change in approach and implicitly, that of attitude, is discernable in the photo
graphs taken of the malagan throughout the 1960s and 1970s. The sequence shows
that the configuration of the canoe’s complement shifts from time to time, paddles
get redistributed and the steersman in the stern is turned 180 degrees to face forward
(ill.10). The first serious loss happens. The striking, carved feather wing at the back
of the head of figure number 9, (see ill.3) evident in the c.1960 photograph is not to
be seen again, and in 1967 the overpainting takes place.
It seems that post 1945 curatorial requirements on at least this malagan were less to
do with it being an outstanding work of art in its own right and more to do with it
being part of a bigger story, one underpinned by the mental template suggested ear
lier. The significance of each figure’s position in the canoe, the role of the steersman.
111.16. Figure no. 10 after conservation treatment.