VISIONARY
101
They wondered what I wanted, if I was from
the government or the mission, and what I was
doing there. I told them an old story about
my own ancestors, the Swiss living upstream
and those living downstream, and how they
were curious to know about each other. And
I explained that we’d heard about them and
wanted to know them, but it was a long way for
all of us to travel, so I was sent alone to see their
lives and tell my people about them. This was
the truth, and they found it very reasonable.
T. A. M.: Eventually, you were able to collect
examples of Mentawai material culture and art?
R. S.: I stayed with them, and after two years
they had told me their stories. Then they
said, “If you want to tell about us, you have
to show what we make.” They brought me
bows, arrows, quivers, their traps, and lots of
other things. And as I discovered their material
culture, I learned a lot about them as artists.
Everyone makes art and they have no concept
of specialization. Every man does what men
do and every women does what women do. Of
course, some make things better than others,
and quality is judged by makire, which means it
has to be exactly in line with how it has always
FIGS. 11a–c (above):
Shield, koraibi (full
view and two details).
Saumanuk, Saeppu,
Taileleu. Early 20th century.
Collected in 1968.
Wood, red and black paint, coconut
shell. H: 113 cm.
Private collection.
The front view shows spiral
decorations, a fi gure with raised
arms, and two incised hands.
According to one informant, this
shield was made in 1937, which is
strange since headhunting ceased
around World War I.
FIG. 12 (left):
Portrait of a well-armed
warrior holding a shield.
Watercolor on paper. 12 x 19 cm.
After C. B. H. von Rosenberg.
1847–1849.
KITLV, image code 36A113,
1847–1852.
A similar shield is in the collection
of the Tropenmuseum Amsterdam
(TM-A-1387).