Rockefeller’s first journey, in June–July 1961, took him to the eastern southern coast, visiting settlements such as Omandesep, Otjanep, and Biwar-Laut. During this trip, he developed a deep fascination with Asmat art and culture. His second expedition later that year was far more ambitious: a journey deep into the inland forests of western Asmat. Regions where, at the time, people may never have heard the sound of a boat engine. Head-hunting was still practiced along the upper rivers. By any standard, this was a high-risk undertaking. It is precisely this second expedition that we aim to retrace. Not only because of its historical significance, but because it led into one of the last remaining blank spots on the map at a time when most of the world had already been explored.
THEN AND NOW
Today, much has changed – but not everything. Along the rivers, even several days inland, motorboats and trade goods have reached most villages. Small shops run by migrants from other parts of Indonesia are now common. But once you leave the settlements behind, very little has changed. The vast river systems, dense rainforest, and the raw scale of the landscape remain exactly as they were in Rockefeller’s time. Traditional Asmat life also continues. Ceremonial houses, rituals, and artistic traditions are still actively maintained, often requiring significant communal effort.
FOCUS OF THE EXPEDITION
Rockefeller was deeply impressed by the artistic creativity of the Asmat. The unfamiliar objects—whether towering ancestor poles, war shields, or everyday items such as paddles, weapons, and containers—captivated him. It is well known that his father, Nelson Rockefeller, was already an avid collector of so-called “primitive art” and had established a museum in New York. It is easy to imagine that his son intended to surprise him with these striking cultural objects from distant New Guinea and to significantly expand the collection. He had the means to do so, both financially and through his connections with the Dutch colonial administration at the time.
For our journey, the search for traditional craftsmanship and cultural practices will also play an important role. In the remote inland regions of the west, ceremonial festivals with life-sized mask costumes, known as Doroe, and ritual figures, known as Jiwawoka, remain an important tradition. Each river system has its own distinct mask designs, and the level of craftsmanship is remarkable. The same applies to shields and ancestor poles, where different regions have developed their own unique styles and forms of expression.
PURCHASE AND SHIPMENT OF HANDICRAFT
Dr. Weiglein has been collecting ethnological objects and artifacts from Papua for over 40 years and founded his own Papua museum in Germany. He is considered one of the leading experts on Asmat culture and material heritage. Visit the museum’s website here: Papua Museum
Participants who wish to acquire larger quantities of handicrafts or large-format pieces can rely on our network and experience to support them through the complex shipping process. In addition to the expedition itself, this represents a unique opportunity for serious tribal art collectors.
