Drawing on the famous collections of the Musee Barbier-Mueller this unusual and beautifully illustrated book brings together these cultures to demonstrate the astonishing aesthetic similarities between civilizations located far apart in both space and time. While the arts of the Easter Islands and Maori civilizations have been well known for some years the creativity of the inhabitants of Borneo, Sulawei, and Sumatra is less familiar, and is scarcely represented in the major public collections. On the basis of the linguistic consonance between the thousand or more modern languages spoken in Oceania, anthropologists and archaeologists have begun to trace the cultural links throughout this area, in particular through the rituals and beliefs which are often the inspiration for the forms and functions of the artifacts. Masks in human or animal form, made of tortoiseshell, wood, dried leaves or clay; drums, shields, and batons; multicolored clothing for war and peace; intricate jewelry; as well as a wide variety of everyday containers and implements -- all the treasures in this collection display a sophistication of ornament and technical expertise which rival the products of ancient European civilizations. Scholarly essays by over thirty international experts focus on each island or civilization and form a fascinating study which will certainly become the standard work in this field, of interest to both students and the general reader.

Who is not captivated by tales of Islanders earnestly scanning their watery horizons for great fleets of cargo ships bringing rice, radios and refrigerators - ships that will never arrive? Of all the stories spun about the island peoples of Melanesia, tales of cargo cult are among the most fascinating. The term cargo cult, Lamont Lindstrom contends, is one of anthropology's most successful conceptual offspring. Like culture, worldview and ethnicity, its usage has steadily proliferated, migrating into popular culture where today it is used to describe an astonishing roll-call of people. It's history makes for lively and compelling reading. The cargo cult story, Lindstrom shows, is more significant than it at first appears, for it recapitulates in summary form three generations of anthropological theory and Pacific studies. Although anthropologists' enthusiasm for the notion of cargo cult has waned, it now colors outsiders' understanding of Melanesian culture, and even Melanesians' perceptions of themselves. The repercussions for contemporary Islanders are significant: leaders of more than one political movement have felt the need to deny that they are any kind of cargo cultist. Of particular interest to this history is Lindstom's argument that accounts of cargo cult are at heart tragedies of thwarted desire, melancholy anticipation and crazy unrequited love. He makes a convincing case that these stories expose powerful Western scenarios of desire itself—giving cargo cult its combined titillation of the fascinating exotic and the comfortably familiar.

The South Seas charts the idea of the South Seas in popular cultural productions of the English-speaking world, from the beginnings of the Western enterprise in the Pacific until the eve of the Pacific War. Building on the notion that the influences on the creation of a text, and the ways in which its audience receives the text, are essential for understanding the historical significance of particular productions, Sean Brawley and Chris Dixon explore the ways in which authors’ and producers’ ideas about the South Seas were “haunted” by others who had written on the subject, and how they in turn influenced future generations of knowledge producers. The South Seas is unique in its examination of an array of cultural texts. Along with the foundational literary texts that established and perpetuated the South Seas tradition in written form, the authorsexplore diverse cultural forms such as art, music, theater, film, fairs, platform speakers, surfing culture, and tourism.

Worldwide supplies of sugar and cotton were impacted dramatically as the U.S. Civil War dragged on. New areas of production entered these lucrative markets, particularly in the South Pacific, and plantation agriculture grew substantially in disparate areas such as Australia, Fiji, and Hawaii. The increase in production required an increase in labor; in the rush to fill the vacuum, freebooters and other unsavory characters began a slave trade in Melanesians and Polynesians that continued into the twentieth century. The White Pacific ranges over the broad expanse of Oceania to reconstruct the history of "blackbirding" (slave trading) in the region. It examines the role of U.S. citizens (many of them ex-slaveholders and ex-confederates) in the trade and its roots in Civil War dislocations. What unfolds is a dramatic tale of unfree labor, conflicts between formal and informal empire, white supremacy, threats to sovereignty in Hawaii, the origins of a White Australian policy, and the rise of Japan as a Pacific power and putative protector. It also pieces together a wonderfully suggestive history of the African American presence in the Pacific. Based on deft archival research in Australia, New Zealand, Fiji, Hawaii, the United States, and Great Britain, The White Pacific uncovers a heretofore hidden story of race, labor, war, and intrigue that contributes significantly to the emerging intersectional histories of race and ethnicity.

Based on an exhibition organized by Rene d'Harnoncourt at the Museum of Modern Art.