Strathern and Strathern focus their study on body decoration in the Mount Hagen region of central Papua New Guinea. The Hagen political structure is essentially a big-man economy consisting of limited surplus horticulture and pig domestication. They have an elaborate ceremonial exchange festival known as the moka, which includes cowrie shell and pigs as the monetary currency. Within this competitive exchange system there is a marked polarity between the status of the sexes; men are formally in control of economic transactions whereas women control production. Although the cowrie shells are part of the process of self-decoration; i.e. they are often decorated and worn as part of the elaborate costumes, they are considered secondary to the emphasis on body adornment as the most important symbol of value in all ritual and exchange processes.

Body decoration revolves around ritual, exchange festivals and warfare; activities dominated by the men. Aside from items associated with ritual, exchange transactions or warfare, the Hagen people do not ornament other aspects of their material culture. Hence, their self-decoration becomes the medium through which they internalize their culture and convey messages about their social and religious values.

Chapter one places the study in its geographic setting and socio-political perspective. Chapters two through five describe in detail the many facets of body decoration that are associated with formal moka, religious festivals and warfare. These include pattern designations, materials, colour themes and descriptions of both temporary and permanent ornamentation. The purpose of body decorations in the context of informal occasions are described and contrasted with formal occasions. The symbolic aspect of self- decorating as self-display of an individual in a "ideal state"; i.e. in terms of wealth, attractiveness and well-being, and clan prestige and solidarity, is also discussed as a general theme. Strathern and Strathern suggest the primary rationale behind body adornment in both formal and informal contexts is that individuals become points of reference expressing social values.

In chapter six an attempt is made to analyse and explore the meanings of these decorations by examining the reactions and critical judgements of the spectators at particular festivals and the impact of European influence. Chapter seven attempts to evaluate the overt and latent connotations of colour. The authors suggest two essential categories of colour: dark and bright. Bright colours are distinguished into two levels of meaning: 1) bright and glossy and 2) bright in the sense of light-coloured, in an attempt to logically represent ambiguities in the evaluation. Bright colours, especially red are believed to enhance sexual attractiveness and attract valuable commodities. Red is the primary colour used by women and has strong symbolic connections with menstruation, blood ties and fertility. Darkness as an overall effect is thought to be more appropriate for men since charcoal blackens the appearance of male warriors making them look larger, hence more imposing during battle. The meaning of colours is dependent on context. For example, while red has close female associations, it is also used by the males both to invoke terror in the enemy and to enhance male attractiveness. Likewise, white decorations are also believed to be "bad" because they frighten enemies and "good" because they attract the opposite sex. The authors attempt to reconcile these apparent oppositions by claiming that, for Hagen women, fear and attraction are not incompatible. While the authors attempt to extract meaning from the colour schemes employed, it became apparent that the meanings were invariably contradictory and ambiguous. The crux of Strathern and Strathern's argument was that colour in Hagen body decoration represents an arena for the expression of gender role polarities. If this is the case, it is not surprising that meaning of colour is so contradictory and ambiguous. The final chapter concludes with self-decoration as a means of transformation into an "ideal state" of individual health, attractiveness and wealth and group solidarity.

The major strength of this ethnography is the detailed accounts of the methods and procedures employed by the Hagen. Lavish and abundant photographic plates are add to the value of this book. The authors adopt a detailed descriptive approach which targets the decorations themselves, how they are applied, organized and in which contexts they are worn.

Keywords: self-decoration, social display; ritual, gender roles, body painting, conformity, sexual attraction, colour symbolism: white/male/semen; red/female/menstruation/parturition; black/male/aggression/death.