Your Favorite Things is a regular feature on our blog where students, staff, and patrons of the museum talk about their favorite objects in the museum’s collection. Today Emma Kessler, curatorial assistant for the Arts of Africa, Oceania, and the Americas discusses her favorite object, a Māori Weaving Pin.
Since I was a kid I’ve always loved museums. I love learning about other cultures through the objects they’ve created.
I first visited the Sidney and Lois Eskenazi Museum of Art at Indiana University on a campus visit while trying to decide where I wanted to attend graduate school. It is safe to say I was impressed with the collection and I was blown away by the objects in the Raymond and Laura Wielgus Gallery of the Art of Africa, Oceania, and the Americas.
To be upfront, my graduate focus is on the art of Polynesia, and I happily admit that my opinions are completely biased, but as far as I am concerned the Polynesian collection is the best in the museum.
My favorite object is a beautiful and unfinished Māori Weaving Peg from Aotearoa (New Zealand). I go back to this object over and over again. I never walk past it without stopping at least for a moment, and if I have a visitor with me I always point it out. Among the Māori, weaving was historically a sacred act carried out by women, and there was great care, attention, and power put into the necessary tools.
I love the history and unique qualities of this object. While it is certainly not the only example of a carved weaving peg, it is one of the most elaborate. The crispness of the carving is the result of metal tools that had only been introduced relatively recently when the weaving peg was created in the 18th century. Its use of interlocking figures, a characteristic of Māori carving, means there is always something new to see and more to look at. I never get bored when spending time with this object.
However, my favorite thing about this weaving peg is the fact that it is unfinished. In a purely visual way, this allows one to see and get a better understanding of how the peg was made. The figures at the bottom have been roughly outlined but are nowhere near the completed intricacy of the figures above them. Through a cultural lens this unfinished quality becomes even more interesting. Every part of the carving process included chants and prayers, imbuing the object with mana, or sacred power, and creating an intense connection between the object and the carver. When the peg’s carver was unable to finish it (perhaps because of illness or death) another carver would not be able to complete it, as the continuity of the ritual had been broken.
Because of objects and histories like this one, the Raymond and Laura Wielgus Gallery has become my favorite space on the IU campus. For me, it is a place to think, reflect, learn, and enjoy.
If you would like to tell us about your favorite object in the museum’s collection contact us at email@example.com.