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Out of the Mouths of Crocodiles: Eliciting Histories in Photographs and String‐Figures

Whom and what do we touch, hear and see when we hold, listen and look at photographs? What histories are enfolded within photographs’ materiality? What elided pasts do they contain, and what possible futures can be negotiated with source communities by engaging with these artefacts in the present? In this paper I consider these related questions through an exploration of the nexus of relations, perspectives and histories enfolded within a particular glass plate (A6510,499) held in the National Australian Archives. Taken by the government anthropologist F. E. Williams in 1922 in the village of Ukiaravi, this portrait of the two young boys Kauei Ove and Kauri demonstrating a string‐figure is one of some ninety‐six glass plates produced by Williams during his eight‐month trip to the Purari Delta of Papua New Guinea. Viewed with communities, this photograph generated a series of conversations about a set of relations involving the mimetic faculties of Crocodile Monitor Lizards, the growth of knowledge through bodily transformation during male initiation, and various modes of history telling and making. In examining these relationships and the ways in which they unfolded around engagements with this glass plate, I contribute to discussions about the nature of fieldwork and the productive possibilities that connecting source communities to their photographic and archival legacies has for them, museums and the discipline.