This book is about Port Moresby — the capital of Papua New Guinea — but it is not about the city of today. Rather, it is about taim bipo (a Pidgin English term meaning ‘previously’ or ‘as it was’), about how life was lived in Port Moresby in the two decades before 1975 when PNG was still under Australian control. These were years of peace and progress—when it was still a ‘lovely and gentle city’ — far removed from the somewhat turbulent times that followed PNG’s independence. With over 400 illustrations, this volume is a fascinating slice through time, capturing page after page of this unique period of history that Australia and PNG share. Anyone who has ever lived in Port Moresby or has the slightest affection for how the town used to be will find it impossible to put this book down.

The New Port Moresby: Gender, Space, and Belonging in Urban Papua New Guinea explores the ways in which educated, professional women experience living in Port Moresby, the burgeoning capital of Papua New Guinea. Drawing on postcolonial and feminist scholarship, the book adds to an emerging literature on cities in the “Global South” as sites of oppression, but also resistance, aspiration, and activism. Taking an intersectional feminist approach, the book draws on a decade of research conducted among the educated professional women of Port Moresby, offering unique insight into class transitions and the perspectives of this small but significant cohort. The New Port Moresby expands the scope of research and writing about gendered experiences in Port Moresby, moving beyond the idea that the city is an exclusively hostile place for women. Without discounting the problems of uneven development, the author argues that the city’s new places offer women a degree of freedom and autonomy in a city predominantly characterized by fear and restriction. In doing so, it offers an ethnographically rich perspective on the interaction between the “global” and the “local” and what this might mean for feminism and the advancement of equity in the Pacific and beyond. The New Port Moresby will find an audience among anthropologists, particularly those interested in the urban Pacific, feminist geographers committed to expanding research to include cities in the Global South and development theorists interested in understanding the roles played by educated elites in less economically developed contexts. There have been few ethnographic monographs about Port Moresby and those that do exist have tended to marginalize or ignore gender. Yet as feminist geographers make clear, women and men are positioned differently in the world and their relationship to the places in which they live is also different. The book has no predecessors and stands alone in the Pacific as an account of this kind. As such, The New Port Moresby should be read by scholars and students of diverse disciplines interested in urbanization, gender, and the Pacific.

Essays in this volume focus on Singapore, Papua New Guinea, Taiwan, Japan, Thailand, and the People's Republic of China as sites rife with discursive complexity. From small to large, young to old, former colony to former colonial power, these six examples do well to represent situated voices and cultural values meted out in a larger "global" space.

Photographing Papua is a study of photography in the public domain in the late nineteenth and early twentieth centuries. It argues that southeastern New Guinea, known as British New Guinea and then as Papua when it became an Australian colony, was created as a geographical place through visual representation in illustrated magazines and newspapers, lavishly illustrated travelogues and mission hagiography, serial encyclopedia, lantern slides and postcards. Readers :knew" Papua because many thousands of black and white photographs of Papuans, villages and material culture rapidly swamped the reading public once the process of halftone, newsprint reproduction became possible. In an innovative and breakthrough fashion Photographing Papua switches attention from a few well known prints in museums and archives, in some cases repeatedly reproduced, but mostly rarely seen outside of scientific and scholarly circles. It deals instead with thousands of photographs, often used in ways not intended when the photograph was taken, but which editors and publishers (and subsequent photographers) gradually made conform to an iconographic imperative, a sort of abbreviated visual gallery of "natives" and a quick-access pathway to the actual and imagined lives of Papuans in the "last Unknown" as New Guinea was titled. It is a study of representation, colonialism, cross-cultural encounters and the early world of illustrated media and photo-journalism.

Describes the exposure of island churches to brutal interlopers in World War II which foreshadowed the twilight of the missionary and colonial eras.

This collection of essays represents a cross-cultural examination of the transformation of indigenous marriage patterns among South Pacific peoples in response to modernising forces such as colonial governments, urbanisation, the establishment of a cash economy, compulsory education and the changing roles of women. The essays explore societies in Micronesia, Melanesia and Polynesia. The field-work ranges from the study of bride-wealth inflation in the highlands of Papau, New Guinea - where contact with the Western world is quite recent - to marrying for resident visas in urban Fiji.

The garamut is a log idiophone that is found in many of the coastal and island areas of Papua New Guinea. The instrument’s primary use is as a speech surrogate and in some regions the garamut is also used in large ensembles to play complex music for dancing. In Baluan Island, within the Manus Province, this style of garamut playing is comparatively highly developed. This book follows the author’s processes and methods in learning to play the music of the garamut, to the level at which he became accepted as a garamut player by the people of Baluan. Lewis argues that analysis is essential in learning to play the rapid tempi and complex rhythms of Baluan garamut music, in a cultural context where there is no formal teaching process for the music. The transcription and analysis of the Baluan garamut repertoire is the centrepiece of this study, reflecting the cognitive structures of the learning process, and revealing the inner workings of the music’s complexity as well as a striking beauty of form and structure. The book concludes with reflections on the process of a ‘cultural outsider’ becoming a garamut player in Baluan and on the role of musical analysis in that process, on the ethnomusicologist’s role in transmission of the music, and on the nature of continuity and change in a musical society such as Baluan.

From the bestselling author of The Weather Makers: “An enthralling introduction to the mountain people of New Guinea . . . and to their magnificent land” (The New York Times Book Review). A world expert on the fauna of New Guinea with twenty new species and over seven books to his credit, Tim Flannery takes us into the field and on an unforgettable journey into the heart of this mysterious and uncharted country. Flannery’s scientific voyage leads him to places he never dreamed of: he camps among cannibals and befriends Femsep, a legendary warrior who led the slaughter of colonial whites decades before. He enters caves full of skeletons of long-extinct, giant marsupials, scales mountains previously untouched by Europeans, and is nearly killed when tribes people decide to take revenge for their prior mistreatment by his “clan” (wildlife scientists). And Flannery writes movingly of the fate of indigenous people in collision with the high-tech world of late-twentieth-century industry. In New Guinea Pidgin, “throwim way leg” means to thrust out your leg on the first step of a long journey. Full of adventure, wit, and natural wonders, Flannery’s narrative is just such a spectacular trip. Like Redmond O’Hanlon’s classics Into the Heart of Borneo and No Mercy, Throwim Way Leg is a tour de force of travel, anthropology, and natural history. “Flannery combines diligent science, heart-pounding adventure, and a respect for ancient cultures to create a compelling tale.” —Sierra, The National Magazine of the Sierra Club

“An absolutely unique work in linguistics publishing – full of beautiful maps and authoritative accounts of well-known and little-known language encounters. Essential reading (and map-viewing) for students of language contact with a global perspective.” Prof. Dr. Martin Haspelmath, Max-Planck-Institut für Evolutionäre Anthropologie The two text volumes cover a large geographical area, including Australia, New Zealand, Melanesia, South -East Asia (Insular and Continental), Oceania, the Philippines, Taiwan, Korea, Mongolia, Central Asia, the Caucasus Area, Siberia, Arctic Areas, Canada, Northwest Coast and Alaska, United States Area, Mexico, Central America, and South America. The Atlas is a detailed, far-reaching handbook of fundamental importance, dealing with a large number of diverse fields of knowledge, with the reported facts based on sound scholarly research and scientific findings, but presented in a form intelligible to non-specialists and educated lay persons in general.