Gope, Ancestor or Spirit Boards [Object]

The object in the photograph is a gope, or spirit board (also called kwoi or hohao). This example is from Papua New Guinea near the Wapo Creek on the Gulf of Papua. Carved from an old canoe, this art form derives from the protective splashboard of the outrigger canoe, which was carved with a human face and was believed to have protective qualities. Human faces represent ancestors, and carving the boards was thought to provide a home for the protective spirit. Most gope boards have symmetrical, curved, linear designs, with recognizable faces and very stylized body parts. Gopes were made in different sizes, the largest being owned by the clan and stored out of sight in the men's longhouses. Smaller gope boards guarded entrances to clan sections of communal houses. Young, uninitiated men owned a third type of small gope. These were hung on the walls where young boys slept, believing it would protect them and help them to grow strong.

Photograph from the Tomkins Collection Spirit board, gope, Wapo Creek/Era River, 19th/20th century, wood and pigment, Accession # TC 515, Bruce Frank, New York 2009, Collected by Thomas Schultze-Westrum, <a class="external" href="http://www.tomkinscollection.org/static/object_470.html">http://www.tomkinscollection.org/static/object_470.html</a> (accessed March 26, 2010). Annotated by Susan Douglass.

Bat Miztvah [Photograph]

The girl in the photograph, Cecelia Nealon-Shapiro, reads from the Torah as part of her bat mitzvah, a rite of passage ceremony, at Congregation Rodeph Sholom in New York City. Prior to this day, she attended classes in Jewish history and tradition, Hebrew, and recitation at the Reform synagogue, where girls now participate in a rite formerly reserved for boys, the bar mitzvah. Following the service, the family and guests, including several girls who were adopted by American families from the same orphanage in China, celebrated at an elaborate party.

At age 12 or 13, a Jewish girl becomes a "bat mitzvah" which literally means "daughter of the commandment." Bat mitzvah marks the time when a Jewish child is old enough to perform the mitzvot (commandments) and is considered an adult in the religious community. Neither the bar mitzvah for boys, nor the bat mitzvah for girls are formal religious ceremonies. The bat mitzvah observance is not carried out in Orthodox and Chasidic synagogues where women are not allowed to lead prayers.

Learning about Jewish history, customs, and holidays is a way that modern Jewish communities seek to transmit tradition and law to a new generation. The spirit of the bat mitzvah also includes choosing service to the community, representing engagement with the larger world beyond the family and living according to the values of their faith.

Photograph by James Estrin, "Journey From a Chinese Orphanage to a Jewish Rite of Passage," The New York Times, March 8, 2007, http://www.nytimes.com/2007/03/08/nyregion/08batmitzvah.html?_r=1&pagewanted=2 (accessed March 31, 2010). Annotated by Susan Douglass.

Bar Miztvah [Photograph]

The three boys in the photograph belong to a group of Israeli boys who came together at the Western Wall in Jerusalem in 2008 for a mass bar mitzvah celebration. The orthodox social service organization Colel Chabad arranged the celebration for orphans and needy families. Several prominent Israeli rabbis participated in the celebration of this important Jewish rite of passage to adulthood.

"Bar Mitzvah" literally means "son of the commandment." This rite of passage marks the time, at the age of 13 for boys, when children are obligated to observe the commandments of Jewish law. Technically, no ceremony is needed, because a boy automatically passes this milestone upon becoming 13 years old. In recent times, the bar mitzvah has become popular and widespread as an individual and family observance. During Shabbat (congregational prayer) services on a Saturday shortly after the child's 13th birthday, the celebrant is called up to the Torah to recite a blessing over the weekly reading. In preparation for this day, the young boy spends time learning the Torah portion and prayers. Community service is often a part of this preparatory period before the bar mitzvah. A speech before the congregation occasion traditionally begins with the phrase, "Today I am a man. . ." The father also recites a blessing.

Photograph copyright Chabad.org from article at <a class="external" href="http://www.chabad.org/news/article_cdo/aid/933026/jewish/Mass-Bar-Mitzvah-at-Western-Wall.htm">http://www.chabad.org/news/article_cdo/aid/933026/jewish/Mass-Bar-Mitzvah-at-Western-Wall.htm</a> (accessed March 30, 2010). Annotated by Susan Douglass.

Child Re-enacting Krishna Story [Still Image]

Krishna is known in the stories of the Bhagavata-Purana as the eighth incarnation, or avatar, of the god Vishnu. He is a very popular deity, a divine hero who personifies superhuman powers as well as human hopes and failings. According to the narrative, he comes into the world as the son of Vasudeva and Devaki to destroy the foes of human beings and is threatened by many tyrants and monsters, beginning with the cruel King Kans, who tried to kill him based on an omen. Krishna's mother and father were thus imprisoned, but my miraculous intervention Krishna was saved, carried across the river Yamuna and placed with foster-parents, Nand and Yashoda. Stories of Krishna's childhood with his loving foster-mother Yashoda are much beloved in this village of cow-herders. Representations have been illustrated in courtly artistic paintings and sculptures and in contemporary popular media, such as calendars, posters, and statuettes. A combination of super-human powers and child-like behavior endears Krishna to the characters in the narrative, and are what makes him an especially popular figure. One of Krishna's most famous pranks as a child was to find any possible way to steal sweet butter and curds from the storage jars that were suspended from the ceiling with ropes. Lighting his way in the dark room by the jewels he wore, climbing on mortars or on the backs of his playmates, or enlisting the help of agile monkeys, he gave vent to the irresistible urge to eat the butter and feed it to his partners in crime.

The holiday of Krishna's birthday is called Janmashtami in northern India and is celebrated as Sri Krishnajanmashtami, Janmashtami or Gokulashtami in southern India. In celebration, devotees fast, bathe, perform prayers and rites, and re-enact parts of the story of Krishna's birth and rescue from King Kansa. In this photograph, a young child is adorned with jewelry, eye-liner and a headdress, and prompted to re-enact the prank of stealing butter. Sweets made with butter, honey, and other delicacies are also part of the celebration, which falls in late summer or early autumn.

"Krishna's mischievous pranks such as stealing sweet butter are reenacted by this child on Krishna's birthday," India, ARTstor Collection, Image Gallery ©University of California, San Diego. Annotated by Susan Douglass.

Boys' Initiation Mask (keweke) Papua New Guinea [Object]

This mask worn by boys during initiation rituals in Papua New Guinea is made of painted bark cloth and canvas stretched over a cane frame. The long fiber fringe adds movement to the mask, which is worn during dances and other secret rituals that that comprise boyhood initiation rites. These rituals often involve disguises, as initiates endure trials, receive food and drink from villagers, and accept the knowledge of elders. The mask form is also a reference to the spirits of ancestors who have come through these life stages and continued on. The long, oval masks are similar to the gope spirit boards that represent the ancestors at home, protecting its inhabitants. This mask is from the Wapo Creek or Era River area near the Gulf of Papua, though there are many other styles and forms of initiation masks as well as face and body paint used by the numerous tribes in the region.

Photo © The Israel Museum, Jerusalem, Wapo Creek, Papuan Gulf, , Melanesia, Cane, wood, bark cloth, canvas, paint, fiber, Accession number: B85.0350, <a class="external" href="http://www.imj.org.il/imagine/collections/item.asp?itemNum=224467">http://www.imj.org.il/imagine/collections/item.asp?itemNum=224467</a> (accessed March 26, 2010). Annotated by Susan Douglass.

Dan Passport Masks, Liberia / Cote d'Ivoire [Object]

This small, mask ( 9.5 cm high and 5 cm wide) carved from wood is called a "passport" mask because it was worn on the body, kept in a leather pouch, or sewn onto a piece of cloth to represent group or family affiliation. Passport masks are used by the Dan people, a group of several hundred thousand people in the western part of the Côte d’Ivoire and into Liberia. They live in a forested region bordering the savannah in the north, for whom farming cocoa, coffee, rice and manioc, and hunting game and fish provide rural livelihoods. Each village is governed by a chief and council of elders. Both boys and girls receive formal recognition of their adulthood and readiness for marriage by participating in initiation rituals. Specific teachings, a period of time in seclusion in the bush for boys, and circumcision rituals for both genders are included in the rites of passage. The masks are miniature copies of family masks which act as witnesses to initiation ceremonies and are believed to offer protection like amulets when their owner is away from home. 1

Photo of Dan Passport mask from The Israel Museum, Jerusalem, Dan people of Liberia and Cote d'Ivoire, Accession number B06.2374, <a class="external" href="http://www.imj.org.il/imagine/collections/item.asp?itemNum=324035">http://www.imj.org.il/imagine/collections/item.asp?itemNum=324035</a> (accessed March 5, 2009). Annotated by Susan Douglass.

Teaching Traditional Polynesian Navigation [Still Image]

On the Micronesian island of Satawal, north of Papua New Guinea (about 2000 miles east of the island group of Hawaii), children sit on a canoe watching a ceremony related to the heritage of traditional navigation. The children are witnesses to a Pwo ceremony—the first held in over 50 years—inducting master navigators into a select group of Micronesians. Five Polynesians, including several Hawaiians, earned this honor by continuing the tradition of "wayfinding" on the Pacific Ocean that was responsible for the settlement of nearly all habitable islands in the vast ocean as much as 1000 years ago. Mau Piailug, a 76-year-old master navigator, conducted the ceremony as one of the last who inherited the skill marked by the journey of the Hawaiian double-hulled canoe Hokule'a on a Hawaii to Tahiti voyage of more than 2,200 miles, in 1976. The canoe was built from 400-year-old logs donated by a group of native Alaskans because there are no more suitable trees in Hawaii’s forests. It was built in the traditional manner by more than 1000 volunteers. The voyage to Tahiti proved that centuries prior to European oceanic voyages, Polynesians navigated in such canoes merely by reading nature: stars, clouds, waves, and the behavior of sea birds. More than 16 such voyaging canoes have since been built, and one of them, the double-hulled canoe Alingano Maisu, was sailed to Satawal and presented to Mau Piailug to recognize his role in transmitting his skill to the next generation of navigators. Piailug’s teaching has taken the canoe Hokule'a across the Polynesian triangle from Hawaii to Rapa Nui (Easter Island) to Aotearoa (New Zealand)—voyages equal to circumnavigating the globe twice.

"Today [the ceremony] was not about us. Today was about our children continuing their tradition, culture and ancestry," said Nainoa Thompson, one of the navigator-inductees and members of the 1976 voyage. A Hawaiian language aphorism, Kapu Na Keiki meaning "Hold Sacred the Children" expresses Thompson’s vision as a navigator and educator. Training the next generation of navigatores to uphold this tradition involves more than just skills of sailing. It addresses the multiple problems faced by many indigenous groups today: healthy nutrition, avoiding drug and alcohol abuse, and securing education and employment skills, as well as caring for the environment. The Polynesian Voyaging Society, which built and maintains the voyaging canoe Hokule`a, carries out programs for exposing youth to the pleasures and challenges of sailing and wayfinding as a means of teaching character and sound living practices as well as carrying on the sacred indigenous tradition of the peoples of the Pacific. Among the programs carried out in Hawaii, high school students paddle one- and two-man canoes about 100 miles along Hawaii’s coastline in the shadow of the Hokule‘a, to hone and test their wayfinding skills.

Gary T. Kubota, "Navigators' journey of spirit, skill ends," Star Bulletin, March 18, 2007, <a class="external" href="http://archives.starbulletin.com/2007/03/18/news/story04.html">http://archives.starbulletin.com/2007/03/18/news/story04.html</a>; and "Kapu Na Keiki," Polynesian Voyaging Society, <a class="external" href="http://pvs.kcc.hawaii.edu/kapunakeiki.html">http://pvs.kcc.hawaii.edu/kapunakeiki.html</a> (accessed December 8, 2009).

Piñata [Object]

A piñata is a decorated container of paper or clay that contains sweets, small toys, fruits, and nuts. It is the object of a game played in Mexico at children's birthday parties and at Christmas celebrations, in which blindfolded children take turns trying to break the piñata with a stick to release the treats.

Yet the piñata has a long history. Piñatas are typically made of paper-mâché, and are attributed to China where paper originated. Marco Polo is believed to have seen Chinese paper figures of bulls and other animals covered with colored paper and filled with seeds. When struck with a stick, the seeds spilled out. As part of the ritual, the paper creation was then burned and its ashes gathered for good luck. Polo likely brought the idea to Italy, where by the 14th century it was associated with celebration of Lent, and acquired the Italian name pignatta or "fragile pot." This custom spread to Spain in subsequent centuries, but involved a clay pot called la olla, derived from a colloquial Arabic word for a terracotta water jug. Paper decorations and ribbons were wrapped around the pot to make it festive.

Missionaries brought the custom to New Spain, where it encountered a similar tradition. To honor the Aztec god of war, a decorated, filled pot was broken in the temple at the feet of the god's statue. Catholic missionaries employed the colorful piñata custom to teach Christian religion. A traditional Mexican shape for piñatas is a spherical shape with seven conical points symbolizing the seven deadly sins—greed, gluttony, sloth, pride, envy, wrath, and lust. Inside the piñata, however, were tempting sweets and treats, representing the pleasures of life. The person wielding the stick of virtue represents faith, which can defeat evil, and the treats represented the hope of reward.

This symbolic piñata became traditional at Christmas, and is shown here. Today, piñatas come in the shape of animals, cars, and cartoon characters. Making piñatas for children's parties is a major industry, especially since the custom continued to spread around the world.

Photograph (top) Victor Ancheta, "Christmas Piñata," Flickr, http://www.flickr.com/photos/victorancheta/2167074229/in/photostream/; (bottom) Katia Lopez-Hodoyan, "Piñata: Party's Game Is Ancient History," La Prensa San Diego, February 6, 2004, http://www.laprensa-sandiego.org/archieve/february06-04/pinata.htm; Wendy Devlin, "History of the Piñata," Mexconnect, http://www.mexconnect.com/articles/459 (accessed January 26, 2010). Annotated by Susan Douglass.

Tophet of Carthage [Object]

These images show a stone grave marker carved with symbols and a terracotta funerary urn containing the charred remains of an infant. The Tophet of Carthage is a cemetery for infants in the ruins of the North African city of Carthage, now located in a suburb of Tunis. It was once located on the edge of ancient Carthage, which was destroyed by the Romans in 146 BCE. The cemetery is the subject of historical controversy because both ancient texts and archaeological evidence point to the possibility that the children buried in the tophet were child sacrifices. The cemetery was used for over 600 years, between 730 BCE and 146 BCE. Changes in the grave markers and burials indicate three different periods of use.

The Carthage tophet has no adult graves, and many of the grave stelae are marked with dedications to Baal and Tanit, the patron deities of Carthage. The word tophet comes from the Hebrew topheth derived from "drum" or "place of burning," an open area for sacrifice. Numerous tophets have been identified in the eastern Mediterranean region. The Tophet of Carthage, excavated between 1920 and 1970, shows burials of young infants, interred in small vaults with beads and amulets, and sometimes the bones of small animals. Low thrones or stones marked the early graves.

In later periods, buried a layer above the original graves, sandstone markers were covered with stucco and painted yellow, red, or blue. Narrow, limestone grave stelae with pediments appear, inscribed with representations of Baal and Tanit. Many featured the sign of Tanit shown on the stela in the image—a triangle with a disc at the apex and a line through the apex with upturned ends, which looks perhaps like a child or a doll with outstretched arms.

Jewish and Christian scriptures refer to places of child sacrifice. Roman writer Diodorus Siculus described the sacrifice of upper class children to the deity Baal in 310 BCE, a reference seen as the main source of the claim of child sacrifice. Later elaborations made by writers even into the 19th century include the description of a metal fire pit in the form of the deity, with grates that mechanically tipped infants into the fire. Sacrifices to appease the deities or to ask favors seem to be supported by some inscriptions, but there may also be evidence that small animals were sacrificed in place of the children.

On the other side of the controversy are claims that the archaeological evidence is too sparse and inconclusive, and the texts may have been written out of ulterior motives, especially in view of Rome's wars with Carthage. No other classical sources mention the practice, and biblical references do not mention the tophet of Carthage.

There is also evidence that children's burial grounds were merely separated from adult cemeteries as well as pictorial evidence that the graves were regularly kept and supplied with offerings. The fact that burials were sometimes massed, and that some graves contain more than one child, may be evidence of disease epidemics as the population of Carthage grew. The inscriptions that refer to gifts and offerings may refer to sacrifice, or may refer to the hope of regeneration or fertility to the family who lost the child, meanings included in concepts surrounding both Tanit and Baal as deities.

Grave marker photograph by Natasha Sheldon, "The Tophet of Carthage," Archaeology, May 8, 2008 at http://archaeology.suite101.com/article.cfm/tophet#ixzz0btZxUGMq; Terracotta urn photograph by James Whitred of the Punic Project, American Schools of Oriental Research at http://www.mmdtkw.org/CNAf0227cCarthageTophet.jpg (accessed January 6, 2010). Annotated by Susan Douglass and John Buescher.

Girl with Mossi Doll, Burkina Faso [Still Image]

This girl is from a village in the Mossi country of Burkina Faso (a landlocked country in West Africa). The doll she is holding is a traditional wooden figurine made from one piece of wood standing on a broader base. The doll displays the characteristics of an adult woman, with suggestions of facial features and elaborate hairstyles, and usually with mature female breasts that represent the fulfillment of motherhood. Scarification [scarring] patterns on the body that traditionally mark passage to adulthood are also represented by carved patterns. Mossi dolls are typically carved by male blacksmiths and are given to girls for play. The child calls it biiga ("child"), and carries the doll about with her, tucking it into the waistband of her skirt, and pretends to feed, wash and groom it. Sometimes it is adorned with beads, cowrie shells, dressed with pieces of leather or cloth, and the girl might bring it wildflowers. In the market, a girl may place her doll on the edge of a merchant's mat and expect to receive a small sample of the wares—a few peanuts, a pastry, or a piece of fruit.

Mossi dolls are also the focus of rituals associated with motherhood. When a young girl displays her doll to older women, they may respond, "May God give you many children." At festivals, if a child gives her doll to an adult to hold, it is customary to give the child a small present when giving the doll back. Other rituals include the use of dolls to ensure fertility in marriage (accomplished by giving the doll a name). Handling the doll with care is seen as auspicious for childbearing and survival of children. Before the marriage ceremony, a young woman carries the doll on her back to the market, and a few days after marriage, she is given some straw in place of the doll and asked which sex her first child will be. Mossi dolls are passed down through female generations, and before a woman gives birth, she washes the doll she played with in childhood before washing her own baby. Similarly, the first drops of milk are given to the doll, and it is again carried on the mother's back before the infant is placed there for the first time. According to reports culled by anthropologists, these rituals were to ensure that the newborn infant's soul enters the world of its parents, called yisa biiga, or "to call the child," and "to prevent the child from returning," or gidga ti da biiga lebera me, to the world of the ancestral spirits. Women who remain childless after a few years of marriage use the dolls for votive purposes, adorning them with cowry shells and carrying them everywhere while expressing their wish for a child.1

Photograph: Burkina Faso, 2006, village of Dablo, little girl with her doll, # EPV0645.JPG, Art and Life in Africa Project, The University of Iowa, The School of Art and Art History, <a class="external" href="http://www.uiowa.edu/~africart/Changing%20Burkina/index.htm">"Changing Burkina"</a> (accessed November 23, 2009). Annotated by Susan Douglass.