1- Big pig's feast in Yiwika (part 3): Rows of bearers with tanned hides. Hundreds of Papuans. A hide is being cut to ribbons to be shown and distributed. 2- The bride Milige and her brother Holik. A group, handsomely dressed up, walks on the path, running now and then. Group runs to and fro (dance?). Little huts are being built. 3- Back to Wamena. Group walks, some are dancing. Village. River.

Big pig's feast in Yiwika (part 2). Man bundles rotan. Cutting up of roasted pig, distribution of chunks of meat using little sticks. Butchering of pigs for the 'Wam Oat' feast: Pigs are shot with arrows and dash away, or are being kept down. The dead pigs are being blessed. Nets are put on their backs, ears and tails cut off. Men and women running to and fro. Massive dancing around hides on the ground. Tanned hides are being brought along on stretchers and put down in long rows.

Carrying nets are laid out in a long row. On them, oblong decorated stones, the je stones, are laid. Over the nets and stones, jetak bands (bands with kauri shells) are laid. These are then inspected and redistributed. In Baliem jetak bands are "the goods distributed at weddings, memorials, pig festivals and so on, along with je stones, pigs and carrying nets" (Schneckenreich and Federsschön. Volkenkundemuseum der Archiv- und Museumstiftung Wuppertal, Museumstexte Nr. 5, page 35). The gift is assembled and examined. There is an assesment of whether the gift is large enough and good enough to serve its aim, such as a dowry or compensation for the death of a member of another tribe. Nets, je stones and jetak bands have capital value in Baliem.

Description: Iluge wulasuogeluk or primitive salt mining is roughly divided into 3 parts: the trip to the well area, the gathering of salt water, and the processing of the salt into cakes. The salt well is located near Yiwika and is known as Iluakaima. Iluakaima represents one of a very few such places in the Baliem Valley. Iluakaima is located about one hour's walk from Yiwika up a mountain path stepped with rocks worn smooth by generations of use. In earlier times the salt well provided the necessary salt to the Baliem people and provided a valuable trade item as well. The value of native salt is declining with the decrease in this trade due to the availability of salt from the missions and stores. The film begins by showing a number of women going to the salt well, using the path from the valley floor. They climb the path referred to as Holak kikha in about 45 minutes to an hour. On their heads the women carry the wangki or banana stem and leaves which will be used to gather salty water. Going to Iluakaima is not uneventful for the way is spotted with places which have significance in the traditional beliefs. These places are known as wusama, which comes from wusa, indicating it has supernatural power and where je are kept, a stone called awili, which women will prevent her from becoming pregnant (can also protect men), phiakne elo or origin hole of the warm wind and helekit wamoat, which is said to be a pig turned to stone in former times. This portion of the film also depicts the usual method for obtaining a drink of water from a cold mountain stream. The second section of the film deals with the usual activity seen at the salt well or pool. First people are seen coming into the well area where others are already working. The well itself, a salt pool of underground source, measures perhaps up to 4 meters in diameter and up to one half meter in depth. Upon arriving at the pool, the women (or men) go about preparing the banana stem for use in gathering the salt water. The outer bark of the wangki is stripped off using a small wooden stick called a pelel. The remainder of the stem is then beaten into a pulp, isiken, which is flatten and used to absorb the salt water. This, along with leaves and other greens such as kilimi, will be soaked in the pool until saturated with the salt brine. These will be chewed on and repeatedly rung by hand until they absorb the maximum amount of water. Throughout the work, salt soaked greens such as iluge eken, will be eaten and salt water consumed. As the people leave the well, it will be noted they carry the salt laden burden of banana stems as well as carry the salt water home in the ijoak. The concluding portion of the film begins in the compound of Kurelu, the local big man, and moves to Sagatnokhoma, a place where the final processing of the salt will take place. Sagatnokhoma is a smooth rocky area not far from Yiwika. The salt laden strands are first dried on the roof of the hunila for 2 or 3 days. Iluge puk or the dry strands are then taken to Sagatnokhoma. The man filmed processing the salt is a Yali man, named Omolok, from a tribe other than Baliem who also utilize the salt source through agreement with Kurelu. The process is the same, however. The first step in the final process is the burning of the stem strands into a fine ash. The complete burning is assured by providing holes (telok hiliago) around the base of the iluge werasin, which permit needed oxygen to the combustion process. This fine ash, iluge al, is then taken in small amounts, to which is added a little water, and kneaded into cakes until all the ash is thus turned into salt cakes, ilugeken. Haki eka or a specially prepared banana leaf is used to wrap the finish product. The cake will eventually dry into a hard block which is flaked as salt is desired. Care is taken that not a single ounce of the precious material is lost. Salt is used on sweet potato leaves and other greens. In former times salt was a valuable trade item because of its limited availability in the Baliem Valley. Today trade salt is rapidly reducing the value of native salt as a trade item. Persons (in order of appearance): 1) Dabuk, 2) Kurelu, 3) Omolok (a Yali man), 4) Assorted men and women unknown. Terminology: 1) wangki: banana stem used for salt gathering 2) wusama: wusa place or sacred place 3) je: wusa stone 4) awili: touch stone for women on way to well 5) helekit wamoat: place where a pig was killed and became a stone 6) phiakne elo: origin hole of warm wind 7) pelel: wood stick used to dibark banana stem and pound it to strands which are later paddled into flat strips (= isiken) 8) kilimi: leaves used to gather salt water 9) ijoak: water gourds 10) iluge puk: strands of leaves and dried bark 11) hunila: cook house 12) jaga: stone adze - acculturated 13) Sagatnokhoma: place for making salt blocks, also village place name. 14) iluge werasin: firing of brine soaked strands 15) telok hiliago: he is making holes for oxygen 16) iluge eken: salt cakes 17) helo wasin: binding of the salt cakes 18) haki eka: leaf wrap for salt This description was prepared by Larry N. Naylor, Southern Illinois University, in collaboration with J.A.E. Camps ofm, and using local informants. The chief informants for this film were: Kirilmo, Uwo and Hanoma.

Description: The first portion of the film depicts the steps involved in gardening from beginning through actual harvest of the garden fruit. The sequence begins with Logarek clearing the field of grass in the traditional way using only his hands, and in the acculturated manner of today, using the machete. The site of this activity is known as Akunmo. This grass is then piled up and burned by Weneke, assisted by her husband and children. The soil is broken by Aikron using the alo sege into large clumps of earth which are farther broken into finer particles by the women. This finer soil is then fashioned into small mounds into which will be planted the sweet potatoes leaves (hymperi eka), and vine. Two plants are usually placed in the ground as an insurance measure. A rest from work is usual, during which cigarettes are made and smoked. Pictured in the film is Kemugu preparing tobacco (hanom) for smoking. She first shapes a leaf into which she flakes tobacco from her roll with the thumbnail. Kemugu then folds her cigarette, place it into a hanom oak, and lights it to smoke. The next step in garden preparation depicted actually occurs prior to the planting and involves clearing the irrigation ditches. Kula is shown doing this activity which involves throwing the clumps of moist earth into the actual garden. This process provides the only fertilization added to the gardens. The tool used by Kula is the wen sege. The breaking up of the soil into finer particles is then shown again. After the garden has been planted, the women visit to weed and thin out the vines. The flowering stage of the plant occurs before the actual formation of the tuber. When the tubers are ready, they are dug out of the mounds, using the hymperi sege and the small hair roots are removed. Ompailek is shown filling her su with potatoes, the normal daily activity of women, which she will take to wash and scrape clean. A local grass called kilimi is eaten raw by the people. The first portion of the film is concluded with shots of some things grown by the people: hymperi (sweet potato), hanom (local tobacco), soa (a stem vegetable) and ham (taro). A mountain garden known as Jabula is shown in the distance for comparison to the valley floor gardens covered in the bulk of the film. People returning to the compounds following the day's work are also shown. The second division of the film deals with the actual preparation of food in the villages (uma). The film for this portion was taken in the uma known as Salkagook and Bukhigin. Shown in Salkagook, the uma of Hibingka, is Akubaga who is putting jeleakap into the bakte (steam pit), in which the hymperi is to steamed. Hymperi is prepared also by baking directly in the fire, but that is not shown here. Following the jeleakap, a layer of leaves (oika) is put into the pit. The steam pit is now filled with rocks (helinkit), which have been heated on the kit pelago. The rocks are carried to the pit using a partially split pole known as the hiliba. When the pit has been lined with the hot rocks, the potatoes are placed in the pit by the women, each having her own place. The importance of this placement is emphasized by a fight scene between Haloke and Salohe, both wives of Hibinka, over the issue. Hibinka later beat one of the women for this incident with a stick. The bakte is then closed after water has been sprinkled over the contents and bound with jawaga. The steaming usually takes about an hour, dependent on the pit contents. In Lukhigin a pit is opened and the contents distributed. Wam or pig has been cooked in this particular case, along with hymperi and leaves. Wam is taken into the pelai for the important men, and the food is then consumed by people sitting around the uma. Persons (in order of appearance): 1) Logarek, 2) Weneke, 3) Ompailek, 4) Kemugu, 5) Kula, 6) Akubaga, 7) Kolake and Salohe, 8) Hibinka. Terminology: 1) alo sege: tool used by men for breaking soil 2) ai sege: tool used by women for garden work. 3) hanom: native tobacco 4) hanom oak: reed cigarette holder 5) wen waganin: term for large garden irrigation ditch 6) wen sege: paddle shaped tool used by men working in irrigation ditches 7) hymperi: general term for sweet potatoes 8) hymperi sege: woman's tool for digging up sweet potatoes 9) su: woman's carrying net 10) kilimi: name of grass eaten raw 11) soa and hom: varieties of vegetables 12) bakte: name of steam pit for cooking food 13) jeleakap: grass used in pits 14) oika: leaves used in pits 15) kit pelago: name of place to heat stones 16) helinkit: stones used in pit 17) hiliba: poles used to carry rocks to pits 18) wam: general term for pig 19) jawaga: vine binding used to close steam pits 20) pelai: man's house 21) uma: term for compounds This description was prepared by Larry L. Naylor, Southern Illinois University, in collaboration with J.A.E. Camps ofm, and using local informants. The chief informants here were: Kirilmo, Uwo and Hanoma.

Description: The occasion of this film was the official visit to Wamena of Ibu Tien, the wife of President Suharto of Indonesia. The visit was to mark the official start of 'Operasi Koteka' ('koteka': the name of the gourd worn by men in another area). Operasi Koteka was originally developed to speed the rapid development of the highlands of West Irian and other places only recently introduced to the civilized world. The operation, under control of the military, directs its attention to the development of agriculture, animal husbandry, hygiene and living conditions, inducing the people to wear clothes and to a number of other concerns. The visit of the Ibu Tien to Wamena is shown on the film from her arrival, accompanied by a number of ambassadors' wives and government ministers' wives, to her departure after about a 22 hour stay. Pictured are the large numbers of dignitaries in attendance and the school children lining the path to the KPPD school (a Task Force Project), where she gave a speech about the aims of Operasi Koteka. A speech was also given by the Governor. These were translated for the children assembled to receive clothes as part of the ceremonies. Following this the visitors were taken to a reception where they were given remembrances of their visit and where each was introduced to the crowd. Traditional dances were held outside this reception and indeed, throughout the visit of the Ibu Tien. A great number of people participated in and observed this official beginning of Operasi Koteka in the Baliem Valley. Persons: 1) Government dignitaries and military persons, 2) Ibu Tien, wife of President Suharto, 3) Governor of West Irian, Fr. Kaisiepo, 4) Bupati for Wamena, A. Karma, 5) K.P.S. for Wamena, Sakari, 6) Mission Sisters, 7) Wife of Dutch Ambassador, 8) Wives of various ambassadors and government ministers accompanying Ibu Tien. Description prepared by Larry L. Naylor, Southern Illinois University.

For a detailed description of the ima wusan ritual, see Ima Wusan I (Camps 9) and Ima Wusan II (Camps 10). Ima Wusan III: Poles made of two branches tied together at the top are placed on cabins. Pigs are shot and a fire is made. A strip of barren land [outside the village]. At one end a fire is made, at the other end is water. Halfway a gate made of two branches bound together is put up. The men stand on both sides of the strip and lift one leg. A burning branch is passed under their feet. Short branches with leaves are made into rods. A man, carrying a stick over his right shoulder, plunges the rod into the water at the end of the strip. People walk through the gate (first the men, then the women) and have their legs and hands wiped by the wet rod. The man touches the heads of children by hand as well. Then the men and women have a line drawn on the sternum and the right buttock. The film ends at the fire in the village.

Description: Ima Wusan, Part I, is the first in a sequence of two films dealing with a purification ceremony of the Baliem Valley peoples. Part I deals primarily with preparations for the rites and Part II (Ima Wusan II, Camps 10) deals with the actual ceremony itself. These events occurred at the compound at Obia, located in the vicinity of Yiwika, West Irian. The purpose of Ima Wusan is to purify the group of the contamination brought about by an act of incest. When members of the same moiety have sexual relations, the entire group is affected. It is said that when a person's pigs remain small or are sick, this condition is because of his family and Ima Wusan can be held. It is sure on the actual evidence of such transgressions the Ima Wusan has to be held. The people believe that failure to purify the group, will cause all the pigs to remain small, to sicken and die. Thus, there is the need for all members of the group to be cleansed together with the particular offenders. Part I: In the events at Obia, the Ima Wusan begins with activities in the compounds. The firewood to be used is prepared. The arch or pabi kagalek, made of the woods el and tun is begun. The ceremonial leader is Helela, and he can be seen doing this work: splitting the wood using a bone knife, tul. Husumpi, Labisok and Wasiginlekma discuss the pigs to be used for the feast. The man Apmabaga can be seen with one of these pigs under discussion. This completed, the women who have been excluded while the arch was being prepared, come into the silimo bringing leaves and hymperi. The business of killing the four pigs used in this feast starts at this point. The responsibility for killing the pigs is given to Husumpi. He uses the sike and arrows for this purpose. The usual standard position for killing pigs is pictured in the film. The pig is held by the ears and hind feet while a third man draws the bow, loosening the arrow into the pig. The arrow penetrates between the ribs just behind of the front legs, aimed at one of the vital organs. The bowman may jab the arrow in further, or maybe in and out, before it is withdrawn. The pig is then loose to rum a few meters or to topple and die quickly if the aim has been good. A large pig may be shot on the ground where it stands or maybe hoisted on poles, then shot. Two of these methods are depicted in this film. One pig shown takes two arrows before it finally dies. Nugudialok is then shown sharpening the wimukul by peeling off a small strip of bamboo. With this he proceeds to cut off the tails and ears of the slain pigs. These will later be eaten. The men in clothes is Weneroma. A fire is built and the hair and outer skin is removed. The butchering follows as the singed pigs are laid out on banana and hymperi leaves. The sequence is usually the same. Cuts are made on either side of the mouth (in this ceremony first cuts are made at the anus) then down the stomach just inside the legs. The belly, to include the lower jaw, is then removed as one skin strip. In this film Helela asked for the pigs blood for use in the actual rites of Ima Wusan, but usually it is collected in the leaves. The intestines are removed and given to young girls to clean in a nearby stream. The pelvis is broken by using the jaga and the vertebral column is removed. Strips of flesh are carefully removed and hung on meat racks, the poklagabek. Later the skin with fat, ribs, organs and backbone will be steamed. The meat strips will be roasted in the man's house at a later time. Following this activity, the pits are prepared. The bakte is lined with jeleakap and oika. The helinkit are taken from the kit pelaga and placed in the bakte followed by hymperi and wam. Soa and hom eka are also to be cooked. Men and women take part in this work which is completed with the binding of the bundle formed using the jawaga. During this time, women are be seen sitting around the silimo. Uwo, Nogo and Malekhe are watching the activities. The poklagabek can be seen laden with meat and pig intestines. (For more description of the preparation of the bakte, see Wen Hagasin, Camps 2). Part one ends on this point. The actual ritual of Ima Wusan follows as Ima Wusan II, Camps 10. Persons: 1) Helela, 2) Wasiginlekma, 3) Labisok, 4) Husumpi, 5) Apmabaga, 6) Nugudialok, 7) Wenaroma, 8) Husogo, 9) Uwo, 10) Nogo, 11) Malekhe. Terminology: 1) pabi kagalek: arch used in Ima Wusan 2) el: sugar cane used for the arch 3) tun: name of a wood 4) sike: bow used for killing pigs 5) wimukul: bamboo knife 6) helinkit: stones used in pit 7) bakte: steam pit 8) kit pelago: place for heating stones 9) hunila: cook house 10) phatphale: ceremony leader of Ima Wusan 11) ijoak: gourd 12) wam: general term for pig 13) jeleakap and oika: kinds of grass 14) hymperi: general term for sweet potatoes 15) soa and hom: kinds of vegetables 16) jawaga: bakte vine binding 17) wam al: pig intestines 18) poklagabek: term for rack on which meat is hung 19) silimo: compound courtyard 20) jaga: stone adze 21) tun: bone knife This description was prepared by Larry L. Naylor, Southern Illinois University in collaboration with J.A.E. Camps ofm and using local informants. Chief informants were: Kurelu, Kirilmo and Uwo.

"Funeral Rites II" is the first part of Camps 31. The second part is called "Hotaly Pupukhe". Film: Super-8 ; Kodachrome II ; Colour Length : Funeral: approx. 40 meters Hotaly : approx. 30 meters Running time : Funeral: approx. 10 minutes Hotaly : approx. 8 minutes Filming Date : Funeral: July and September 1971 Hotaly : August and September 1971 Place : Yiwika, Baliem Valley, West Irian. Filmed by : J.A.E. Camps ofm. Description of Funeral Rites II : Funeral Rites II is a continuation of the funeral rites conducted for the girl named Keamente, the first part seen as Funeral Rites I (Camps 30). In that film, the first two days activities of the rites held almost immediately upon a person's death are shown. This film continues with the rites held following a death on the third day. These rites surround the divination of cause of death. Immediately following this is a section on the Wam Ilkho which is also part of the long sequence of funeral rites. This ceremony or feast is held after two months or so following a person's death. The third day's rites are centred upon determining why the person had died. Bagai wasin or killing mice was the closest term that was elicited from informants for this ceremony. Although this is really not satisfactory, no other term was known for this ceremony. The activity begins with the boys and men going into the fields in search of bagai, the rats and mice found there. The older brother of Keamente, named Nakliak, is seen carrying the su walon on his head to which are attached the tails of pigs killed for her funeral. Another, the bagai su, will be filled with the rats that are captured and killed, by pushing or putting pressure on their bodies until some internal damage causes their death. Apmabaga is seen holding a nest of rats found during the search. At one point the people notice some shades of red on the clouds and wonder of its significance. When the men are satisfied they have enough, they all return to the uma. A drink from the ioak is one of the first things sought by the thirsty hunters. In the uma the husband Watnom is seen mourning with two women who came a long distance for the funeral and only just arrived. The mice are laid out on a banana leaf, supposedly in the order of their capture. This is done by Ninarike in front of the pelai and only men are allowed. Ninarike joint by Ilagabek inspects the rats that have been caught. For all persons who die, rats will tell why. Ilagabek is ami to the mother of Keamente and opens up the stomach of the rats using the wam lisu. The stomach intestines are read and the cause of death is told to all. Later the intestines are trampled to clean them and hung on branches. These and the bodies will be baked on open fire and eaten. The divination of the intestines told why Keamente had died. According to the story given by the people, Keamente would have married a young man but it was impossible; he was a catholic and would marry another. She had given him a walimoken band as a sign of her wish. The boy was later sent to jail for stealing and there he was reported to have burned this band. Because of this action Keamente died. Although this is the story reported as a result of the divination, the real cause of death appears from the evidence to have been the result of an abortion attempt. Other reasons such as the kaneke being bad or not properly cared for were possible from the signs seen in the rat intestines. The wam ilkho follows next in the film. Wam ilkho is a ceremonial killing of pigs, in no apparent order or prescribed manner. The ceremony is held at a later time, perhaps two months after the funeral. In this, the ami of the dead is obligated to give pigs for the ceremony. It can be held for one person who has died, or a number of ami obligations can be completed at the same time for others who have died. The availability of pigs has much to do with the actual timing of this activity. The wam ilkho pictured here, took place in the uma of Wenabubaga. The pigs were killed in no order or place, simply where they were caught. The bodies of the slain pigs littered the silimo. They were then lined up in a row where the man Husuk indicated, but arguments arose as to the actual place. Approximately an hour or so was required to resolve the issue. A man is shown making a cigarette (hanom) during the discussions. A further problem arose because of a pig. A local chief gave one of his own and the trouble was finished as a woman took the pig away. The ears and tails were removed from the slain pigs and the meat was cooked and eaten. Although there may be more to this ceremony, it was not observed and in all probability this description is incomplete. Persons 1) Nakliak 2) Apmabaga 3) Ninarike 4) Ilagabek 5) Husuk 6) Watnom Terminology : 1) bagai wasin: killing or to catch mice 2) bagai: rats or mice 3) su walon: special net for funerals, symbolizing the dead person. 4) ioak: drinking gourd 5) uma: compound 6) pelai: man's house 7) wam lisu: pig bone needle 8) hanom: local tobacco 9) silimo: courtyard This description was prepared by Larry L. Naylor, Southern Illinois University, in collaboration with J.A.E. Camps ofm, and using local informants. The chief informants here were: Kirilmo, Uwo and Hanoma. See also Funeral Rites IV (Camps 32) and Wam Ilkho Pelabe I and II (Camps 34 A and 34 B).