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Obery Sambo, Waiat Le Op Dari 2011. Obery Sambo, Meriam Le Op 2011.
Obery Sambo, Nam a Beizam Le Op Nog (Lamar[spirit] taking the form of a turtle and a shark) 2010, fibreglass, cassowary feather, cowrie shells, raffia and lawyer cane.
Allson Edrick Tabuai, Wene-wenel Gaugau Mawa 1998, wood, lawyer cane, cassowary feathers, horse hair, paint, cloth, fibre cord and resin.
Ken Thaiday Snr, Obery Sambo, Allson Edrick Tabaui, Yessie Mosby, Alick Tipoti.
The practice of mask and headdress making is a long and enduring art form throughout the Torres Strait Islands.
Before the Coming of the Light in 1871, when Christianity was introduced to the Islands, the production of ceremonial objects for use in elaborate ritual was common. Masks are still created today and used as a visual intermediary, connecting the living and spirit realms during ceremony.
Traditionally, in the Western, Eastern and Central Island groups, masks were made from Hawksbill Turtle shell, one of the most precious and sought-after commodities. These shell masks are known as le-op. In the Northern and Western Island groups wooden masks were carved with decorative designs and inlaid with pearl and cowrie shell and adorned with feathers, hairs and other natural materials. These wooden masks are known as mawa.
A Dari (or Dhoeri) is a feathered headdress, made and worn by men during dance. It takes many forms, some more elaborate than others and isused in initiation, marital and other celebrations, as well as story-telling performances.
These Krar and Dari are indicative of a range of masks and headdresses with different purposes and meanings: they illustrate similarities, differences and hybrid forms of head adornment from varied Torres Strait Island groups.
