A number of these spectacular objects exist in Australian collections and all were collected early in the twentieth century. Contextual information regarding their purpose is scant, even their name ‘malu’ is a generality. It would seem few, if any, were created later than the nineteenth century and their ritual use had ceased in the first quarter of the twentieth century if not earlier. However, we do know that they were highly valued and once had great importance.

Aesthetically, they are virtuoso creations. Often carved on both sides and exceptionally thin in places, they are created from a dense hardwood and are not as fragile as they first appear. While almost entirely two-dimensional, it is unclear how the complex openwork designs are to be interpreted.

The body consists of a number of birds, either fully realised or abstract in flowing interlocking designs with only the head of the bird, likely to be hornbill birds, being recognisable. Each of the plaques depict a mythic male ancestor, with an elaborate nose ornament and raised circles on the cheeks representing the painted designs worn by a successful headhunter. The plaque has half-moon-like crescents on the chest area that correspond to initiation patterns used by the Sawos people.

At the bottom of the plaque is the remains of a hooked section that is suggestive of being skull rack or reliquary, yet there are no first-hand accounts of these objects being used to suspend skulls. It has also been suggested they are connected to funerary rights as well as being a form of marriage dowry.

The Iatmul word malu also links the plaques to funerary rites. According to Newton it is a term for these plaques that were part of mortuary ceremonies for initiates who had died during the seclusion period of initiation. This funerary rite is believed to have originated with the neighbouring Sawos people who are also thought to have been the creators of malu plaques as exchange items to trade with the Iatmul. Indeed, where locations are recorded for malu plaques the majority were collected from Iatmul villages and further down river among the Angoram people, not among the Sawos people.

All available information alludes to malu plaques being associated with death. Kaufmann stated they are relate to a mythological origin story of death:

The representations on malu boards seem to allude to the ancestor’s paternal substance. The boards are related to the story of how death came to humans, or more precisely, the story of the opening of the path of the dead, which is also the path by which the individual’s substance returns to the clan stock, while his spirit goes on to travel the spirit world.

[caption for sup image]

A malu plaque and samban suspension hook, Rabaul c 1931

National Library of Australia nla.pic-vn4554119

A number of these spectacular objects exist in Australian collections and all were collected early in the twentieth century. Contextual information regarding their purpose is scant, even their name ‘malu’ is a generality. It would seem few, if any, were created later than the nineteenth century and their ritual use had ceased in the first quarter of the twentieth century if not earlier. However, we do know that they were highly valued and once had great importance.

Aesthetically, they are virtuoso creations. Often carved on both sides and exceptionally thin in places, they are created from a dense hardwood and are not as fragile as they first appear. While almost entirely two-dimensional, it is unclear how the complex openwork designs are to be interpreted.

The body consists of a number of birds, either fully realised or abstract in flowing interlocking designs with only the head of the bird, likely to be hornbill birds, being recognisable. Each of the plaques depict a mythic male ancestor, with an elaborate nose ornament and raised circles on the cheeks representing the painted designs worn by a successful headhunter. The plaque has half-moon-like crescents on the chest area that correspond to initiation patterns used by the Sawos people.

At the bottom of the plaque is the remains of a hooked section that is suggestive of being skull rack or reliquary, yet there are no first-hand accounts of these objects being used to suspend skulls. It has also been suggested they are connected to funerary rights as well as being a form of marriage dowry.

The Iatmul word malu also links the plaques to funerary rites. According to Newton it is a term for these plaques that were part of mortuary ceremonies for initiates who had died during the seclusion period of initiation. This funerary rite is believed to have originated with the neighbouring Sawos people who are also thought to have been the creators of malu plaques as exchange items to trade with the Iatmul. Indeed, where locations are recorded for malu plaques the majority were collected from Iatmul villages and further down river among the Angoram people, not among the Sawos people.

All available information alludes to malu plaques being associated with death. Kaufmann stated they are relate to a mythological origin story of death:

The representations on malu boards seem to allude to the ancestor’s paternal substance. The boards are related to the story of how death came to humans, or more precisely, the story of the opening of the path of the dead, which is also the path by which the individual’s substance returns to the clan stock, while his spirit goes on to travel the spirit world.

[caption for sup image]

A malu plaque and samban suspension hook, Rabaul c 1931

National Library of Australia nla.pic-vn4554119