By David Vieux

The Planet QuassanQuassan is a small planet comprised

of many small islands spread out

across its water y surface. The majority of the plant is made of one large ocean that covers its surface that hosts a wide range of sea life and plant life. Plant life is also found on the many islands but no wildlife making the sea the vital source of food. The islands of Quassanare not very large but there are many of them and most are fairly accessible by boat from one island to the next which allows the native people of Quassan, the Nalfen, to spread out across the planet.

(Volemlock, 2007)

The NalfenThe Nalfen are the native inhabitants of Quassan and to their knowledge, the only inhabitants aside from the plants and fish. The Nalfen survive as a tribal society guided by the wisdom of their elders who pass down the traditions and laws of the Nelfen. Due to the size of the islands on Quassan, the Nalfen are forced to closely monitor their numbers and as a result, many traditions and beliefs have formed around this necessity. Their survival also relies on the sea as both a food source and a constant threat of destruction which plays an important role in Nalfen society and culture.

Nalfen CustomsThe Nalfen people believe that all life revolves around the sea. It provides them with food and water but it also causes great damage to their islands. The Nalfen believe that a “great balance” must be maintained in order for the tribe of an island to continue living. Their role in this balance is to maintain a sustainable number of inhabitants per island and in doing so they keep the sea life in that area in balance with the plant life below the sea. Should the Nalfen over populate an island, the fish in that area will become scarce allowing the plant life below the sea to overgrow and anger the sea. When this happens the sea itself will wash over the island and destroy the Nalfen who live upon it.

To maintain control over the population and maintain balance with the sea, the Nalfen elders are charged with the task of keeping a count of every Nalfen living on the island. Four times a year everyone on the island meets for the “great count”, a festival in which everyone must be present and accounted for. If the numbers grow to high, the tribe must split and a village elder must lead them to a new island in order to avoid the oceans wrath. This millenary movement was established to keep an island from becoming over populated and possibly resulting in a disruption of the delicate balance, the Nalfen hold such high spiritual regard for, from becoming unbalanced.

(Terrier, 2012)

The Great CountDuring the festival each family within the tribe comes together for a feast and boasts their greatest accomplishments. As each family within the tribe is responsible for two specialized skills to be passed down within the family, all the families share a specialized skill with some of the other families. This places a great deal of value in proving your family’s worth to the tribe by having the greater accomplishments. This boasting plays a large role in how a family is viewed within society and this social ranking impacts the festivals second function. The end of the festivals are the only time that a family can ask for the blessing of the tribal elders which are needed if that family wishes to bring new life into the world.

(Humairah, 2011)

Individual SelfEach Nalfen takes great pride in working hard to increase their families standing within the tribe. This is largely due to the blessings needed in order to reproduce but also due to how the economy works within Nalfen tribes. Wile all work is done for the greater good of the tribe and all resources are shared among the tribe, the work that is of the greatest importance is placed in the care of the families with the strongest reputations. As no one family has all of the skills needed to complete an entire project alone, being selected by one of these families to work on a greater task can increase how a family is viewed within society before the next festival. This also signifies a level of autonomy within the tribal community, though ones independent actions, the social standing of their family can be increased or decreased. While no direct repercussions are made for declining work, the impact the decision to decline has can have lasting effects on how that individual and their family is viewed.

ThingsAs a tribal society, the Nalfen have placed a great deal of value in their families greatest possessions, their tools. Tools themselves are crafted by the village elders whose families have passed down crafting trades for countless generations. As these tools play such an important role in Nalfensociety, Nalfen culture has elevated their crafters to the highest role within the tribal communities. Tools, ranging from fishing poles and nets, to hammers and axes, are passed down from one generation to the next. When a tool is used in a task of great importance to the tribe, it takes on almost legendary value over time and is often recorded by the elders and spoken of in Nalfenlore. Families who possess such tools often display them in their households and wield them during festivals as a badge of honor. Owners of such tools are often considered when a new lodge needs to be constructed or a gathering party of great importance is to be selected.

(Foulroberts,2012)

(Catchings, 2011)

Nalfen ReligionAs a tribal community the Nalfen place their faith in the tribal elders. The elders decide what families can reproduce, what and when construction or gathering projects need to be done, and when the numbers of the tribe have become too large. All of this is influenced not only by the elders observations within the tribe but also by the religion that springs from the myth of how the Nalfencame into being. As much of their life revolves around the sea, the Nalfen elders must constantly consider the strain their tribes numbers put on the sea life. This is done by observing the natural vegetation of the sea in which the sea life feeds upon.

When the sea around their island becomes overgrown, it is a clear indication that the strain is too much for the sea and this, in the eyes of the Nalfen elder, will result in the sea growing angry and destroying the tribe if the numbers are not quickly regulated. This practice stems from the belief that the creators of Quassan, Sosi and Muehim, charged the Nalfen with the task to regulate the sea life so that it did not consume all of the plant life of the sea and cause all life on Quassan to dissapear.

With such importance placed on the Nalfen’s relationship with the sea, the Nalfen see themselves as a part of the sea, not above it. While their role may be to regulate the sea life, it is only to maintain balance, not dominance as the sea itself is considered to be the primary source of all life and it alone has the power to allow life to continue or to wash it away. The sea life and the ocean itself reflects in the appearance and culture of the Nalfen as a result of its high degree of influence in Nalfenreligion.

(Taylor, 2012)

The Nalfen MaleThe Nalfen males traditionally take

on the role of the provider within a

Nalfen family. The Nalfen male will

paint themselves to resemble various styles of sea life, often a specific pattern passed down from one generation to the next. This reflects the males desire to move through the world as a fish moves through the sea, as part of the sea. The Nalfen male is responsible for boasting during festivals and passing down the trade skills of the family to the next generation.

(Noreen, 2010)

The Nalfen FemaleThe Nalfen females traditionally take on the role of homemaker in the Nalfen family. Being such, the Nalfenfemale is highly regarded as sacred and providers of life within Nalfen culture. The Nalfen female is often painted in various shades of blues and greens as found in the sea itself. These shades are passed down through the generations and how the shades are created are very well kept secrets between mothers and daughters. The paint represents the connection between the female and the ocean itself, both as providers of life and well being. The Nalfen female passes on the skills needed to sustain a strong home to their daughters and only Nalfen females may ask for the blessing of the elders when they are ready to bring new life into the world.

(Pham, 2010)

Nalfen Marriage In Nalfen culture, marriage is a sacred rite of passage. The Nalfenmale has two options, to marry from within the tribe, or to undertake the long journey. When a Nalfen male has learned all he needs in order to pass down the two trades he has learned from his father, he is able to seek out marriage. To do this, a Nalfen male has to approach his potential wife and offer himself to her. If the Nalfen female accepts, they must announce the decision to the tribal elders and during the next festival all of the marriages will be celebrated by the tribe at once. As a gift to the new families, the tribe will offer their various services to aid the new family in creating a new home or restoring an old home. Reciprocity results in the new family striving to meet the expectations or needs of the rest of the tribe in a way that shadows the sacrifices made by their fellow tribal members to get the new family established.

The Long JourneyIf the Nalfen male wishes to seek out a bride from another tribe they must first seek out the blessing of the village elders. If they receive the blessing of the elders, the Nalfen male is given permission to cross to another island, to offer their services to that islands tribe while they seek out a potential mate, and then approach that mate in the same manor as mentioned before. If the Nalfen female accepts, they must approach the tribal elders and declare their intention and announce if they will be staying within the male’s tribe or the female’s tribe. The long journey is the only time that a Nalfen my cross between tribes and is considered to be a great honor for both tribes involved.

(Melodyoflost, 2011)

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http://www.culturalsurvival.org/ourpublications/csq/article/meeting-arutam

Peoples, J., & Bailey, G. (2005). Humanity: An introduction to cultural anthropology. (pp. 310-311). Belmont, CA: Thomas Higher Education. Retrieved from http://books.google.com/books?id=UvS8bmTK3r4C&dq=the+history+of+religious+body+painting&source=gbs_navlinks_s

O'Neil, D. (2007, January 08). Rites of passage. Retrieved from http://anthro.palomar.edu/social/soc_4.htm

Boeree, G. (2002). Getting a picture of society. Retrieved from http://webspace.ship.edu/cgboer/societypicture.html

Britiannia. (2001). Welsh culture & traditions. Retrieved from http://www.britannia.com/wales/culture1.html

Image ReferencesVolemlock. (Artist). (2007). Selonia. [Web Photo]. Retrieved

from http://starwars.wikia.com/wiki/File:SeloniaNEGAS.jpg

Foulroberts, J. (Artist). (2012). Fishing. [Web Photo]. Retrieved from http://piratesonline.wikia.com/wiki/File:Fishing_Rod_2.png

Terrier, W. (Artist). (2012). Hooded. [Web Photo]. Retrieved from http://wolf-terrier.deviantart.com/art/Hooded-266857642

Catchings, J. (Photographer). (2011). Ancient german art anvil with face. [Web Photo]. Retrieved from http://www.anvilfire.com/anvils/donated_027.php

Image References Continued Noreen. (Photographer). (2010). Dismal-land or the happiest place

on earth. [Web Photo]. Retrieved from http://thisideaattic.blogspot.com/2010/03/dismal-land-or-happiest-place-on-eartha.html

Pham, B. (Artist). (2010). Blue dust. [Web Photo]. Retrieved from http://beautynursedondarkness.tumblr.com/post/6001408155/blue-dust-by-bao-pham

Taylor, J. (Photographer). (2012). The silent evolution. [Print Photo]. Retrieved from http://www.underwatersculpture.com/pages/gallery/evolucion-silenciosa.html

Humairah, I. (Artist). (2011). Rise you o sea. [Web Photo]. Retrieved from http://www.wanderingmist.com/my-paintings/rise-you-o-sea-oil-painting/attachment/drown-me-o-sea_oil-painting-by-ishrath-humairah_palette-knife-strokes/