See the exhibition about one of Angola's oldest tribes, the Vatwa of Angola "We were the original inhabitants of this area thousands of years ago. No one really knows where we came from. We have crops over there, we have these goats, we live off the land.” Mutjila, Vatwa chief. The Vatwa of Angola Regarded as the first indigenous inhabitants of the Onconcua region, the Vatwa remain semi-nomadic and grow crops and tend goats within the compounds housing their traditional huts. The most striking thing about the Vatwa are the women, covered in a red paste of ochre clay, animal fats and lotion that makes their skin shine in the unrelenting sun. Young, newly married women wear a three-pronged ekori goatskin on top of their platted dreadlocks. The wearing of certain necklaces, braids and shells represents a unique mix of personal style and significant life stages. The attire makes sense considering the isolated environment: sparse, desolate, flat. See the exhibition Melbourne 8 April - 6 May 2026 Address Ladder Art Space 81 Denmark St, Kew VIC 3101 Contact (03) 9852 8772 Opening Hours Tue - Sat 11:30am – 5:00pm info@ladderartspace.com.au guy@guyneedham.com ABOUT THE PHOTOGRAPHER Guy Needham’s inquisitive worldview was shaped by growing up in rural New Zealand in the 1970s. Today he is noted for his international work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His work is a hybrid of photographic genres, sitting somewhere between documentary and portraiture. The simplicity of his pared-down style has been described as having both a quiet intensity and a subtle momentum. His images have been exhibited in New York, London, Paris, Berlin, Barcelona, Tokyo, and Athens, and been seen on the pages of National Geographic Traveler, CNN.com, Lonely Planet, SUITCASE Magazine, International Traveler, Portrait Magazine and AFAR.

Not seen by Europeans until 1935, the Huli have lived for 1,000 years in the fertile valleys of Papua New Guinea. Their way of life has changed little from what the first white men encountered, and today they are one of the last remaining tribes that still wear traditional dress. TRIBES The Huli Western Highlands, Papua New Guinea Not seen by Europeans until 1935, the Huli have lived for 1,000 years in the fertile valleys of Papua New Guinea. Their way of life has changed little from what the first white men encountered, and today they are one of the last remaining tribes that still wear traditional dress. < Previous Next >

"Um, aren’t we a little low?!” shouted my fellow passenger over the Cessna’s engine. She was right of course, we were only 50 metres above the ground and below us impala were scattering everywhere. “No, of course not,” I reassured her while secretly enjoying a personal ‘Out of Africa’ moment as she gripped the armrest. < Back Kenya's Lion Warriors New Zealand Herald 11 Dec 2018 "Um, aren’t we a little low?!” shouted my fellow passenger over the Cessna’s engine. She was right of course, we were only 50 metres above the ground and below us impala were scattering everywhere. “No, of course not,” I reassured her while secretly enjoying a personal ‘Out of Africa’ moment as she gripped the armrest. We were half an hour out from Samburu airstrip in central Kenya, a wee spot on the map just inches above the equator, and the entry point to Samburu National Reserve. The landing wasn’t pleasant. My fellow passenger gave me a pained smile as she mumbled off the plane. Unlike her, I wasn’t there to go on safari; it was the guardians of the animals who interested me. “Super!” came the crisp New England welcome from behind a beige Land Rover. Strolling towards me was Tina Ramme, a Professor in Biology who tracks nomadic male lions for six months of the year and lectures at Harvard the other six. (I later learned she was actually saying ‘ su pa ’ which is ‘hi’ in Samburu language, as opposed to being really happy to meet me). Strapping myself in, we bumped our way across the east African wilderness, passing through the reserve – an unexpected safari of elephants, giraffes, baboons and ostriches. Exiting the park, a small plaque caught my eye: “In memory of Elsa, who helped safeguard this game reserve”. “You’ve heard of Elsa, right?” Tina asked. Elsa the Lioness was a young orphaned cub, adopted as a pet by game warden George Adamson and his wife Joy in the 1950s. They released her into the wild and their story, Born Free, went on to sell 5 million books and was turned into an Academy Award-winning film. I nodded affirmatively. Years on from Elsa, the presence of lions is still a hot topic. While the park is a guarded national reserve, the massive area around it is untamed land where lions and humans have co-existed for centuries, sometimes not so peacefully. Which is where Tina came in. “No lions have been killed by a Samburu since 2006,” she said proudly. Working with the Lion Conservation Fund for the best part of a decade now, her specialty is lions who are expelled from a pride – when they threaten the leader – and then become nomadic. But researching nomadic lions is, unsurprisingly, no easy thing. She realised early on that she needed the help of the moran (warriors) of the Samburu tribe, known for their tracking abilities. The moran (pron. mo-rahn) are the fearsome face of the Samburu, still traditionally dressed and armed with spears, and now with cell phones. The Lion Warrior project they are part of not only empowers them to track lions, but also helps educate their communities about the wider role conservation has to play in today’s Kenya. “It’s interesting,” she mused, “The moran have so many parallels to nomadic lions. They both are kicked out of families early in life and can’t return for a number of years.” I looked puzzled so she explained. The moran are the second stage of life for the Samburu male – after childhood and before ‘elder’ – that begins when the young male is 12 to 14. At that age they are circumcised (women are still circumcised too) and must leave home and join other moran in fending for themselves. Over the next 15 years they learn to hunt, kill, protect and live in the bush, and only after that period are they allowed to return to their boma (village), having shown that they are responsible enough to marry and raise a family. “You’ll get to meet them soon.” Sure enough, as we arrived at Sabache Eco-Lodge at the foot of the mountain O’Lolokwe, I was introduced to my helper, a young moran named Dickson. The lodge, run by the Samburu community, was far from what I expected. Described as a ‘traditional African bush camp’, my room came complete with hand-crafted furniture, stone ensuite, solar power and sundowners whenever I wanted them. Mornings started with watching elephants rummage in the riverbed below; days were spent chilling on my own private veranda; and in the evenings the campfire beckoned as dinner was shared with other guests – rock climbers, film crews, tourists and families. Over the next 15 years they learn to hunt, kill, protect and live in the bush, and only after that period are they allowed to return to their boma (village). “Do you want to meet the warriors?” asked Dickson with a wry smile.The moran were returning to camp having tracked lions over the previous few days. Once pawprints or other signs are spotted, they can identify the size and age of the animal they’re following. When they see the lions, they keep a healthy distance and report their observations to Tina once back at camp. I took the opportunity to ask them, through Dickson, what their day had involved. Suddenly, these serious young men become animated, pointing and gesturing down the valley towards the mountain. Dickson explained that three of the nomadic lions had banded together and were hunting in a mini-pack. Seeing this sort of activity in person was very rare and the moran were obviously proud. I was invited to join them for a meal. “Ohhhh, a goat! Now that’s something special,” said Tina knowingly, when I told her where I was off to. I arrived just as ‘lunch’ was being unloaded from the back of a motorbike. Held down by four warriors the animal bleated into submission, its body still. One of the moran put a knife to the goat’s throat, slowly, shallowly, slicing down the skin to part its coat under the neck. A quick nick, and then blood started flowing into the pocket of skin that had been created. One by one the moran put their lips to the pool of blood, sucking in the rich redness as the goat slowly died. The sacrifice wasn’t just because of lunch; the moran were contributing to a celebration that was being held that night. The entrails and liver were carefully wrapped and taken to the entrance of the nearby boma. “We are not allowed to eat with our family,” explained Titus, another moran, “so this is the closest we get.” My timing could not have been better. 29 days before I arrived there had been a blood moon eclipse where the moon ‘disappeared’. In the customs of the Samburu, the only way to guarantee its return is sing at it to bring it back. Tonight was the first full moon since the lunar eclipse and I was about to attend “The Moon is Back” party. The colourful Samburu women were gathered in a group in front of me, their bright beads bouncing upwards as they jumped and sang to welcome the Moon back. Nearby, elders drank tea while keeping an eye on the excitable children. Knowing I was a photographer, the women each lined up to have their picture taken. After seeing her portrait, one of them said something in Samburu to the group which got them all laughing. “What did she say?” I asked worryingly. “Don’t worry,” I was told,” She just said that you’d whispered that she was the most beautiful!” The eating started and the celebrations got under way. Taking my leave before it got too late, I crossed the riverbed on the way back to the lodge. Under the trees I could make out the Lion Warriors sitting around a fire, finishing off the remains of the goat. Away from their family, living the traditions that has kept the Samburu strong, and having their last meal before preparing to track the lions one more time. The Moon was indeed back. Details Fly: From Nairobi, depart Wilson Airport on Safari Air / Air Kenya to Samburu Visit: Samburu National Reserve www.samburu.net USD70 entry fee Activities: Samburu safari, village visits, camping, bush walks, rock climbing, birding Stay: Sabache Eco-lodge sabachecamp.com Visa: eVisa required www.evisa.go.ke USD50, valid 3months before travel Travel tip: Check the luggage allowance of any small planes you’re travelling on. Most have a 15kg maximum allowance including hand luggage, all to be in soft bags. Original publication: New Zealand Herald < Previous Next >

It might not have been the largest plane in the world but it certainly was the friendliest. As we disembarked to the hot sticky tarmac, the pilot literally poked his head out of the cockpit to say “bye” to each of us, adding a cheery “Welcome to Gizzy!” < Back A Flying Visit Let's Travel 11 Mar 2011 It might not have been the largest plane in the world but it certainly was the friendliest. As we disembarked to the hot sticky tarmac, the pilot literally poked his head out of the cockpit to say “bye” to each of us, adding a cheery “Welcome to Gizzy!” The city’s known for a lot of things including being first to see the Sun, landing place of Captain Cook, brilliant beaches and Rhythym & Vines – but this weekend was going to start with the isolated, rural, "Boy"-ish East Coast. Tolaga Bay, 45 min north of Gisborne was my first stop. The biggest township on the East Coast happens to have the longest wharf in New Zealand, a stirring sight as waves crash against it at dawn. From there it was down the road – a quick stop at ‘secret’ Anaura Bay where my parents still go to “get away from it all” – before moving on towards the East Cape. Beyond the rumbling logging trucks and idling cows there wasn’t a lot of traffic. You get the feeling that’s the way the locals like it. Tokomaru Bay, Te Puia Springs and Ruatoria all deserved a visit before arriving at one of the most majestic Maori churches in the country – the ornate St Marys in Tikitiki. With tukutuku work and intricate wood carvings, the church is dedicated to the Ngati Porou soldiers who died in World War I. Of course, no trip up the Coast would be complete without venturing to Te Araroa to see the world’s largest Pohutukawa, and the sign politely asking kids not to play on it. Back in Gisborne a few hours later there was only one thing to do under the sun… wine tasting. I thought I’d misheard when, at The Works, a winery located on the wharf in town, they’d suggested “7 tastings for $10”. Out they came as the owner patiently took me through each glass, explaining the origin and various other things that I can no longer remember due to 7 wine tastings. Gisborne has no shortage of fine wine with names such as Milton Estate, Montana, Lindauer, Matawhero, Huntaway and Bushmere Estate all calling the region home. Beyond the rumbling logging trucks and idling cows there wasn’t a lot of traffic. You get the feeling that’s the way the locals like it. Time to walk it off and luckily I’d picked up a Gisborne, A Historic Walk brochure from the Visitor Information Centre beforehand. Marking the landing of the first European on New Zealand shores in October 1769 is the Captain James Cook memorial. The first hongi between Pakeha and Maori took place on a rock just opposite this statue. Further along, another statue, that of Nicholas Young - “Young Nick” – who was the first on board the Endeavour to sight New Zealand and who has the brilliant white cliffs south of the city named after him. Then the beach. Aficionados will argue about which Gisborne beach is better: Waikanae, Midway, Kaiti, Makarori… the fact there are so many to choose from tells you something. White sandy expanse? Check. Room for your huge towel and beach umbrella? Check. Offshore swell? Check. Icecream store with generous double scoops? Check. Yes, the beaches are something else and the locals know it. They teach surf school here. At dusk the city comes into its own. No longer the sleepy town of the 80s, Gisborne has more hotels, bars and clubs than it rightfully should. Whether it be an Irish pub, a waterside wine bar or an upmarket restaurant you won’t be disappointed by either the service or the entertainment. And when the big Kiwi names go on their summer tours guess which town is always on the list? If you just want to take time out though, like I did for my final afternoon there, you can appreciate this pretty city by strolling through Gisborne’s Botanic Gardens. An oasis for lovers to relax and admire one of the rivers flowing through the city, the gardens also house a decent aviary, some noisy ducks, and oh yes, some beautiful plants.48 hours didn’t quite seem long enough though, and I felt a little cheated that I hadn’t dedicated more time to exploring this part of the country. It was hard getting back on the plane to leave, but somehow I knew that even that would be friendly. Details Air New Zealand flies to Gisborne up to 7 times a day from Auckland and 4 times a day from Wellington. www.airnewzealand.co.nz State Highway 35 from Gisborne to Te Araroa on the East Coast is approximately a two hour drive one way. The Works Great value wine tasting 0800 333 114, info@theworks.co.nz, http://theworks.co.nz/ Wines of Gisborne a handy guide and a good starting point to book tickets to the annual wine festival http://www.gisbornewine.co.nz/ Gisborne Visitor Information Centre The first stop for planning your trip http://www.gisbornenz.com Grey Street, Gisborne Ph: 06 868 6139 or email: info@gisbornenz.com Gisborne Surf Report: Webcams, swells, winds, conditions and “stoke ratings” http://www.surf2surf.com/reports/gisborne < Previous Next >

Guy Needham's tips on preparing for overseas photoshoots is part of this month's D-Photo Magazine article on "Someone Else's World". < Back Someone Else's World 7 Sept 2014 Guy Needham's tips on preparing for overseas photoshoots is part of this month's D-Photo Magazine article on "Someone Else's World". Included in the advice is what's the most important thing to consider when prepping - "You can be forgiven for mangling a word, but if yu eat your food with the wrong hand or are too familiar with the host's family, it's hard to come back from that." < Previous Next >

Guy Needham's next exhibition, Colour // Nature will be hosted by Auckland's Grand Rendezvous Hotel. < Back Colour Nature opens 14 Jul 2014 Guy Needham's next exhibition, Colour // Nature will be hosted by Auckland's Grand Rendezvous Hotel. Colour // Nature is a play on man's need to categorise, numerise and systemise what is naturally found on this planet. This is an exhibition of digitised beauty - scenic landscapes and close up flora are given references rather than titles. < Previous Next >

"All the fun of the fiesta in Latin America" is captured on the cover of the latest New Zealand Herald travel magazine. < Back Colours of Colombia 16 Jan 2018 "All the fun of the fiesta in Latin America" is captured on the cover of the latest New Zealand Herald travel magazine. From the arm-grabbing La Lloranda to getting shot on the streets of Pasto, Guy Needham's latest adventure in Colombia takes you to the most colourful Festival of the Blacks and the Whites on earth. < Previous Next >

Even the most ardent solo traveller at some stage will need a guide - someone who knows their cantons from their arrondissements better than you do. I’ve used more than 20 guides around the world, from well-known tour companies to random taxi drivers, so here are a few simple tips that might help you out. < Back Guiding Principles New Zealand Herald 12 Jun 2017 Even the most ardent solo traveller at some stage will need a guide - someone who knows their cantons from their arrondissements better than you do. I’ve used more than 20 guides around the world, from well-known tour companies to random taxi drivers, so here are a few simple tips that might help you out. Choose if you can. Often I travel independently and need a local guide / translator / fixer that can’t be found in a Lonely Planet. TripAdvisor’s online forums are a great starting point – if only to identify companies that specialise in where you’re going – and from there a little desk research will get you far. Don’t necessarily go for the cheapest, make sure they have a good grasp of English over e-mail, and be clear about what costs are and aren’t included. The tour company isn’t your guide. But the guide will be your company, so never assume that all the correspondence has been passed on to the person in front of you. Always check when it’s appropriate to do so, and share what is important to you so they understand from the start. If you’re after more culture than history, say so. If photo ops are your thing, ask them to take you to the most picturesque locations. Once they know your specific interest it’s a lot easier for them to pull you aside (if in a group) or point you in a certain direction. Ask ahead. The best guides I have ever had informed me ‘two steps ahead’. “Tonight we’re meeting here for dinner and then you have your own time, and we’re checking out at x o’clock and can then change your money at y.” Asking ahead will ease any planning anxiety and give you a sense of freedom knowing how much time you have before you need to be somewhere. Surprises are never good. This goes both ways. Make sure you’re communicating with your guide as much as you can from Day 1. Depending on your level of OCD-ness and if you speak the local language, this can be a fine line. However, if something seems at odds with what you were expecting, politely but firmly enquire. Once on tour don’t forget that you’re the client and your guide genuinely wants to do the best for you, so be as up front as possible. Buy The Gumboots. It’s a metaphor for, “The reason your guide is suggesting something, might not be the reason that you suspect.” This is where you have to trust your guide. In my case I had perfectly adequate tramping shoes and gaiters for the jungle; but I should have bought the gumboots he recommended. I had to take my shoes on and off at every house and I became a muddy time-consuming embarrassing mess. Once on tour don’t forget that you’re the client and your guide genuinely wants to do the best for you Be generous. Guides, by nature, tend to be curious about the rest of the world. Whether it’s showing them selfies on your phone or the wonders of the Remarkables, be generous with your time in telling them about New Zealand. Everyone is surprised we have so many sheep. And hobbits. Make the most of it. Like all occupations, sometimes you get a guide who is a bit of a dick. You’ll spot them; they’re more interested in their own comfort than worried about your needs; they tend not to translate unless you ask; and are very poor at letting you know what is going on. All you can really do is continue to push and ask questions, and reach out to others you meet along the way to find out what you’d like to know. Thankfully these guides are the exception. Above all, remember that your guide is just that, someone to help, assist and recommend, and all going well you’ll be wishing they were available for every trip you go on. Original publication: New Zealand Herald < Previous Next >

The sixth instalment of Guy Needham's tribal series opened in Auckland last night to a packed Grey gallery. < Back The Hadzabe opens in Auckland 29 May 2019 The sixth instalment of Guy Needham's tribal series opened in Auckland last night to a packed Grey gallery. You've still got time to see The Hadzabe of Tanzania, on show until June 8, and if you'd like to find out more about this fascinating tribe come along to the Q&A session this Saturday at Noon at 37 Scanlan St, Grey Lynn. < Previous Next >

Final Touches, the lead image of Guy Needham's The Huli of Papua New Guinea series, will be on show at PhotoKina in Cologne, Germany this September. < Back PhotoKina Germany 14 Jul 2018 Final Touches, the lead image of Guy Needham's The Huli of Papua New Guinea series, will be on show at PhotoKina in Cologne, Germany this September. It will be part of the international Atlas of Humanity exhibition, a multi-artist project dedicated to highlighting the ethnic and cultural populations that inhabit our planet to share their traditions, customs and origins. < Previous Next >

The UK Portrait Salon has accepted ‘Goroka’ by Guy Needham, into the 2015 exhibition to be held in London in November. < Back Goroka selected for UK Portrait Salon 21 Oct 2015 The UK Portrait Salon has accepted ‘Goroka’ by Guy Needham, into the 2015 exhibition to be held in London in November. The photo of a young boy preparing for a traditional ceremony, taken in the Southern Highlands of Papua New Guinea, will join others on the wall of The Embassy Tea Gallery from November 19th as a part of a salon style exhibition. < Previous Next >

Indonesia’s centuries-old shadow puppet-making tradition as practiced by artisans today​ < Back Wayang Kulit Makers of Java The Jungle Journal 16 Feb 2024 Indonesia’s centuries-old shadow puppet-making tradition as practiced by artisans today Y ogya (pron. Jo-Ja) is considered the cultural centre of Java, and post-independence from the Dutch, it was briefly the capital of Indonesia. Wayang kulit makers tend to live and work in the outskirts of this particular city, where the roads narrow and tyre stores give way to sugar cane. Wayang kulit , Indonesia’s sacred shadow puppet show, is a form of traditional theatre complete with gamelan orchestra and a puppet master called a dalang . It is mainly practiced in Java and Bali, based on Hindu stories such as the Mahabharata. Top shows cost over 50,000,000 IRP (£2,600) to put on, including the Dalang, gamelan orchestra and decorative set. However, during the COVID pandemic walang kulit shows were banned as large gatherings were prohibited, so the creators turned to producing work for collectors. Walang kulit puppets are produced on demand for both dalang and for collectors who spend tens of thousands of pounds to expand their collection. The true craftsmen follow the rules and customs set down centuries ago for the design and creation of the wayang kulit characters, which are far more intricate than souvenir versions. The production time for each puppet varries but ranges from two weeks to a month, depending on the amount of detailed work required. The puppets themselves are made of fine buffalo skin ( kulit means skin) which is sketched out, cut, shaped, sanded and then chiselled using a set of fine tools made from bicycle spokes. The puppets are then delicately painted; the more expensive wayang kulit puppets feature gold leaf imported from China. Some walang kulit makers use hammers made out of buffalo horn, and the rods, handling spine and joints are all made of buffalo bone. There are so many characters that when you ask the wayang kulit makers how many there are they tend to laugh and roll their eyes – every character has versions of the character as well. While these artisans all learnt at the hands of a master before them, the revival in interest in the last 25 years in Java’s cultural heritage has led to walang kulit courses now being taught at Yogyakarta’s ISI Faculty of Fine Arts (Jurusan Seni Murni FSR ISI). Those who collect walang kulit keep them in large coffin-like boxes, lying flat one on top of another, with each box dedicated to a craftsman. The mixing of puppets made by different makers would be noticed immediately. Collectors can spend tens of thousands of pounds on expanding their set of puppets, joining waitlists to secure the most prized gold leaf puppets. Old wayang kulit puppets are very treasured – I was shown one 150 years old. Traditional performances of walang kulit can last for up to nine hours although these days there are ‘cut down’ versions for shorter, younger attention spans. It is the dalang, the puppet master, who controls the marionettes, putting on different voices and improvising with topical news, politics, and religious subjects of the day. Supporting him is a gamelan orchestra, a collection of Indonesian percussive instruments that are played such harmony that it is considered part of gotorong royung – the life philosophy of working together to communally support each other. These shows and performances can be watched from the front where the colourful puppets appear as shadows illuminated by halogen lights, or from the back to see the dalang in action as the gamelan plays. This photo essay features: Mr Sarjiano , a walang kulit craftsman since 1980. Now operating out of a small workshop at the front of his house, he has been a guest presenter many times at schools to discuss and demonstrate his craft. Mr Jumakir , has been a walang kulit craftsman for 46 years and is now working out of one of the more well-known studios, Sagio Griya Ukir Kulit (Sagio Puppet Handicraft). Mr Suryadi , an extensive Wayang Kulit collector, who puts on shows once a week for local children to learn about the traditions at Kali Opak restaurant and gallery @kaliopak.wo Tour organized by Mr Deny , Yogyakarta Tour Guide Originally Published in The Jungle Journal < Previous Next >