Large-scale resource extraction projects often create obstacles for the protection, maintenance, and inheritance of indigenous cultural heritage. In this article we detail some of the challenges and opportunities arising from our collaborative partnership with the community of the Lihir Islands in Papua New Guinea, which is seeking to establish, inform, and resource a formal cultural heritage management program in the context of a large-scale gold-mining operation. The general approach to this collaborative venture involves the application of a specific development tool, the Stepping Stones for Cultural Heritage program. This consultative process is innovative in both Melanesia and the context of resource extraction, but also more generally within the field of cultural heritage. We describe the outcomes of this process and some of the initial pilot projects, one of which was based on the recording of traditional Lihirian songs. We also argue that while the mine places greater pressure upon Lihirian cultural heritage, it also presents Lihirians with the opportunity to realize a vision of their cultural future that is beyond the reach of many other indigenous communities.
This article explores the critical ways in which the relationship between landscape and memory is mediated by performance-through song, dance, ritual and the movements of the living and the dead. In the Lihir group of islands, in Papua New Guinea, these acts of memorialisation are rehearsed on a remarkable stage, an involuted cosmography or sacred geography in which the cosmological point of origin, the sacred rock of Ailaya, is also the ultimate destination for all human and spirit forms. Spirit beings are held to have emerged from the Ailaya, spreading across the island group, their tracks charting the links amongst distant clan members and the networks of alliance between trading partners. It is to the Ailaya that the spirits of deceased Lihirians must return, following preparatory mortuary rites and sung along a route that recalls the spirit connections. This teleological process is mapped through an account of the performance of relationships between people and land, to which an additional layer of complexity is added by the presence of a giant gold mine, in which the Ailaya is again the central feature.
At Lake Kopiago, in the Highlands of Papua New Guinea, women's public music-making is often restricted and men are the most visible performers. However, the introduction of Christianity has seen women become more visible in the musical landscape through their participation in church musical activities. Christian songs learnt by women in church are now spilling over into the secular realm, forming the basis for much community composition. Women are able to directly express their desires, and their anxieties, in music, using these newly introduced musical tools. This paper investigates the processes of women's composition in these terms, focusing on songs composed and performed by the Duna women of Lake Kopiago, Southern Highlands Province.
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