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Applied Arts and Health
 Applied Arts and Health

Building Bridges Across Arts, Therapy,

Health, Education, and Community

EDITED BY
Ross W. Prior, Mitchell Kossak, and Teresa A. Fisher
 First published in the UK in 2022 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2022 by

Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA

Copyright © 2022 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a
retrieval system, or transmitted, in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Copy editor: MPS Limited

Cover designer: Tanya Montefusco
Cover image: Man with Hat, painting by Shaun McNiff, oil on canvas, 23 × 29
inches, 2019.
Production manager: Laura Christopher
Typesetter: MPS Limited

Print ISBN 978-1-78938-625-7

ePDF ISBN 978-1-78938-626-4
ePUB ISBN 978-1-78938-627-1

To find out about all our publications, please visit our website.
There you can subscribe to our e-newsletter, browse or download our current
catalogue and buy any titles that are in print.

www.intellectbooks.com

This is a peer-reviewed publication.

 Acknowledgements

The editors and authors of this book gratefully acknowledge the

University of Wolverhampton in making this book possible and the
generosity of the following organizations in supporting the
conference that began this wonderful journey.
Houston Methodist, Center for Performing Arts Medicine (CPAM) –
Gold Sponsor, Intellect Books, NOAH – National Organization of Arts
in Health, IEATA – International Expressive Arts Therapy Association,
Lowell & Nancy Swortzell Permanent Fund in Educational Theatre
(NYU), Lesley University, Journal of Applied Arts & Health and the
Arts Learning & Teaching Research (ALTR) Group, University of
Wolverhampton, UK.
Love is the bridge between you and everything.
(Anonymous)
 No bridge will stand without its supports and we dedicate this book to all those
talented artists, educators, and health professionals who support the valuable
work reflected within these pages.
This book is dedicated to all those who tragically lost their lives and livelihood
during the COVID-19 pandemic and to all those who selflessly supported humanity
in the care of our health and well-being.
We dedicate this book to the memory of our friends Philip Taylor and Lisa Schouw
who sadly passed away since we met together in 2019.
 Contents

Acknowledgements
Preface
Foreword
Shaun McNiff
Introduction Art as a Bridge
Ross W. Prior, Mitchell Kossak, and Teresa A. Fisher

PART 1: ARTISTIC EVIDENCE

1. Art Is the Evidence: Convincing Public Communication of Art-

Based Research and Its Outcomes
Shaun McNiff
2. Bridging Past, Present, and Future: What If There Were No Art?
Mitchell Kossak
3. Beyond the Walls: The Artist–Researcher and Performative
Dissemination
Rebecca Stancliffe, Kate Wakeling, Lucy Evans, and Stella
Howard
4. Making Music Together: Music Therapy with Women
Experiencing Breast Cancer
Yanyi Yang

PART 2: UNDERSTANDING THROUGH ARTISTIC PRACTICE

5. Soulfulness: The Becoming of Being

Malcolm Ross
6. Bridging Arts and Healthcare Communities
J. Todd Frazier and Shay Thornton Kulha
7. Becoming our Story: Emergent Design through Affect
Carole Miller and Juliana Saxton
8. Building a Bridge between the Improvisational Expressive Arts
and Music Education
Tawnya D. Smith

PART 3: WORKING TOGETHER

9. Slowly Winding the Thread: Art Therapy and Crisis: Supporting

Communities through Art
Debra Kalmanowitz
10. A Bridge to Meaning: Creating Performance with Neurodiverse
Young People
Rea Dennis
11. Beyond the Verbal: Dementia and PARticipatory Arts Research
Meghánn Catherine Ward, Christine Milligan, Emma Rose, and
Mary Elliott
12. Transformative Impact of Drama in Mental Healthcare Education
Bruce Burton, Ingrid Femdal, Eva Bjørg Antonsen, and Margret
Lepp

PART 4: WIDENING THE FIELD

13. The Healing Power of Art: Old Nordic Folk Knowledge Re-
claimed
Wenche Torrissen, Anita Jensen, and Anita Salamonsen
14. Bridging Modalities and Playing with Identities: Art-based
Workshop Reflections
Hillary Rubesin, Laura Teoli, Yu-Ying Chen, Dina Fried, and
Michal Lev
15. Caring Attunement: The Performance of Ageing
Lisa Schouw
16. Reading as Community: Solace, Pleasures, and Becoming during
COVID-19 Pandemic
 Joanne O’Mara and Glenn Auld

Notes on Contributors
Index
 Preface

The genesis of this book was a landmark conference, held 6–11

August 2019, hosted by the Journal of Applied Arts & Health (JAAH)
to celebrate its tenth anniversary. The conference was ideally located
in Telford and the Ironbridge Gorge, Shropshire, England, near the
UNESCO World Heritage site known as the ‘Birthplace of the
Industrial Revolution’. The conference celebrated the power of art –
we define all artforms as ‘art’ without the need to silo each. Just as
the chapters in this book aim to do, the conference aspired to build
metaphoric bridges across the field by facilitating a diverse and lively
programme of dialogue with an emphasis on creativity and well-
being in education and community, including the use of expressive
arts therapy. The conference focused on applied arts practice,
research, and scholarship across various domains to challenge
epistemological and ontological assumptions of our art-based
approaches.
Motivated by what the international gathering offered, the
conference delegates explored, through art, how we may
metaphorically ‘build bridges’ across the areas of arts and health
programming, education, therapy, and creative delivery within the
wider community. The concept of ‘building bridges’ is about bringing
people together and to these ends Ironbridge – Telford became that
fitting metaphor. The conference venue brought us close to the
village of Ironbridge where the world's first cast-iron arch bridge is
proudly located. The bridge-building project began construction in
1777 and was completed in 1779. The Iron Bridge was a major
breakthrough in bridge technology, using cast iron for the first time
as it arches to cross the River Severn, the longest river in Great
Britain at a length of 220 miles (354 km). This bridge came about
through ingenuity, collective endeavour, and creative vision. So too
were the results of our historic conference gathering in 2019, with
this book marking some of that collective ingenuity and endeavour.
In an age of fracturing, division, and anatomizing of people and
culture, reviewing the history of bridge-making can help us find
some appropriate metaphors that are useful in the context of
‘building bridges’ in the field of applied arts and health. Art is after
all an adept manipulator of the use of metaphor, forming a nexus of
imagery that artists have used across the centuries to help
communicate felt dimensions of experience. Firstly, bridges come in
all shapes and sizes and in a choice of construction materials. Most
likely the earliest bridges were fallen trees and stepping-stones,
going back more than 6000 years. In the thirteenth century BCE
boardwalk bridges were constructed across marshlands, helping
people cross the murky territory. The Arkadiko Bridge, dating from
the thirteenth century BCE, in the Peloponnese in southern Greece is
one of the oldest arch bridges still in existence and use today;
connecting disconnected communities. Bridges do not always have
to be rigid as we see in rope bridges, a simple type of suspension
bridge that was used by the Inca civilization in the Andes mountains
of South America, just prior to European colonization in the sixteenth
century.
In Canada and the USA, numerous timber-covered bridges were
built in the late 1700s helping to protect from stormy weather. There
are of course many other kinds of bridges – cantilever or small
footbridges; suspension bridges that use cables, arch, beam, truss,
or multi-way bridges to name just a few. All these bridges respond
to their particular environment and help to make connection and
exchange possible, no matter the medium. We too can ‘build
bridges’ in many forms across our various domains of research and
practice. By building bridges, we bring people together. Bridges allow
people to move freely and cross obstacles. The bridge is a useful
metaphor; it helps to remind us of our common connections and
how we can build through mutually collective ways of strengthening
our shared interests to advance the field of applied arts and health.
It is this shared vision that has driven many artists to pursue their
work as ‘artist-educator-researchers’.
The authors of this book invite you to consider how your work
helps build bridges through ingenuity, collective endeavour, and
creative vision.
 Foreword

Shaun McNiff

The Beauty of the Bridge

The process of ‘building bridges’ which informed the August 2019
Ironbridge conference and the founding of the Journal of Applied
Arts & Health ten years earlier, continues to grow as a fundamental
need in our world. It counters the acceleration of divisions that
undermine the natural interdependence of participants in the larger
community of creation that holds and sustains us all. The iconic
eighteenth century UNESCO World Heritage structure traversing the
River Severn’s Ironbridge Gorge served as the guiding image for the
conference goal of connecting art, health, and education. The bridge
also evoked a sense of the lasting power of skillfully engineered and
artistically significant forms applied to the needs of daily life and
well-being.
FIGURE F.1: Shaun McNiff, Photo of Ironbridge, Telford, UK, 2019. Courtesy of S.
McNiff.

In creating and leading the conference, Ross Prior was inspired by

how the bridge, with its rich history and sustained relevance to the
world today, evokes many areas of significance for our work with the
applied arts. Throughout the events in Shropshire, he drew attention
to the qualities and presence of the bridge and the metaphoric
possibilities it evoked, especially in relation to the spanning of
professional silos. Our experience in Shropshire affirms the potential
beauty of bridging together with its practical necessity.
Since first reading the announcement of the 2019 conference, I
have been intrigued by its ‘building bridges’ title and focus. I had
previously visited Ironbridge for the 2016 Art as Research in
Learning & Teaching: International Conference at the University of
Wolverhampton. This was the first international conference dealing
with art as research which resulted in Ross Prior’s Using Art as
Research in Learning and Teaching: Multidisciplinary Approaches
Across the Arts (2018). While staying in the village close to the
bridge, I was captivated by it and the aura it generated throughout
the community. I studied its history and responded to it in drawings
and paintings afterwards in Massachusetts. I was taken not just by
the visual appeal of the bridge but by the way it enhanced its
surroundings near and far.
Returning from Shropshire for the second time, I once again
became involved with a series of paintings responding to the bridge
and as I continuously reflected on the ‘building bridges’ title and
purpose of the August 2019 conference. (The cover image and
painting below are from the series.)

FIGURE F.2: Shaun McNiff, Ironbridge Memory, May 2020, oil on canvas, 16 × 20
inches. Courtesy of S. McNiff.
honesty and insightfulness, facing our own insecurities and fatal or
tragic flaws. Leading art-based researcher and expressive arts
therapist Shaun McNiff has long advocated for the strengthening of
the integrated use of art for individual and societal health. In
discussing the transformational environment created through the
integration of the arts, McNiff (2009: 29) states: ‘New ideas and
expressions spring from the “communal conversation” of creativity
that offers much more than an individual mind working alone.’ In his
slightly earlier work, McNiff (2003: 38) asserts, ‘the basis of
imaginative expression is often located in a relationship with an
intimate other’ taking us out of ourselves. It is a reciprocal
relationship that McNiff highlights as a way of taking us to ‘places of
discovery’.
In recent years, a philosophy of working advanced to help better
serve education (Prior 2018b) is encapsulated in the term
communitas, which can simply be defined as inspired fellowship. In
her book Communitas: The Anthropology of Collective Joy, which
continues the work of her husband, British cultural anthropologist
Victor Turner, Edith Turner (2012) outlines the importance of
communitas to human personal, spiritual, and social well-being.
Communitas is evidenced in a group's pleasure in sharing common
experiences and identified as being ‘in the zone’ – as in the arts,
sport, and work; ‘the sense felt by a group when their life together
takes on full meaning’ (Turner 2012: 1). Communitas is
characterized by purpose, spontaneity, and raised spirits and is a
‘group's pleasure in sharing common experiences with one's fellows’
(Turner 2012: 2). Artists have long understood this notion which is
evident during the act of play, music, and dance, but communitas
can also be found in church, sport, festivals, and in times of stress
and disaster as we saw with on-line connectivity during the COVID-
19 pandemic.
As noted, the origins of the notions of communitas can be found
in Victor Turner's work. In ‘Betwixt and between’ (Turner 1964) and
in his book The Ritual Process (Turner 1969), Turner makes the
insightful connection between what he saw as the joy of communitas
and rites of passage. In building upon this legacy, Edith Turner
(2012) develops the liberating function of communitas, stating:
‘When communitas appears, one is conscious that it overrides
psychological and sociological constructs’ (Turner 2012: 3). An
important feature is that:
in communitas there is a loss of ego. One's pride in oneself becomes
irrelevant. In the group, all are in unity, seamless unity, so that even joshing
is cause for delight and there is a lot of laughter. The benefits of communitas
are quick understanding, easy mutual help, and long term ties with others.
(Turner 2012: 3)

Given that art is a conduit for togetherness, employing art-led

communitas in education and community work can allow students
and others to develop that sense of unity and pleasure in creatively
sharing with each other (Prior 2018b). But what about those who
prefer working alone? – the artists toiling away in their studios, for
example. This call to communitas is not meant to diminish the
creativity and reflection that comes from working alone. Indeed,
McNiff fully acknowledges the need and benefit in working alone, but
he also promotes the distinct advantages of collective creation:
Teams of people working together offer something completely different than
solitude. They have a chemistry, dynamism, and generative power upon
which the most experienced creators depend for new and fresh insights. Most
of us need injections of creative and life-affirming energy from teams of
people. The input of others sustains us.
(McNiff 2003: 41)

The challenge is in building a ‘life-affirming’ community that helps

support one's creative output. This is perhaps even more vital in a
post-pandemic world in which our communities reeled from the
challenges the COVID-19 pandemic wrought. As children's author Mo
Willems expressed with respect to the pandemic to the US Tonight
Show host Jimmy Fallon in a 14 May 2020 interview, ‘Right now, art
is essential. Science is going to get us out of this. Art is going to get
us through this’ (Willems 2020).
In order to find those communities, we must build them and there
is perhaps no better place to do that than in educational settings.
Another random document with
no related content on Scribd:
[Inhalt]
 22. Phalanger celebensis (Gr.)

Ta f e l X V F i g u r 1 (c. ⅓ n. Gr.)

Nachdem J e n t i n k 1885 (Notes Leyden Mus. VII, 104) in seiner

klärenden Monographie der Gattung Cuscus Licht in die Verwirrung
gebracht, die über Phalanger celebensis bis dahin geherrscht hatte,
und O. T h o m a s 1888 (Cat. Mars. p. 206) weiterhin darüber, mit
ausreichender Synonymie, gehandelt, bleibt vorerst wenig über die
Art zu sagen. J e n t i n k (p. 91 und 106) stellte das Vorkommen in
Süd-Celebes noch etwas in Frage, allein ich selbst erhielt 1871 in
Makassar ein Junges (B 391), W e b e r (Zool. Erg. I, 114 1890) fand
die Art in Goa und neuerdings sah ich aus E v e r e t t s Sammlungen
(vom October 1895) von Indrulaman, 2300′ hoch am Pik von
Bonthain, ein Exemplar 1 und erwarb daraus ein Junges ebendaher
für das Museum. Dieses besitzt ausserdem Exemplare von
Kakaskassen, Kali und Manado in der Minahassa und von
Gorontalo, im Ganzen 7. H i c k s o n (Nat. N. Cel. 1889, 83) nennt
die Art auf der Insel Talisse, nahe der Nordspitze von Celebes,
häufig. T h o m a s (p. 207) führt sie auch von Sangi auf, und zwar
nach einem von mir gesammelten Exemplar; allein die Sangi Form
ist, wie wir gleich sehen werden, abzutrennen. Die Celebes Art
wurde noch nicht abgebildet (s. bei T h o m a s pl. XXI, 4 nur das
Ohr). Wie J e n t i n k (p. 106 Anm. 2) schon wahrscheinlich machte,
hatte G r a y (P. Z. S. 1858 pl. LXII) nicht celebensis, sondern
Exemplare von San Cristoval, Salomo Inseln, abgebildet, und
T h o m a s (p. 204) stellte klar, dass es Exemplare von Ph. orientalis
breviceps gewesen waren. Figur 1 Tafel XV ist ein Männchen von
Kakaskassen (B 2841), das grösste der in Dresden vorhandenen
Exemplare in c. ⅓ n. Gr.
Über die Schwanzschuppen mit centraler Papille, die besonders an
der Schwanzbasis auftreten, handelte d e M e i j e r e (Haren
Zoogd., Diss. 1893, 10 u. 54), sowie R e h (Jena Zeitschr. 29, 166,
1894). Die Tastlinien des Schwanzes erforderten vielleicht noch eine
specielle mikroskopische Untersuchung.

Die Eingeborenen der Minahassa nennen das Thier kussi, die

Maleiisch Sprechenden kussu. Ich sah einmal im März 1871 in der
Nähe von Manado um 11 Uhr Mittags zwei sich Paarende auf einem
hohen Baume. Das Weibchen hielt sich aufrecht, indem es mit den
Vorderfüssen einen Zweig umklammerte. Beim ersten Schusse
trennten sie sich, aber erst nach mehreren Schüssen fiel einer von
etwa 80 Fuss Höhe mit gespreizten Beinen herab und lebte noch.
Die Eingeborenen fangen sie, wenn sie sich auf einem einzeln
stehenden Baum aufhalten, indem einer hinaufklettert, worauf das
Thier sich herabfallen lässt, und ein Anderer fängt es dann unten
ein. Auf bergigem Terrain soll es sich, verfolgt, wie eine Kugel
[34]zusammenballen und herabrollen, was nicht gerade
wahrscheinlich klingt. Bei Tage sieht es schlecht, aber kriecht doch
umher. Es frisst allerlei Früchte. Die Eingebornen sagen, wenn man
Einen sieht, müsse man schnell die Zahl 11 aussprechen, wenn
zwei, die Zahl 12, sonst gelinge der Fang nicht. Das Fleisch wird
gern gegessen und soll wie Wildschwein schmecken.

1 Vgl. auch E v e r e t t bei H a r t e r t : Nov. Zool. III, 150 1896. ↑

[Inhalt]
 23. Phalanger sangirensis n. sp.

Ta f e l X V F i g u r 2 u n d 3 (c. ⅓ n. G r . )

Phalanger Ph. celebensi (Gr.) similis, sed

subaureo-flavescens et facie albescenti.

H a b . In insulis Sangi.

L o n g . corp. c. 40, caud. c. 25 cm.

Es liegen mir 5 Exemplare von den Sangi Inseln vor, und zwar 3 von
Gross Sangi (2 aus meinen Sammlungen und ein kürzlich
erhaltenes) und zwei von Siao (1893 erhalten). Sie unterscheiden
sich leicht von den Celebes Exemplaren durch ihre goldigen Töne,
sind farbiger und heller im Ganzen und haben auch mehr oder
weniger ein helles Gesicht. Die Abbildung ergiebt die Unterschiede,
bei deren zweifellosem Vorhandensein ich nicht zögere, die Sangi
Form als insulare abzutrennen. Bemerkenswerth ist vielleicht, dass 2
Junge von Ph. celebensis eine gewisse Ähnlichkeit mit sangirensis
in der Färbung zeigen (jedoch ohne helle Gesichtzeichnung). Kommt
diese Annäherung stets vor 1, so könnte sie bedeuten, dass die
Sangi Form die ältere ist, indem die celebische nur noch im
Jugendkleide die Färbung der Stammform bewahrt hat. Figur 2 und
3 Tafel XV sind zwei Männchen von Gross Sangi in c. ⅓ n. Gr. (2085
und 2239, von mir mitgebracht). In der Grösse kommen sangirensis
und celebensis einander gleich. Bei den mir vorliegenden 5
Exemplaren von Sangi ist ebensowenig eine Spur eines
Rückenstreifens vorhanden. In der Färbung differiren sie mehr oder
weniger untereinander, sie sind dunkler und heller; ein Exemplar von
Siao nähert sich selbst celebensis, allein differirt doch genügend, um
bei einem Gesammtvergleiche der 5 Sangi Exemplare einerseits mit
den 7 von Celebes andrerseits keinen Zweifel über die Berechtigung
von sangirensis aufkommen zu lassen.

1 W e b e r (Zool. Erg. I, 114 1890) sagt von einem Jungen von Ph. celebensis
von Goa in Süd Celebes, dass es ganz verschieden von der Mutter gefärbt sei,
kastanienfarben und oben dunkel. Dies scheint sich also nicht Ph. sangirensis
anzunähern. ↑
[Inhalt]
 24. Phalanger ursinus (Temm.)

Diese Art ist bis jetzt nur von Nord Celebes mit Sicherheit nachgewiesen.
J e n t i n k (Notes Leyden Mus. VII, 91 1885) hielt es sogar für möglich, dass sie
vielleicht überhaupt auf Nord Celebes beschränkt sei. O. T h o m a s (Cat. Mars.
1888, 197) führt auch kein Exemplar von Süd Celebes auf. Das Museum besitzt
17, davon 7 aus der Minahassa, 3 von der Insel Lembeh bei Kema, 3 von
Tjamba in Süd Celebes (1882 1), 3 von Tonkean in Nordost Celebes und 1 von
der Insel Peling. Im August 1871 erlegte ich bei Poso an der Tominibucht
mehrere Exemplare, von denen eins im Berliner Museum ist, wie auch ein von
mir im Gorontaloschen erhaltenes. Es beweist dies das Vorkommen über ganz
Celebes; Te i j s m a n n (Natuurk. Tijdschr. Nederl. Ind. 38, 77 1879) behauptete
dies schon; ohne Exemplare als Unterlage kann man aber auf solche
allgemeine Angaben nicht viel Gewicht legen. Die Tonkean Exemplare zeichnen
sich durch ihre, besonders auf der hinteren Körperhälfte lebhaft gelbgraue
Färbung vor allen obigen und auch sonst beschriebenen aus, sie machen daher
nicht den schwärzlichen Eindruck wie die anderen; 2 von der Insel Lembeh
nähern sich ihnen in dieser Beziehung etwas, das 3. ist jedoch sehr dunkel. Das
von Peling ist das hellste von allen, es ist sehr gelblichgrau. Ob auf die
Färbungsdifferenzen der Tonkean und Peling Exemplare etwas zu geben sei, d.
h. ob sie locale Abänderungen repräsentiren, oder ob dort auch dunkle
Exemplare vorkommen, lässt sich erst bei mehr Material beurtheilen. Der Name
des Thieres im Buginesischen und Makassarischen ist memu, s. auch
Te i j s m a n n l. c.; in der Minahassa, sagt er (l. c. 23, 368 1861), heisse das
Männchen lokkon, das Weibchen kuseh. Es existirt noch keine genügende
Abbildung der Art, denn die L e s s o n sche (Cent. Zool. I, 10 1830) ist den
heutigen Anforderungen nicht entsprechend. Ph. ursinus lässt sich jedoch
gegenüber allen anderen Phalanger Arten keinen Augenblick verkennen. [35]

1 S. auch E v e r e t t und H a r t e r t : Nov. Zool. III, 150 1896. ↑

[Inhalt]
 Index.
albayensis Elera, Phlœomys 29.

alfurus Less., Babirusa 15.

Anoa depressicornis 12. 13. 14. 15.

Anoa mindorensis 12. 13.

Antilope depressicornis 12.

arctoides Js. Geoffr., Macacus 5.

Babirusa alfurus Less. 15.

Bos mindorensis 13.

brachyceros Gr., Bubalus 15.

breviceps Thos., Phalanger orientalis 33.

Bubalus brachyceros Gr. 15.

Bubalus bubalus 13.

bubalus, Bubalus 13.

Bubalus indicus 12.

Bubalus mainitensis Heude 13.

Bubalus mindorensis Heude 12. 13.

Bubalus moellendorffi Nehring 13.

cagsi A. B. Meyer, Sciurus 28. 29.

candida Gthr., Gymnura 32.

celebensis (Gr.), Phalanger 33. 34.

ceramicus Gr., Sus 18.

civetta Schreb., Viverra 12.

Crateromys schadenbergi (A. B. Meyer) 32.

Cryptoprocta ferox Th. Benn. 10.

cumingi Wtrh., Phlœomys 29. 31. 32. 33.

Cuscus 33.

Cynocephalus 5.

cynomolgus L., Macacus 4.

Cynopithecus niger (Desm.) 1. 5. 7. 8.

Cynopithecus nigrescens (Temm.) 2. 5. 7.

depressicornis, Anoa 12. 13. 14. 15.

depressicornis, Antilope 12.

Elephas primigenius 19.

fasciatus Desm., Paradoxurus 12.

ferox Th. Benn., Cryptoprocta 10.

fur Slark, Macacus 4.

fuscomanus Fisch.-Waldh., Tarsius 8.

fuscus Fisch.-Waldh., Tarsius 8. 9.

Gymnura candida Gthr. 32.

imhausi A. M.-E., Lophiomys 33.

indicus, Bubalus 12.

inornatus Gr., Macacus 2.

leucomus Müll. Schl., Sciurus 25.

leucomystax Gr., Paradoxurus 10. 12.

Lophiomys imhausi A. M.-E. 33.

Macacus arctoides Js. Geoffr. 5.

Macacus cynomolgus L. 4.

Macacus fur Slark 4.

Macacus inornatus Gr. 2.

Macacus maurus F. Cuv. 1. 2. 4. 5. 6. 7.

Macacus melanotus Ogilb. 5.

Macacus ocreatus Ogilb. 1. 2. 4.

Macacus philippinensis Js. Geoffr. 4.

Macroxus philippensis Wtrh. 29.

mainitensis Heude, Bubalus 13.

maurus F. Cuv., Macacus 1. 2. 4. 5. 6. 7.

melanotus, Ogilb., Macacus 5.

mindanensis Steere, Sciurus 28. 29.

mindorensis, Anoa 12. 13.

mindorensis, Bos 13.

mindorensis Heude, Bubalus 12. 13.

mindorensis, Probubalus 12.

moellendorffi Nehring, Bubalus 13.

musanga Gr., Paradoxurus 11. 12.

musschenbroeki Schl., Paradoxurus 10. 11. 12.

niger (Desm.), Cynopithecus 1. 5. 7. 8.

niger (Desm.), Paradoxurus 12.

niger Finsch, Sus 18. 19.

nigrescens (Temm.), Cynopithecus 2. 5. 7.

ocreatus Ogilb., Macacus 1. 2. 4.

Paguma 11.

pallidus Nehring, Phlœomys 29. 30.

papuensis Less., Sus 18.

Paradoxurus fasciatus Desm. 12.

Paradoxurus leucomystax Gr. 10. 12.

Paradoxurus musanga Gr. 11. 12.

Paradoxurus musschenbroeki Schl. 10. 11. 12.

Paradoxurus niger (Desm.) 12.

Paradoxurus philippensis Jourd. 12.

Paradoxurus philippinensis Temm. 29. [36]

Paradoxurus typus 12.

Phalanger celebensis (Gr.) 33. 34.

Phalanger orientalis breviceps Thos. 33.

Phalanger sangirensis A. B. Meyer 34.

Phalanger ursinus (Temm.) 34.

philippensis Wtrh., Macroxus 29.

philippensis Jourd., Paradoxurus 12.

philippensis Wtrh., Sciurus 29.

philippensis A. B. Meyer, Tarsius 8. 9.

philippinensis Js. Geoffr., Macacus 4.

philippinensis Temm., Paradoxurus 29.

Phlœomys albayensis Elera 29.

Phlœomys cumingi Wtrh. 29. 31. 32. 33.

Phlœomys pallidus Nehring 29. 30.

Phlœomys (?) schadenbergi A. B. Meyer 32.

Porcula salvania Hdgs. 15.

primigenius, Elephas 19.

Probubalus mindorensis 12.

rosenbergi Jent., Sciurus 26.

salvania Hdgs., Porcula 15.

samarensis Steere, Sciurus 28. 29.

sangirensis A. B. Meyer, Phalanger 34.

sangirensis A. B. Meyer. Tarsius 8. 9.

schadenbergi (A. B. Meyer), Crateromys 32.

schadenbergi A. B. Meyer, Phlœomys (?) 32.

Sciurus cagsi A. B. Meyer 28. 29.

Sciurus leucomus Müll. Schl. 25.

Sciurus mindanensis Steere 28. 29.

Sciurus philippensis Wtrh. 29.

Sciurus rosenbergi Jent. 26.

Sciurus samarensis Steere 28. 29.

Sciurus steeri Gthr. 27.

Sciurus tingahi A. B. Meyer 27.

Sciurus tonkeanus A. B. Meyer 25.

Sciurus weberi Jent. 25.

spectrum (Pall.), Tarsius 8. 9. 10.

steeri Gthr., Sciurus 27.

Sus ceramicus Gr. 18.

Sus niger Finsch 18. 19.

Sus papuensis Less. 18.

tangalunga Gr., Viverra 12.

Tarsius fuscomanus Fisch.-Waldh. 8.

Tarsius fuscus Fisch.-Waldh. 8. 9.

Tarsius philippensis A. B. Meyer 8. 9.

Tarsius sangirensis A. B. Meyer 8. 9.

Tarsius spectrum (Pall.) 8. 9. 10.

tingahi A. B. Meyer, Sciurus 27.

tonkeanus A. B. Meyer, Sciurus 25.

Trilophomys 33.

typus, Paradoxurus 12.

ursinus (Temm.), Phalanger 34.

Viverra civetta Schreb. 12.

Viverra tangalunga Gr. 12.

weberi Jent., Sciurus 25.

[Inhalt]

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6

Meyer, Säugethiere Celebes-Philippinen Taf. I

M a c a c u s m a u r u s F. Cuv.
 c. ⅙ n. Gr.

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6

Meyer, Säugethiere Celebes-Philippinen Taf. II

1–2 Macacus maurus F. Cuv. 3–4 Cynopithecus niger (Desm.)

¾ n. Gr.
Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6
Meyer, Säugethiere Celebes-Philippinen Taf. III

1–2 M a c a c u s m a u r u s F. Cuv. 3–4 C y n o p i t h e c u s n i g e r

(Desm.)

¾ n. Gr.
 Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6
Meyer, Säugethiere Celebes-Philippinen Taf. IV

T a r s i u s p h i l i p p e n s i s A. B. Meyer

n. Gr.

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6

Meyer, Säugethiere Celebes-Philippinen Taf. V
 P a r a d o x u r u s m u s s c h e n b r o e k i Schl.

⅕–⅙ n. Gr.

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6: Meyer, Säugethiere Celebes-
Philippinen
Taf. VI
 P a r a d o x u r u s m u s s c h e n b r o e k i Schl.

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6

Meyer, Säugethiere Celebes-Philippinen Taf. VII
 B u b a l u s m i n d o r e n s i s Heude

c. 1⁄12 n. Gr.

Abh. Ber. K. Zool. Anthr. Ethn. Mus. Dresden 1896/7 Nr. 6

Meyer, Säugethiere Celebes-Philippinen Taf. VIII