Showing posts with label Chase These Blues Away. Show all posts
Showing posts with label Chase These Blues Away. Show all posts

Sunday, September 14, 2014

Chase These Blues Away: Alaskan Totem Poles















From yee Wiki:

Totem poles are monumental sculptures carved from large trees, mostly Western Red Cedar, by cultures of the indigenous peoples of the Pacific Northwest Coast of North America. The word totem is derived from the Algonquian (most likely Ojibwe) word odoodem [oˈtuːtɛm], "his kinship group".

Totem poles are typically carved from the trunks of Thuja plicata trees (popularly called "giant cedar" or "western red cedar"), which decay eventually in the rainforest environment of the Northwest Coast. Thus, few examples of poles carved before 1900 exist. Noteworthy examples include those at the Royal British Columbia Museum in Victoria and the Museum of Anthropology at UBC in Vancouver, dating as far back as 1880. While 18th-century accounts of European explorers along the coast indicate that poles existed prior to 1800, they were smaller and fewer in number than in subsequent decades.

The Maritime Fur Trade gave rise to a tremendous accumulation of wealth among the coastal peoples, and much of this wealth was spent and distributed in lavish potlatches frequently associated with the construction and erection of totem poles. Poles were commissioned by many wealthy leaders to represent their social status and the importance of their families and clans. By the 19th century, certain Christian missionaries reviled the totem pole as an object of heathen worship; they urged converts to cease production and destroy existing poles.

Totem poles were never objects of worship. Very early European explorers thought they were worshipped, but later explorers such as Jean-François de La Pérouse noted that totem poles were never treated reverently; they seemed only occasionally to generate allusions or illustrate stories, and were usually left to rot in place when people abandoned a village. The association with "idol worship" was an idea from local Christian missionaries of the 19th century, who considered their association with Shamanism as an occult practice.

The meanings of the designs on totem poles are as varied as the cultures that make them. Totem poles may recount familiar legends, clan lineages, or notable events. Some poles celebrate cultural beliefs while others are mostly artistic. Certain types of totem poles are part of mortuary structures, and incorporate grave boxes with carved supporting poles, or recessed backs for grave boxes. Poles illustrate stories that commemorate historic persons, represent shamanic powers, or provide objects of public ridicule.

"Some of the figures on the poles constitute symbolic reminders of quarrels, murders, debts, and other unpleasant occurrences about which the Native Americans prefer to remain silent... The most widely known tales, like those of the exploits of Raven and of Kats who married the bear woman, are familiar to almost every native of the area. Carvings which symbolize these tales are sufficiently conventionalized to be readily recognizable even by persons whose lineage did not recount them as their own legendary history." (Reed 2003).





Wednesday, August 13, 2014

Chase These Blues Away: Shaman Masks



















From yee Wiki:

Masks among Eskimo peoples served a variety of functions. Masks were made out of driftwood, animal skins, bones and feathers. They were often painted using bright colors. There are archeological miniature maskettes made of walrus ivory, coming from early Paleo-Eskimo and from early Dorset culture period.

Despite some similarities in the cultures of the Eskimo peoples, their cultural diversity makes it hard to generalize how Eskimos and Inuit used masks. The sustenance, mythology, soul concepts, even the language of the different communities were often very different.

Although beliefs about unity between human and animal did not extend to that of absolute interchangeability, several Eskimo peoples had sophisticated soul concepts (including variants of soul dualism) that linked living humans, their ancestors, and their prey

Besides synchronical beliefs, there were also notions of unity between human and animal, and myths about an ancient time when the animal could take on human form at will

Traditional transformation masks reflected this unity. Ritual ceremonies could enable the community to enact these stories with the help of masks, sometimes with the masked person representing the animal.

Eskimo groups comprise a huge area stretching from Siberia through Alaska and Northern Canada (including Nunatsiavut in Labrador and Nunavik in Quebec) to Greenland

The term Eskimo has fallen out of favor in Canada and Greenland, where it is considered pejorative and the term Inuit has become more common. However, Eskimo is still considered acceptable among Alaska Natives of Yupik and Inupiat (Inuit) heritage, and is preferred over Inuit as a collective reference.





Monday, August 11, 2014

Chase These Blues Away: Yei Rugs













From the Mark Sublette Medicine Man Gallery Inc. website:

Yei pattern rugs feature images of the Holy People drawn from ceremonial sand paintings but do not recreate an entire painting. The closely related Yeibechai rugs show Navajo dancers in the act of portraying Yeis in ceremonies. 

Typically, the Yeis are highly stylized figures with elongated bodies, short straight legs, and heads facing the viewer. Yebechais have somewhat more human proportions, usually face sideways, and often have legs bent in a dancing motion. The earliest Yei rugs usually included one or two large Yei figures oriented vertically, e. g. parallel with the warp. In some cases, small Yei images were included in rugs with geometric patterns or other pictorial elements

Though quite rare, these early types were made over a period of nearly four decades, falling out of favor by the 1930s

In the 1910s, a very small number of weavers made single figure type rugs which portrayed not the Navajo Yei, but rather Hopi Katsina figures with characteristic tableta headdresses.

The more common types of Yei and Yeibechai rugs feature multiple figures oriented parallel with the weft threads so that the rug appears wider than long when the figures are upright. 

Two distinct styles emerged in the 1920s. Those made in the area of Shiprock, New Mexico tend to have light colored backgrounds with no border, and often use brightly colored commercial yarns. Yeis and Yeibechais made in the central part of the reservation, in northeastern Arizona, tend to have dark backgrounds with simple borders. They are more likely to incorporate natural wool colors and more subdued chemical shades

Yeis continue to be very popular with collectors and are now being made in nearly all parts of the reservation.