The Skeleton Men paint themselves head-to-toe in black ash, with a coating of bright white clay outlining the head giving the impression of bones. They shuffle forward, twisted in extreme angles, presumably to frighten their enemies. Highland tribal groups believe that spirits inhabit the land, plants, rocks, animals and inanimate objects. They believe in evil spirits and practice sorcery. Legend has it that their ancestors were afraid to go into the woods because they thought ghosts could come and eat them. So they painted themselves to frighten the ghosts.

Body decoration and adornment are key features, using materials such as paint pigments, feathers, grasses, leaves, bone, shell and animal skins – all used in creative ways. Elaborate wigs are made from human hair and plumes, wild pigs’ tusks are used to pierce noses, and faces and masks are painted in bright primary color patterns. Some of the skeleton men groups have smoking headdresses. Each group has a section of the showgrounds and sing and dance for 7-8 hours each day. (And its hot!!)

Children perform in Sing-Sings with their cultural groups and learn the traditions and dances

The Asaro Mudmen’s legend is that they were defeated by an enemy tribe and forced to flee into the Asaro river. The enemy saw them emerge in the dark from the river covered in mud and thought they were spirits. As most tribes are afraid of spirits the enemy fled and the Asaro escaped. Legend also says that the mud from the river is poisonous, so instead of covering their faces, they make elaborate, very heavy masks that cover their entire heads with short ears, horns, sideways mouths and joined eyebrows.

The mud masks are very heavy and are remade for each performance!

After preparing their masks and covering their bodies with mud, the mudmen re-create their mythology

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Participant in the Paiya Sing-Sing. Applying make-up and costumes takes hours and is re-created each day.

Cultural group performing at Mt. Hagan Sing-Sing

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The Huli tribe live in Hela Province, Papua New Guinea. At the age of 14 or 15 Huli boys leave their families and are sent to live in a “bachelor school” to learn their role in society. The most important activity during this time is taking care of the boys’ hair in order to produce ceremonial wigs. As their hair grows it’s gradually formed into a kind of mushroom shape by using a band of bamboo. The boys must sleep on their back with their head on a brick in order not to ruin the shape.

After approximately 18 months the head is shaved close and the hair is woven into a traditional Huli wig. The wig masters will add ornaments such as colored clay and bird of paradise or parrot feathers. There are wigs for everyday use and for ceremonies, for personal use, and for sale. Some young men will produce up to five or six wigs before it’s time to marry. According to Huli beliefs, only the hair of unmarried boys and young men can be used for making wigs.

A representative Huli wig

Members of the Fire Dina Group prepare their costumes each day. For some of the teenagers,this is their first performance.

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According to an origin myth of the of the people who live along the banks of the Sepik River the world was created by a primordial crocodile. The Sepik people descended from the crocodile and emerged from the river as humans to walk on land. The land and the crocodile’s back are one and the same, the upper jaw is the sky and all within it, and the lower jaw is the land and the river and everything upon and in it. The crocodile is feared but it is a symbol and source of power.

Young boys are brought to the spirit house for a rite of initiation. Their backs, shoulders, and upper torsos are cut by razor blades to leave long raised welts resembling a crocodile’s hide. They then spend months inside the spirit house learning from initiated men about the spirits and how to fish, carve, and support their families.

There are many mask making villages along the Sepik river. Only men wear masks and and they must be initiates of the cult that produces that mask. Women are not allowed to see masks or enter the spirit house where masks are hidden. Masks have a transformative power. Masks are still in use today in Papua New Guinea in dances and during ceremonial occasions. And many newly made masks are for sale to tourists and collectors.

Carved image on the spirit house

After 4 of hours of decorating themselves, villagers from the Sepik river are ready to participate in the Sing-Sing in Kanganaman Village. Dancing in front of the spirit house.

Villagers from nearby villages come to Kanganman Village to participate in the Sing-Sing. They sourced all their decorations from the surrounding foliage. They have great pride in their costumes and in their endurance to dance for the festival.