On August 8th, 2023, I had the pleasure of traveling to Papua New Guinea. This adventure was undoubtedly different from my prior travels, as Papua New Guinea (PNG) is a place unlike any other. The culture, the tribes and the vibe are all unique. I spent just over three weeks in this country having some amazing experiences and learning as much as I possibly could about this largely ignored culture.
I documented my travels throughout the country in six separate posts, preceded by a post on the history of the nation. You can see Papua New Guinea through my eyes by perusing the posts in the carousel below.
Papua New Guinea inspired me to introduce a new section to my travel blog. Cultural Snapshots will be where I will delve a bit further into certain aspects of the cultures I have encountered during my travels. I hope to provide my readers with a deeper look and first-hand knowledge that you simply cannot get from search engines.
In my first Cultural Snapshot, I will be introducing you to the Haus Tambaran or Spirit House of the Eastern Sepik region of Papua New Guinea.
Haus Tambaran
A Tok Pisin phrase that translates into “Spirit House” and describes a type of traditional ancestral worship house specific to the Eastern Sepik region of Papua New Guinea. The impressive two-story structures feature thatched, high-gabled roofs supported by intricately carved wooden support beams. The Iatmul people of the Sepik region are renowned for their superb artistic ability in painting and carving. Their talents are often exhibited in the construction of these structures. The open sides of the haus revealed interiors filled with intricately carved totems and stools, slit drums (garamut) and masks.
The treasures housed here are considered culturally sacred with many representing ancestral spirits.
Slit drum
Carved from a felled tree, the slit drum, or garamut, is the most important instrument in the Sepik River region. It is engraved and painted in different stages and used for ceremonies in the Haus Tambaran. The people of the Sepik Region understand the drum’s sound as it’s “voice”.
This voice can carry long distances to announce meetings, call individuals, issue warnings, and even contact neighboring villages. Communication occurs through a complex series of rhythms and tones created using a wooden stick.
The drum rests on two pieces of wood so their bodies do not touch the ground. This is because the drum is not struck, rather the interior is stamped creating vibrations. With the belly of the instrument suspended, even the lower parts are free to vibrate. The timbre changes according to where the drum is stamped. Stamping a slit drum requires strong physical effort and for day- or night-long sessions, the musicians change every 20 minutes. The slit drum is the staple of initiation ceremonies.
Ngwalndu
Huge flat painted faces that represent ancestral spirits. It is believed that the spirits of the ancestors can be summoned and used for consultation.
Sacred flutes
According to Kaningara tribal mythology, men used to be the “life givers” and birth children while women controlled the Spirit Houses. (This myth dovetails with the belief that women are witches or sorcerers.) The women had a set of magic flutes they used to communicate with the spirits. One night while the women slept, the men stole the flutes and with it, the ability to conjure the spirits “that speak to men” while initiating the boys. To this day, women are forbidden from touching or hearing the sounds of the magical flutes.
Tambuan Costumes
Costumes woven from cane, grass, leaves, or spathe from the sago palm. The masks are constructed from bark or tapa and attached to a frame forming a cone-shaped helmet. Raffia fibers are used to form the skirt-like base of the costume, and fresh flowers added for decoration. These full body masks are worn when performing spiritual dances and for special occasions. They are said to represent the spirits of birds, animals or other natural phenomena. When not in use, they are hung in the gables of the Spirit House.
Location and Purpose
Each clan has their own house located at the physical center and highest point of the village. The Spirit House is the focus of the social and ceremonial lives of its adult male members. It is here that men, and only men, spend part of almost every day of their lives. They congregate to converse, chew betel-nut or simply doze after a hard day’s work. The spirit house is also where men publicly debate village and clan matters, and used to prepare for war. Moreover, male rituals and rite of passage ceremonies are performed here. These rituals and rites are believed to be of vital importance for the economic, political, and ancestral well-being of the community.
The Structure
While the Spirit House is strictly for males, the structure and its associated art forms often combine male and female symbolism. This is done intentionally in order to remind all Kaningara that only “men can make men.” For example, the main ridgepole is a phallic form and is associated with spears and warfare. The house as a whole is understood as a female form, its interior being equated with the belly or womb. Even the entrance to the spirit house is vaginal in shape. As one enters the upper story, they climb a flight of stairs and enter through grass fibers symbolizing pubic hair.
The Symbolism
I was perplexed by the fact the Haus Tambaran entrance is symbolic of the female sex organ and there were representations of reproduction and the womb throughout the structure. This didn’t make sense to me that this would be the very place where males would undergo a ritual to REMOVE all vestiges of female influence upon their lives.
Adding to my confusion was the fact that this symbolism was juxtaposed against the carved columns featuring giant phalluses representing male virility. This space became a place where masculinity was based paradoxically upon the mimicry and appropriation of the female anatomy and role as life-giver. I never was able to resolve these contradictions in my mind. I had to accept it for what it was and move on and continue learning about the Sepik culture.
Next Post: The Crocodile Men of the Sepik
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