Chap27 Pnw
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Chapter 27: Pacific Northwest to Artic: Native American Encounter A slide set supporting Humanities 103 and Gloria Fiero’s The Humanistic Tradition Instructor Beth Camp, LBCC, Spring 2006 [email protected]
Transcript of Chap27 Pnw
Chapter 27:
Pacific Northwest to Artic: Native American Encounter
A slide set supporting Humanities 103 and Gloria Fiero’s The Humanistic Tradition
Instructor Beth Camp, LBCC, Spring 2006
Introduction As we look at selected slides from Artic,
Alaskan, Canadian and Pacific Northwest tribal cultures, ask: How do these images reinforce or
contradict the romantic pictures painted by Catlin in Chapter 27?
Click on the SOUND ICONS throughout for a little extra background.
What are the origins? Berengia (Bering
Strait) between 10,000 to 5,000 years ago Dorset
culture (800 BCE)
Thule culture (1000 CE)
Map Image from: Yukon Beringia Interpretive Center
Dorset maskc. 500 BCE Hundreds of
animal and human figures
Ivory, bone, stone
Petroglyphs Magico-religious
shaman-artists Fertility figures Some ritually
“killed”
Flying Bear, Dorset c. 800 BCE
Four key elements of native American culture:
The mask The dance The song The story
The Mask
ContemporaryArtic MaskFairbanks, Alaska
Source: University of Alaska, Fairbanks
Northwest Coast Masks are hidden until used in
ceremony Creatures come from four
domains: sky world, mortal world, undersea world, spirit world
Potlatch ritual from “beginning of time”
Raven Transformation MaskPacific Northwest
Source: Seattle Art Museum
The Dance Chilkat Dancer
Charles Jimmie, Sr. Raven’s Fort, Haines, Alaska
This Chilkat shawl was designed by men, woven by women, and worn by tribal elders at important rituals or clan gatherings.
Contemporary Fan Dance, Kodiak Dancers, Fairbanks, Alaska
‘Ksan Historical Village
‘Ksan Historical Village preserves artifacts, ancient ways, and revives and passes on Gitksan art and culture
Gitsan people of the Skeena, British Columbia share language roots with Tsimshian people and have 4 clans: the Wolf, Fireweed, Frog and Eagle
Frog Clan, ‘Ksan
The StoryNatar Ungalaq
(1959- ),
Igloolik
Sedna with Hairbrush, 1985
The Story
Manasie Akpaliapik (1955- )
Respecting the Circle
Artic Whalebone carving, 1989
Types of Totems
Legend totem (cultural hero) History totem (clan history) Family Crest totem (house poles) Memorial totem (ridicule poles)
Legend or History totem?
Saxman TotemPark, Alaska
Clan Totem
Eagle Crest Pole, Alaska
‘Ksan Historical Village: Clan Totems
Clan Totem
Front wall, Chief Shakes’ Tribal House
Wrangell, Alaska, c. 1940
Family Crest (House Pole): Interior, Chief Shakes’ Tribal House, ‘Ksan
Replica of Tlingit house, Ketchican, Alaska
History Totem (Clan history) Raven Crest
Pole,Tlingit, Sitka
Memorial Totem (Ridicule pole)
Trader Legend Pole, Sitka
Clan Totem
Totem Park,Klawock, Alaskac. 1930
Contemporary Clan Totem, University of Alaska, Fairbanks
George Catlin (1796-1872) Ball-play of the
Choctaw—Ball up, 1846–50Choctaw. The game was called “little brother of war”.
Image from Smithsonian
George Catlin (1796-1872)
Stu-mick-o-súcks, Buffalo Bull's Back Fat, Head Chief, Blood Tribe, 1832Blackfoot/Kainai
Image from Smithsonian
George Catlin (1796-1872)
Pigeon's Egg Head (The Light) Going to and Returning from Washington, 1837–39Assiniboine/Nakoda
Image from Smithsonian
What’s Next? What is unique or new to you
about these native cultures? In what ways does Caitlin’s work
(Chapter 27) romanticize Native American beliefs and culture?
Have you visited the Portland Art Museum’s Native American collection?
Rattle, mid 19th century, Haida; Tsimshian Portland Art Museum: “The expressive face on this rattle is thought to represent the sun or the moon, in part because of its roundness and in part because of the raylike encircling band. Rattle consists of two halves joined together by thongs.”
Resources Postcards collected in
Canada and Alaska, Summer 1994
Seattle Art Museum, San Francisco Museum
George Catlin and His Indian Gallery, Virtual Exhibit
Peter Jensen, LBCC English Dept.
