Thirteenth International Conference on The Arts in Society

Abstract

Storyboards from the Republic of Palau emerged during the Japanese administration of the islands in the 1930s and are one of the most recognizable and notable forms of art from the Micronesian region, particularly as a form of commoditized or tourist art. The commoditization of art, a phenomenon often found in non-Western cultures, consists of complex relationships among artists, merchants, and consumers. These relationships play significant roles in a market that seeks to satisfy consumers, a group that frequently consists of outsiders or tourists. Although initially viewed as degenerate and inauthentic, works created specifically for sale have come to be recognized as objects with cultural significance. Steiner and Phillips recognize that within different contexts, the objects may be viewed and appreciated within an art-artifact-commodity triad. When viewed within these three contexts, the researcher, collector, and consumer gain different types of cultural information from the visual elements and the documentation associated with storyboards. The research includes surveys of museums and interviews with carvers to identify aspects of storyboard production and provides a comprehensive history of these commoditized objects and their significance. The storyboard, then, may be viewed as a commodity that is created to present a cultural past to the consumer.