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Riding through rough open waters aboard a chartered motorboat, Harry Beran looked out to the remote islands off Papua New Guinea's east cape.
It would be hours until his first destination, so the art historian settled in for a long voyage at sea.
He was on a mission to research the elaborate tribal art carvings that adorn the region's traditional sailing canoes, before they disappeared forever.
"The majority of the artworks that were made, say a century ago, are no longer made," Dr Beran said.
"My guess is that in 50 years' time, perhaps the whole art tradition will have disappeared and I'm trying to describe this art tradition while it's still possible."
Almost half a century ago, the retired scholar first ventured to the vast Milne Bay Province, also known as the Massim region.
Since then he has returned more than a dozen times to collect hundreds of artefacts and discover the legends behind their designs.
It was an obsession that led him to own what was once probably the largest private collection of Massim art in the world.
"It's a very rich art, complex iconography, so it's easy enough to get interested in it," he said.
While many locals choose the speed and convenience of motor-powered dinghies, sailing canoes remain vital for transport and ceremonial trade around the province.
"Milne Bay Province is mostly an island world and so canoes are absolutely central to the culture," Dr Beran said.
"They are built by master carvers; they're seaworthy and capable of going long distances."
The largest type of boat, the nagega, can measure up to 11 metres long and easily ferry a dozen people.
The ends of the hull are ornamented with shallow-relief, handcrafted wood carvings, often depicting animals and celestial bodies.
Dr Beran is fascinated with the tribal aesthetics, but believes the nagega is now made on only a handful of islands in the region.
"The keel of these canoes is cut from one tree, and this keel is again represented on the washboard as well as on the wave splitter of the canoe," he said.
David Payne is the Curator of Historic Vessels at the Australian Maritime Museum.
As a yacht designer, he came on the journey to lend his skills and knowledge to draw plans of the various canoes and document their construction techniques.
"It is all actually a very early means of sailing, but it all works extremely well and they actually make good progress. They're very fast boats," Mr Payne said.
Whenever they encountered a canoe of interest, Mr Payne waded ashore and asked the villagers for permission to measure up their boats.
Working in the intense tropical heat, he often attracted a crowd of curious onlookers, but being up close gave him a unique view of the weathered watercraft.
"Some of the things that I've been able to draw up, I don't think anybody else has been able to measure it as accurately and as detailed as I have," he said.
Meanwhile, Dr Beran interviewed local men about the recurring motifs carved on the canoe splashboards and wave splitters.
While museums and art galleries around the world hold large collections of Massim canoes and components, Dr Beran said most of them were poorly documented.
"One of the objectives of my research is to collect information so that all of these huge numbers of objects we have and look after can be documented much better," he said.
After he listened to the ageing craftsmen and village elders tell their stories, Dr Beran stressed that the future of canoe-making rested in the hands of the next generation.
"Either the young people will be taught by the older people or the skills will disappear," he said.
At 82 years old, it may be the last time he ventures to this remote part of the world.
But for him age is no barrier to ambition, so he plans to return and continue his research.
"Recording a great art tradition, which is in very considerable decline, for future generations of Milne Bay Province people and for the rest of the world is a worthwhile job."
Topics: historians, visual-art, anthropology-and-sociology, papua-new-guinea
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