The first volume of the Caution Bay monographs is designed to introduce the goals of the Caution Bay project, the nature and scope of the investigations and the cultural and natural setting of the study area.

Presenting results from Tanamu 1, the first site to be published in detail in the Caution Bay Studies in Archaeology series. Yielding well-provenanced and finely dated assemblages of ceramics, faunal remains, and stone and shell artefacts, these remarkable sites extend the range of the Lapita cultural complex to the south coast of Papua New Guinea.

Building and Remembering is a multidisciplinary study of how memory works in relation to the material past. Based on collaborative ethnoarchaeological research carried out in Orokolo Bay (Papua New Guinea), Chris Urwin explores oral traditions maintained and produced in relation to artifacts and stratigraphy. He shows how cultivation and construction bring people from Orokolo Bay into regular contact with pottery sherds and thin layers of black sand. Both the pottery and the sand are forms of material evidence that remind people of the movements and activities of their ancestors, and they help sustain stories of origins and connections. The sherds remind people of the layout of their ancestors’ villages, and of the annual maritime visits by Motu people who came from 400 km to the east. The black sand evokes events of the distant past when their ancestors created the land through magic. Villagers in Orokolo Bay have intimate knowledge of the contents of the subsurface, and places where people work and dig more regularly are thought of as especially ancient. Here, people conduct their own form of “archaeology” as part of everyday life. This book interweaves such community constructions of the past with the emergence of large coastal villages in Orokolo Bay and across a broader span of the south coast of Papua New Guinea. The villages housed dense populations and hosted elaborate masked ceremonies that could span decades. When Sir Albert Maori Kiki—the former Deputy Prime Minister—moved to Orokolo Bay in the mid-1930s, he was mesmerized by the place, which appeared like “a modern metropolis . . . buzzing with noise and activity.” Yet little is known of when these villages originated or how they developed. In this book, archaeological digs and radiocarbon dating are used to gain insight into how several Orokolo Bay sites developed, focusing on the key origin and migration village of Popo. Village elders share their understandings of ancestral places during surveys and through oral traditions. People lived in Popo for some five hundred years, moving to, through, and from the estates, expanding and at times shifting the village to access the social and subsistence benefits of coastal village life.

In the late 1800s, missionaries and government officials stationed along the south coast of Papua New Guinea began to observe large fleets of indigenous Motu sailing ships coming and going out of present-day Port Moresby. Each year the women of nearby villages manufactured tens of thousands of clay pots to be loaded onto the ships that men built, then sailed with their cargos westward some 400 kilometers. Upon arrival at prearranged destination-villages in distant lands to the west—lands populated by peoples speaking foreign languages—the pots together with the shell valuables were exchanged for hundreds of tons of sago flour. While in those villages, the men dismantled their ships and built them anew, literally from the bottom up, because trees of sufficient size to make large sailing ships did not grow in the landscapes of their home villages. Both the Motu of the Port Moresby region and sago producers of the Gulf of Papua to the west knew of these ventures as hiri. Through first-hand archaeological research at recipient villages, archaeologists Robert Skelly and Bruno David investigate the origins of this indigenous maritime trade system, from ancient roots in the famed Lapita culture of three thousand years ago up to the present. They offer details from archaeological digs that led them from the first ceramics of the south coast of Papua New Guinea to pottery with unmistakable signs of the ethnographic hiri. Along the south coast of Papua New Guinea, the maritime endeavor that is the hiri is revealed in historical perspective, including stories of its colonial past.

65,000 years ago, modern humans arrived in Australia, having navigated more than 100 km of sea crossing from southeast Asia. Since then, the large continental islands of Australia and New Guinea, together with smaller islands in between, have been connected by land bridges and severed again as sea levels fell and rose. Along with these fluctuations came changes in the terrestrial and marine environments of both land masses. The Oxford Handbook of the Archaeology of Indigenous Australia and New Guinea reviews and assembles the latest findings and ideas on the archaeology of the Australia-New Guinea region, the world's largest island-continent. In 42 new chapters written by 77 contributors, it presents and explores the archaeological evidence to weave stories of colonisation; megafaunal extinctions; Indigenous architecture; long-distance interactions, sometimes across the seas; eel-based aquaculture and the development of techniques for the mass-trapping of fish; occupation of the High Country, deserts, tropical swamplands and other, diverse land and waterscapes; and rock art and symbolic behaviour. Together with established researchers, a new generation of archaeologists present in this Handbook one, authoritative text where Australia-New Guinea archaeology now lies and where it is heading, promising to shape future directions for years to come.

This volume reflects the tremendous progress made in Pacific island archaeology in the last 60 years which has considerably advanced our knowledge of early Pacific island societies, the rise of traditional cultural systems, and their later historical developments from European contact onwards.

This book provides a comprehensive examination of death, dying, and human remains in museums and heritage sites around the world. Presenting a diverse range of contributions from scholars, practitioners, and artists, the book reminds us that death and the dead body are omnipresent in museum and heritage spaces. Chapters appraise collection practices and their historical context, present global perspectives and potential resolutions, and suggest how death and dying should be presented to the public. Acknowledging that professionals in the galleries, libraries, archives, and museums (GLAM) fields are engaging in vital discussions about repatriation and anti-colonialist narratives, the book includes reflections on a variety of deathscapes that are at the forefront of the debate. Taking a multivocal approach, the handbook provides a foundation for debate as well as a reference for how the dead are treated within the public arena. Most important, perhaps, the book highlights best practices and calls for more ethical frameworks and strategies for collaboration, particularly with descendant communities. The Routledge Handbook of Museums, Heritage, and Death will be useful to all individuals working with, studying, and interested in curation and exhibition at museums and heritage sites around the world. It will be of particular interest to those working in the fields of heritage, museum studies, death studies, archaeology, anthropology, sociology, and history.