Alaska Native in Traditional Times: A Cultural Profile
Project
as of July 2011
Do not quote or copy without permission from Mike
Gaffney or from Ray Barnhardt at
the Alaska Native Knowledge Network, University of Alaska-Fairbanks. For
an overview of the purpose and design of the Cultural Profile Project, see Instructional
Notes for Teachers.
Mike Gaffney
Chapter Eight
Cultural Products
Technology –- hunting/fishing gear, tools, weaponry (and body armor), housing,
transportation.
Applied Science –- specialized knowledge of the regional environment developed to
maintain and improve the group's quality of life.
Artistic Expression –- artistic purposes. design, decoration, materials.
Culture and Its Products
A cognitive definition of culture. In Chapter
Five we discussed the six parts of our concept of culture. When you finished
reading that chapter you may have said to yourself: "But wait a minute! Something
is missing. What about a people's technology and their science and art — the
material things they produced that can be seen and touched?" They are
missing because we consider these visible and material things the products
and reflections of culture, but not basic elements of culture itself. Here
is why.
We employ what is called a cognitive definition of culture.
The term cognition refers to the mental processes of knowing, of reasoning,
of being
aware. Culture is not a physical
thing. It is a mental thing. The elements of social organization, cultural
rules, cultural identity, and worldview are carried about in the minds and
habits of the group's members.
Technology does not come into existence by itself. It cannot stand by itself.
There first must be recognition by someone or some group that a particular
technology is needed or desired
before efforts are made to design and develop that technology.1
Technology
Here we use the term technology to mean those material
products developed by a Native group in order to maintain and improve the
quality of life within their natural and
social environments. Indeed, no other element of your Cultural Profile has
such a direct connection to the process of environmental adaptation than does
technology. This is because
technology furnishes the basic means or instruments of adaptation. Housing,
clothing, tools, weaponry (including body armor), and transportation (kayaks,
canoes, umiaks, dog sleds) are
all things we can actually see and touch. As such, they can have considerable
impact on how we picture a Native group's way of life. It is what first gets
our attention. Any museum we
go to anywhere in the world displays cultural products. This is the main purpose
of muse. But we must be very careful not to assume the material things we
see tells us all we can
learn about that culture.
If technology is not part of our core concept of
culture, then why include it in the Cultural Profile? Remember that the
central purpose of your assignment is to develop a
profile of what life was like in traditional times for an Alaska Native group.
To draw the most complete picture of a people's way of life requires
going beyond basic elements of culture –- social institutions, cultural
rules, and worldview. As already discussed, it requires description of the
natural and social environments to which a Native group had to adapt. Now
we need a description of the technology and science they developed to successfully
accomplish this environmental adaptation.
Cultural products as reflections of cognitive culture.
Although technological products do not fit within our cognitive definition
of culture, they can reflect core cultural
elements. The Central Yup'ik storyknife is a good example of a cultural
product or artifact offering a peek into Yup'ik cognitive culture.* Artfully
carved
out of ivory either by an uncle
or the father, the storyknife became one of a young Yup'ik woman's most
prized possessions. Usually the carvings included decorative symbols and images
of birds. The
storyknife was used mostly by the young woman's grandmother as a teaching
tool. As she told her granddaughter a story of particular cultural significance
to women, she would take
the knife and draw on the ground pictures and symbols to reinforce the
educational
points she was making. So knowing about an Yup'ik artifact such as the
storyknife offers a window
onto aspects of Yup'ik cognitive culture. And we catch a glimpse of several
important social relationships in a young Yup'ik woman's life by knowing
who carved her storyknife and
who was the "educator" who used it. And secondly, we get some sense of the Yup'ik
worldview as reflected in the carved illustrations on the knife and the themes of the stories
told.2
Native Applied Science
Native applied science and a good story. It is not a question of whether traditional
Native societies did "science." It is, rather, a question of what kind of science was done. Here
is a good story to illustrate the point. Awhile back, Alaska magazine had an article entitled
"The Ice Man" by the Anchorage writer, Charles Wohlforth. Here is part of the story he tells
about the late Iñupiaq elder, Mr. Kenny Toovak, who was a longtime employee of the Naval
Arctic Research Laboratory in Barrow before it closed in 1980:
One fine summer morning decades ago,John Kelley, a marine
scientist and later director at Barrow's Naval Arctic Research Laboratory,
went to Kenny Toovak,
who managed the lab's boats and equipment, and asked for a ride out to
Point Barrow in one of the 18-footers with an outboard motor. As the story
goes, Kelley had work
to get done and limited time, and wanted to go right away. Toovak looked
at the sky and told him, with typical Iñupiaq indirectness, "I'd like
for you to wait a bit."
Kelley didn't insist at first, but paced around
impatiently, making it clear he needed to go soon and saw no reason to
wait. The weather looked perfect.
In 15
minutes, he returned and told Toovak that it was time to go.
Toovak, a skilled storyteller who can draw out every detail
in a slow, dignified style, said he told Kelley, "You really want to
go out, I'm going to give you a boat and an outboard. You can go. But I'm
no going to
give you a driver. And I don'
think we're going to look for you, even. You really want to go out,
go on and go.'
Kelley returned to his office. Shortly, the wind picked
up. It was soon howling, with white caps frothing on top of the waves.
He returned
once again and
said, "Kenny, I thank you for not sending me out."
Scientists and the Iñupiaq of Barrow have worked together,
on and off, for 150 years; similar incidents may have happened many times
as Eskimos
kept
scientists safe and taught them about the natural history of the Arctic.
Toovak's story stands out because hardly anyone has done as much to
bring Iñupiaq knowledge
to science, and because, in his early 80s, he is still teaching. Changes
in the arctic
climate have become a topic of scientific urgency and Toovak's memories
have attained special value.
Some scientists would like to reverse- engineer
the skill of Eskimo elders, hoping that the signs and patterns that elders
use would help researchers
understand
nature as well. But it's not easy to dissect the magic of what an old
man feels in his bones.
When asked what he saw that day with John Kelley
decades ago, Toovak said, "It was something about the sky, the clouds
and south wind, a bit warm. It's always kind of rapid, it always happens
in a rapid way. I
learned that lesson from my
parents and from the elder people. When the wind is kind of
blowing from the south you better hold off for a while and see what the
weather
will do."
Elders across the Arctic have told researchers that the
weather has become erratic and more difficult to predict since the
climate started
to change in the past two
decades. Atmospheric scientists following up on these observations
agreed that the weather is more changeable and cyclonic storms
have
become more frequent in the
Arctic, shorting times of stability and perhaps breaking the rhythm
of the winds that the elders had learned to anticipate. 3(pp.
42-43)
How did Mr. Toovak learn to anticipate changes in Arctic weather
so precisely? He said he learned this special knowledge from his parents and
other elders as he grew up. And,
of course, they learned to do weather forecasting from the generation before
them. What is clear is that at some point in the distant past, perhaps over
several generations, the North
Slope Iñupiaq carefully studied these weather patterns. Their very survival
in Arctic waters and on sea ice depended on reliably forecasting changing
weather conditions. In the language
of modern science, it depended on developing special knowledge of meteorology,
the study of the earth's atmosphere, especially its patterns of climate and
weather. In another section of
his story about Mr. Toovak, Mr. Wohlforth tells us that many of today's
scientists now take very seriously Iñupiaq knowledge of changing Arctic weather
patterns and seek ways to fit this traditional Native science into their own
work. Scientists also have begun to incorporate
Iñupiaq traditional knowledge into other aspects of their work on the
Arctic ecosystem. An example is how traditional Iñupiaq knowledge of
Bowhead Whale behavior has changed the way scientists look for and count
current whale populations.
Wohlforth also says that "it's not easy to
dissect the magic of what an old man feels in his bones." But it is
really not magic at all. What Mr. Toovak "feels in his bones" is a
confidence to apply a specialized body of knowledge built upon generations
of very careful study of Arctic weather. What seems like magic was Mr.
Toovak's special talent for applying
Iñupiaq meteorology so effectively. It has all the elements of what
today is called applied
science. Applied science develops in situations where, first,
a problematic condition like sudden weather changes has been identified.
Then members of the group seek the knowledge
necessary to understand the problem. Over time they develop a body
of
specialized knowledge and learned to directly apply this
knowledge to whatever health, security, or welfare issue confronts
the group.
Applied versus basic science. Because it is
concerned with solving immediate problems, applied science has a purpose different
from basic science. Basic (or pure or
theoretical) science does not seek a solution to an urgent problem. Its purpose
is to study a particular phenomenon simply because it exists and greater
understanding of it would
advance scientific knowledge generally. In formulating his universal law
of gravitation, for example, Sir Isaac Newton only wished to understand
why objects fell to the earth at
accelerated rates and why the moon and other heavenly bodies maintained their
positions in space. His purpose was not to meet an immediate need
or desire of English society.
Eventually the theories and findings
of basic science may contribute to solving immediate problems, but that is
not the original intention.
All the basic
science done over
many years on the chemistry of gases, for example, contributes to understanding
and hopefully reducing green house gases, including their impact on the
Arctic. But we can be
certain that the scientists who developed the first theories of gases such
as Robert Boyle in 1662 and Joseph Gay-Lussac in 1802 did not have greenhouse
gases and Arctic warming in
mind. Because specialized Native knowledge developed as an immediate response
to the problems and opportunities of the environment, applied science seems
the more appropriate
term.
Specialized knowledge. We have made the point
that Mr. Toovak had a unique talent for applying a specialized body of Iñupiaq
knowledge to understanding Arctic weather patterns. But what is specialized
knowledge? The answer becomes clear when we separate
specialized knowledge from common knowledge.
In order to live successfully
within their natural and social environments, all members of a traditional
Native group had to know a body of common
knowledge and be able to apply
it to their daily life. At a minimum, this common knowledge included
obtaining and preparing food, having and raising children, coping with illness,
and
knowing how to deal
with the opportunities and dangers of the surrounding environment. It
also included knowing how to maintain in good working condition such cultural
products as tools, housing, clothing,
modes of transportation, and hunting and fishing gear. Of course most
of
this list can be applied to life generally because it covers the timeless
and essential
requirements for living in
the world. After all, doesn't everyone down through time need food, clothing,
shelter, health
care, and child-rearing skills?
So the question becomes: Beyond common
knowledge, was there knowledge needed or valued by the group which could
only be developed
with special talents and special
methods of study? Where we discussed common knowledge and cultural
products above, we were careful to avoid the verbs "to construct" or "to
build." We only used the verb "to
maintain." We said that common knowledge was required to
maintain various
cultural products. Why? Because many times the design and
construction of essential products was
not done by just any man or woman. They were done instead
by individuals who became specialists in a particular art
or craft.
The traditional Aleut kayak, for example, is still
considered by master boat builders around the world to have
the ultimate
design
for speed
and maneuverability of a one and two
man ocean-going paddle craft. Just imagine what special knowledge
was required to design a kayak that would withstand the
often furious
currents
and winds of the North Pacific along
the Aleutian chain of islands. These ancient Aleut craftsmen even
designed a bilge pump allowing the kayaker to suck out sea
water that
sloshed into the kayak. Although the Kayak (
or baidarka in Russian) was an essential Aleut cultural
product operated and maintained by many, only some had the special
talent and
training for its design and construction. Another
example is the intricately carved totem or house poles of the Tlingit
and Haida. Again, a needed and valued cultural product requiring
special talents
in art and woodworking only
possessed by some.4
Figure 8-1
This drawing from
Captain Cook's 1778 voyage to Alaska shows Aleuts in double and single hole
kayaks. The men are wearing traditional waterproof skins. The man
in the single man kayak is also wearing the distinctive Aleut
sea visor with feathers. [From: Alaska Digital Archives.]
Specialized knowledge can become common knowledge. Over
time aspects of specialized knowledge can become common knowledge. The internal
combustion engine, for
example, is a scientific invention of the mid 1800s that became part
of everyday life. Among other things, it powers the various vehicles we use
daily — autos, trucks, ships, boats,
airplanes, and snow machines. If it requires fuel to run, it is an
internal combustion engine. If you wish to be a well trained mechanic, you
would likely take courses in such areas as
"engine thermodynamics," "heat transfer in engines," and "fluid mechanics." Obviously
this is all very specialized knowledge acquired by relatively few people after
serious study. But
because the internal combustion engine is so essential to our daily
life, many of us know enough about it to perform fairly complicated maintenance
and repair operations. We may
not be able to explain engine thermodynamics, but we do know about
carburetors, pistons, spark plugs, fan belts, engine blocks, and the need to
change the oil according to the season.
And probably we know the difference between 2 stroke and 4 stroke
engines. We need to know these things if we are to keep the motors of our fishing
boat and snow machine in good
working order. All of this has become common knowledge necessary
for living as a modern subsistence hunter, trapper, and fisherman
in Alaska.
One measure of how much an area of specialized knowledge has
become common knowledge is the extent to which it is part of our everyday
language. We even use some of
this language as metaphors — she is the "spark plug" of the high school
basketball team. This vocabulary did not exist before the invention of the
internal combustion engine. It had to
be invented along with the engine itself. As you read this chapter,
you can bet that somewhere vocabulary is being invented to keep up with the
rapidly expanding information
technology of computers and the internet. Not too long ago, nobody
heard of "apps" or
"blog" or "twitter."
In the course of developing specialized knowledge, traditional
Native societies also had to invent specialized vocabularies. And over time
these new words
became common
knowledge and part of the language of everyday life. An good example is the
set of thirty- one Inuit words establishing a detailed classification system
for various conditions of snow.5 Here are some of those words:
Aluiqqaniq: Snowdrift on a steep hill, overhanging on top. |
Anuik: Snow for drinking water. |
Aput: Snow on the ground (close to the generic snow) |
Aqilluqqaaq: Fresh and soggy snow |
Auviq: snow brick, to build igloo |
Ijaruvak: Melted snow |
Isiriartaq: Falling snow, yellow or red. |
Kanangniut: Snowdrift made by North-East wind. |
Katakartanaq: Crusty snow, broken by steps. |
Kavisilaq: snow hardened by rain or frost. |
Kinirtaq: wet and compact snow. |
Masak: wet snow, saturated. |
Matsaaq: snow in water |
Maujaq: deep and soft snow, where it's difficult to walk. |
Mingullaut: thin powder snow, enters by cracks and covers objects. |
Mituk: small snow layer on the water of a fishing hole. |
Munnguqtuq: compressed snow which began to soften in spring. |
Natiruviaqtuq: snow blasts on the ground. |
Niggiut: snowdrift made by south-west wind |
Niummak: hard waving snow staying on ice fields turned in ice crystals. |
Notice how just one Inuit word highlights a condition of snow requiring several
English words. Like the English words used to capture the functions of the internal
combustion engine, this Inuit classification of snow conditions is a good example of
specialized knowledge becoming common knowledge.
The scientific method. Along with specialized
knowledge, a definition of science must include the process by which scientific
evidence is obtained and theories tested. This
process is called the scientific method. The key idea
here is contained in the verb "to do." If
people anywhere at any time follow a series of well defined steps
to understand some aspect of the natural or social world, they are doing science.
They are using the scientific method. The Iñupiaq who painstakingly
developed the metrological knowledge Mr. Kenny Toovak relied upon
that fateful day used the scientific method which is ordinarily
thought of as
consisting of two parts. The first part is attitude. Is
the attitude of the investigator working on a scientific problem
such as Arctic warming dedicated to rational thinking? That is,
does he
use logic and reason rather than emotional, magical, or spiritual
thinking when making his observations and drawing his conclusions?
Is the attitude of the investigator objective? Is he
willing to go wherever the facts take him although it may contradict
strongly held beliefs? Is he open to new evidence and ideas even
if they may prove his current theory wrong?
Many consider the scientific
method to be the major difference between matters of science and
matters of faith. Religious doctrine
such as belief in God and a supernatural
world cannot be empirically tested –- that is, proven right or wrong
by real life observation and experimentation. But this does not mean a reasonable
person schooled in the scientific
method cannot also conclude that a well ordered universe with no
apparent middle or edges suggests the existence of a supreme being or ultimate
creative force. Albert Einstein, the
scientist best known for his theories on how the universe works,
believed exactly this. Responding to the question of whether he believed in
God, Einstein said, "I believe in
a...God who reveals himself in the orderly harmony of what exists,
not in a God who concerns himself with fates and actions of human beings." 6 But
most important, he never claimed that his scientific work proved
or disproved the existence of God. Certainly he would be
the first to say that science was never meant to answer questions
of faith and how the faithful should imagine a supernatural world.
That world must be thought about and approached in other
ways.
The second part has to do with method — the
actual process of doing science. Is the information (the data)
gathered by the investigator accomplished through a series of
deliberate and well organized observations of the phenomenon under
study? A fundamental rule of the scientific method is that theories
must be constructed so that their propositions can
be further tested by others under the same conditions using the
same methods. Usually scientific proof is based on empirical evidence.
Interior Athabaskans, for example, developed
a method for hunting caribou by chasing the animals into large
corrals where they were
"speared, snared, and shot with arrows." 7 It is easy to imagine
how different "chase
methods" were empirically tested before finding the most effective
method. Or their testing of different materials used for constructing
the corral before finding one that was easy to
work with but strong enough to hold frightened caribou. And Mr.
Kenny Toovak's story certainly gives us some idea of how the
Iñupiaq applied the scientific method to the study of
weather in much the same way Albert Einstein studied the universe.
Ancient Alaska Native societies did not have written scientific
journals to record and organize their research. Their
oral traditions served this function. Certainly they did not have
the scientific instruments available to Albert Einstein and other
modern scientists. Even so, they could not have
accomplished such extraordinary adaptations to the unique challenges
of their environments without applying what today we call the
scientific method.
Medical science. We must not forget that traditional
Native cultures also used the scientific method to advance their understanding
of the
human body and medical treatment of
it. Aleuts (Unagan), for example, performed autopsies to increase their understanding
of human autonomy and causes of death. They also developed an
inventory of herbal cures —
in modern terms, a pharmacy — derived from the precise mixing of substances
taken from various plant life found within the Aleutian regional environment.
Aleut medical science also
allowed development of a special feature of their worldview
found on several Aleutian islands — the practice of mummification
to memorialize the spirit of a deceased person of high social standing or
for extraordinary accomplishments in life. Only through rigorous
empirical study could such a body of knowledge be achieved.8 In
discussing traditional medicine among the Yup'ik, Oscar Kawagley
directly connects the development of this
knowledge to application of the scientific method. After describing
several complex and lengthy treatments for arthritis, he says:
The experimental process leading to the development of a treatment such as
this [arthritis] had to occur over a very long period of time before its medicinal value
was recognized. This required experimentation, using the rational ability of the human
being, establishing a process for refining a natural substance, using very practical
means at hand, observing and committing to memory the process of change in the
solution [for treating arthritis], and noting the effects on the human body for
determination of its effectiveness.9
As we know, shamans often performed the dual role of spiritual leader and
healer of both physical and mental health problems. In fact, many traditional
Native worldviews did
not clearly separate spiritual issues from health issues. In many
cases, physical and mental illness was viewed as a sign of possible spiritual
disharmony within the community or within
the individual who is sick. Some shamans were even thought to
have the power to create this disharmony and make people physically or mentally
ill. But no matter how this dual role was
performed within a specific Native culture, shamans and other
prominent healers used elements of the scientific method to advance their medical
knowledge.
Artistic Expression
What is Art? A main cultural product of any society is its Art.
A people's values,
traditions, and aspirations are often expressed through powerful artistic imagery. Of all the
elements that make up any society's cultural production, it is art which most clearly reflects
aspects of that society's worldview. The Sistine Chapel at the Vatican in Rome, Italy is an
excellent example of how art is used to visualize a major religious tradition, in this instance
the Roman Catholic tradition. Its interior is covered with paintings of biblical stories done by
Italian renaissance artists, including the ceiling painted by the renowned Michelangelo, a
section of which is shown in figure 8-2.
Figure 8-2
Michelangelo's ceiling at the Sistine chapel10
In our earlier discussion of the Central Yup'ik storyknife, we said
that the imagery
carved on the ivory handle was an example of how this Yup'ik artifact can give us a glimpse
of Yup'ik cognitive culture. But at the same time it is equally an artistic product. Like all art,
the images carved into the storyknife handle were meant to represent an idea or series of
ideas. The father or uncle who did the carving was perhaps expressing a significant thought
for the young girl to keep in mind as she anticipated adult female responsibilities.
Where do we find traditional Native Art? The storyknife gives us a major clue
to finding and describing traditional Native art. Unlike art collections found
in modern
museums, in traditional times we would not find separate structures
housing pieces of a Native group's art to be contemplated and admired. What we would find is artistic expression
displayed in the decoration and design of material objects having other functions. Remember
that the Yup'ik storyknife was also crafted to serve an educational purpose. Also within the
Central Yup'ik artistic tradition is expression of their supernatural world through the design
and decoration of ceremonial masks. Just as the art of the Sistine Chapel vividly displays
elements of the Roman Catholic tradition, the art of ceremonial masks vividly displays
aspects of the Yup'ik spiritual tradition. Figure 8-3 below shows a Nepcetaq (shaman mask)
with face peering through a triangular shield, painted red, white, and black. Red sometimes
symbolized life, blood, or give protection to the mask's wearer; black sometimes represents
death or the afterlife; and white sometimes can mean living or winter. 11
Figure 8-3
Yup'ik Shaman Mask
We even find art in decorative designs fastened or sewn onto
clothing. For interior Athabaskans whose life was almost constant movement,
their cultural products had to be
easily transported on one's back or in bags carried by dogs. Of course they also had to be
easy to assemble and disassemble. One scholar of Native art, William Fitzhugh, says of
Athabaskan clothing that "most outstanding was their skin work,
which employed dyed
porcupine quill and moose hair embroidery in its early stages
and, later, glass beads, dentalium shell, and other trade goods." 12
Figure 8-4
Albert Maggie with beaded coat. Nenana, Ak., c. 1913)
Here we should highlight what we said earlier about the importance of commerce
in traditional Native economies. Because these pre-contact commercial networks
reached
beyond Alaskan borders, many of the decorative beads and shells
were acquired by interior Athabaskans before their actual encounters with Europeans.
Dentalium seashells, for
example, are found along the northwest coast of North America.
They are usually white and hollow inside and cone shaped like a tooth or tusk.
They were so highly valued by Indians
from California to Alaska that they became a medium of exchange
much as we use dollar bills and coins today. Look at the photo of a Tlingit
shaman in the last chapter (p. 81).
Dentalium shells decorate his apron-like leg covering .
What we learn from Native art. We have said that art serves as a window through
which we can view elements of people's worldview. But art forms can also differ
between
otherwise similar cultural groups. William Fitzhugh has observed
that Central Yup'ik art "was more diverse, abstract, and symbolic than that of the Iñupiaq peoples." The exquisite
and celebrated Iñupiaq art of ivory carving portrayed life in
its natural form. An outsider knows at once that it is a carving
of a polar bear or a whale or a seal. On the other hand,
making sense of the more abstract and symbolic Central Yup'ik
decorative art requires knowledge of their worldview, particularly
aspects of their traditional spirituality.13
Figure 8-5
Little Diomede Iñupiaq ivory carver, c. 1928
We also learn that some Native art crossed territorial boundaries. One of
the best known and most studied of all Native American art forms is the Northwest
Coast Indian
tradition. This very distinctive Native art stretches 1,200
miles along the Pacific Coast from Oregon in the south to the Tlingit and Haida
homelands of Alaska in the north. Although
speaking different languages, these Northwest Coast tribes had
in common a heavily wooded temperate maritime environment, a clan-based hierarchical
social organization, and a totemic
worldview with Raven at the center of their creation mythologies.
Andrew Hope III, refers to this entire Northwest culture area as the "Raven Creator Bioregion." Perhaps one of the most
knowledgeable experts on Northwest Coast Indian art is University of Washington Professor
Emeritus, Bill Holm. For his distinguished work, he was honored in 2001 with a certificate of
appreciation from the Sealaska Heritage Institute, an organization which seeks to perpetuate
and enhance Tlingit, Haida and Tsimshian cultural knowledge. Holm characterizes Tlingit
and other Northwest Coast Indian art as a well organized design system of ovid-shaped form
lines depicting totemic creatures central to the mythological histories of clans and of house
groups within clans. The Chilkat blanket shown below is a good example of the description
Holm gives of the Northwest Coast Indian art form14
George Emmons, a United States Navel officer who carefully observed Tlingit
life in the late 1800s, reported that ceremonial blanket-weaving originated
with the Canadian
Tsimshian and later spread north to the Tlingits through commerce
and marriage. Settled near the present day town of Haines, Alaska, the Chilkat
tribe of Tlingits developed their
own design style and became the best weavers, producing numerous
blankets for clans and
clan houses of other Tlingit groups. The Chilkat Blanket was
highly sought by Indian nobility up and down the Northwest Coast long before
the first explorers came to the
region.15
Figure 8-6
Chilkat Blanket
A detailed artistic depiction of a totemic creature along with
other clan or clan house symbolism is called a crest. Here is another good
example of art teaching us something about
the society in which it is found. In this case we learn about
the connection between Tlingit
social organization and Tlingit art. Again we go to Andrew Hope III for instruction:
To appreciate Tlingit pole art, one must understand Tlingit social
organization: what Frederica de Laguna refers to as ." . . the fundamental principles
of . . . clan organization, . . . the values on which Native societies are based," that is,
the names and histories of the respective Tlingit tribes, clans, and clan houses.
The seventy-plus Tlingit clans are separated into moieties or two equal
sides - the Wolf and the Raven. Tlingit custom provides for matrilineal descent
(one follows
the clan of the mother) and requires one to marry one of the
opposite moiety. The clans are further subdivided into some 250 clan houses.
To underscore the duality of Tlingit law, Wolf moiety clans generally claim
predator crests, whereas Raven moiety clans generally claim non-predator
crests. For
example, the Kaagwaantaan, a Wolf moiety clan, claim Brown
Bear, the Killer Whale, the Shark and the Wolf as crests. The Kiks.áàdi, a
Raven moiety clan, claim the Frog, the Sculpin, the Dog Salmon
and the Raven as crests. Tlingit totem art is
utilitarian as opposed to decorative art. Tlingit pole art
depicts clan crests and histories.
The figures seen on a totem pole are the principle subjects
taken from traditional treating of the family's rise to
prominence or of the heroic exploits of one
of its members. From such subjects crests are derived. In
some houses, in the rear between the two carved posts, a
screen is fitted, forming a kind of partition which is
always carved and painted.16
According to traditional Tlingit property laws, moreover, a clan or clan house
has clear ownership of their crest and it can be used only by their members.
Elements of the crest
ornamented other cultural products such as house poles, screens,
war canoes, headgear, boxes and chests, and even parts of hunting and fishing
equipment. In some ways a European
noble family's coat-of-arms is comparable to the Tlingit clan
crests because it also exhibits
symbolism of the family's honored history and mythological beginnings.
Figure 8-7 shows the interior of Tlingit clan house emblazoned with carved
clan crest and symbols. Note the
pole art discussed above by Andy Hope. Also note the ovid-shaped
form lines described by Bill Holm. For a European comparison, the British Royal
Family's coat-of-arms or crest is
also shown below. 17
Figure 8-7
Interior of Whale House of Chief Klart-Reech, Klukwan, Alaska.
c. 1895.
British Royal Family's coat-of-arms
Not only did the ovid-shaped form lines of Northwest Coast Indian art extend
1,200 miles south to Oregon, but it also influenced the artistic
expression of other Alaska Native groups along the North Pacific Rim. We
know that hostilities sometimes existed between the
Tlingit and other Pacific Rim peoples. Yet studies by Bill
Holm and others show that the
Chugach of Prince William Sound and the Koniag of Kodiak Island
adopted certain elements of the Northwest Coast artistic tradition to decorate
their basketry, headdress, storage chests,
and eating utensils. Indeed, the spread of the unique Northwest
Coast Indian art form offers yet another example of Native people traveling
great distances to exchange both goods and
ideas. 18
An interesting artistic comparison. According to historical records, it took
Michelangelo about four years to complete his ceiling at the Sistine Chapel.
In all,
Michelangelo's work covers 5,000 square feet. (A NBA basketball
court measures 4700 sq. feet.) By comparison, in 1998 Clarissa Hudson, a
master Chilkat blanket weaver, began
weaving a blanket for a Canadian Native chief. As she says, "Between caring for my family,
finishing my other commissions, and moving (twice!) I finished the blanket in just over two
years." 19 Let's assume Clarissa spent a quarter of her time on the chief's blanket while
attending to other parts of her full life. If this is a reasonable assumption, it means that if she
were able to work full time on her blankets, she still could only weave four 25 sq. foot
Chilkat blankets in the time it took Michelangelo to complete his 5000 sq. foot Sistine
Chapel painting.
Review Questions
Cultural products are not a basic part of our concept of culture? Why
not?
Why do we say it is not a question of whether Alaska Natives did
science in traditional times, but a question of what kind
of science was done?
Why distinguish specialized knowledge from common knowledge?
(Hint –- the connection between science and specialized knowledge.)
Can you explain the scientific method, and why we say it is not just a
modern or Western practice, but has been used down through
time by all peoples?
Why do we say: "Of all the elements that make up any society's
cultural production, it is art which most clearly reflects aspects of that
society's worldview? Can you give examples from Alaska Native
cultures?
Give some reasons why we must look for traditional Native art on
cultural products having other functions.
* The term artifact refers to a material object made by humans and, therefore,
a cultural product from times past.
ENDNOTES
-
Erickson, Frederick, "Culture in society and in educational
practices" in J. Banks and C. Banks
(Eds.)Multicultural Education –- Issues and Practices,
John Wiley & Sons; 5 ed. ,2001).
- Ann Fienup-Riordan, Crossroads of Continents, Smithsonian
Institution Press, 1988, p. 262, and Steve Langdon,
Native People of Alaska, 2002, p. 52.
- Charles Wohlforth, "The Ice Man", Alaska Magazine, October
1, 2004, pp. 42-43.
- Black, Lydia and R. G. Liapunova, "Aleut: Islanders of
the North Paciific"in W. Fitzhugh &
Crowell (eds.), Crossroads of Continents, Smithsonian Institution Press,
1988, p. 55
- Go to:http:-//www.athropolis.com/links/inuit.htm
- Ronald W. Clark, Einstein: The Life and Times (Canada: World Publishing
Co., 1971), p..502.
- Richard K. Nelson, "Raven's People" in J. Aigner, Ed. Interior
Alaska (Anchorage: Alaska Geographic Society, 1986) p. 206.
- Laughlin, William S. Aleuts: Survivors of the Bering
Land Bridge (Harcourt Brace College Publishers June 1980),. Steve
Langdon, 2002, p. 24. Black, Lydia and Liapunova, 1988, pp. 53.
- Kawagley, A Yupiaq Worldview (Illinois: Waveland Press,
1995) pp. 71-72.
- Go to: academics.skidmore.edu/../the infamous ro.html
- Arctic Studies Center Exhibit: "Agayuliyararput,
Our Way of Making Prayer."
(www.mnh.si.edu/arctic/features/yupik/index.html
- Fitzhugh, W., "Comparative Art of the North Pacific Rim" in W.
Fitzhugh & Crowell
(eds.), Crossroads of Continents, Smithsonian Institution Press,
1988, p. 304.
- Ibid, p. 301.
- Sheldon Museum and Cultural Center, Haines, AK.
(www.sheldonmuseum.org/chilkatblanket.htm)
- Emmons, George Thorton, The Tlingit Indians, (Fredrica
de Laguna, ed.), University of Washington Press, 1991
- Andrew Hope III, Andy Hope, "Southeast Region:
Reading Poles" in Sharing Our Pathways, A
newsletter of the Alaska Rural Systemic Initiative.
Volume 3, Issue 5, 1998.
- Go to: http://www.britroyals.com/arms.htm
- Holm, Bill, "Art and Culture Change at the Tlingit –-
Eskimo border" in W. Fitzhugh &
Crowell (eds.), Crossroads of Continents, Smithsonian Institution Press,
1988, pp. 281 –-
293
- Go to: Clarissahudson.com
Table of Contents | Congratulations
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