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Like a Face Giinaquq SPECIAL EDITION SPRING 2008 GiinaquqGiinaquq :: LikeLike aa FaceFace Unartuliq - Protector Photo by Sven Haakanson, Jr. The soft light of an oil lamp illuminates the fresh swept dirt floor and casts long shadows on the paneled walls. Voices The Giinaquq – Like a Face exhibition 1 Cama’i - Hello Dear Alutiiq Museum Members, This special edition of the Alutiiq Museum’s newsletter is dedicated to sharing the Giinaquq : Like A Face exhibition. The 215 Mission Road, Suite 101 Kodiak, Alaska 99615 most important thing I can add to this presentation is quyanaasinaq Phone: 907-486-7004 Fax: 907-486-7048 – my most sincere thanks to all of you that helped us create this e-mail: [email protected] amazing show. It is truly an honor to have been a part of this www.alutiiqmuseum.org project for the last six years. From building a lasting friendship Alutiiq Heritage Foundation: with the Château Musée and the people of France, to opening Chair: Will Anderson, Koniag, Inc. the crates containing our ancestors objects, each step has been a Vice Chair: Margaret Roberts, Koniag, Inc. joy. I’m so proud that after 136 years in France, a selection of the Secretary: Donene Tweten, Natives of Kodiak, Inc. Treasurer: Tanya Inga, Old Harbor Native Corp. masks collected on Kodiak in 1871 have returned home to visit. Board Member: Margie Bezona, KANA The masks will be in Alaska for 8 months. While this is a Board Member: Fred Coyle, Akhiok-Kaguyak, Inc. short time, I see the exhibition as the first of many collaborations Board Member: Ruth Dawson, Afognak Native Corp. Board Member: Nick Pestrikoff, Ouzinkie Native Corp. that will bring Alutiiq objects back to our homeland for study and Board Member: Andy Teuber, KANA enjoyment. There are Alutiiq collections in many institutions that Open Seat: Leisnoi, Inc. are waiting to be reawakened and with Giinaquq, we have Alutiiq Museum Staff: demonstrated our ability to create positive collaborations that Executive Director: Sven Haakanson allow these objects to travel back to Kodiak. Deputy Director: Amy Steffian Alphonse Pinart spent his personal fortune exploring the world, Museum Manager: Katie St. John Business Manager: Carol Austerman Duncan collecting ethnographic items and oral stories from numerous Curator: Patrick Saltonstall Registrar: Marnie Leist cultures. How lucky we are that he visited the Alutiiq Nation. Lab Manager: Tricia Squartsoff He did a wonderful thing for our people. He not only collected Collections Assistant: Rose Kinsley Alutiiq Language Manager: April Laktonen Counceller precious objects, but he recorded the stories and songs tied to Language Outreach Specialist: Peter Boskofsky many of them, as they were told in our language in 1872. Pieces Store Manager: Sarah Kennedy of these songs are shared in the exhibit, the rest will be published The Alutiiq Museum is governed by Afognak Native Corporation, Akhiok Kaguyak Inc., KANA, Koniag Inc., in a full catalog of the Pinart masks, where all 70 of the carvings Leisnoi Inc., Natives of Kodiak Inc., Old Harbor Native in the Château Musée’s collections can be enjoyed. Watch for Corporation, and Ouzinkie Native Corporation. Each organization elects a representative to the Alutiiq Heritage this catalog in 2009. Foundation, the Alutiiq Museum’s board. Funding is As always, I welcome you all to the museum. This summer is provided by charitable contributions, membership fees, grants, contracts and sales from the museum store. an especially important time to visit. Come see what our ancestors passed down to us with the help of a thoughtful Frenchman. It is ALUTIIQ HERITAGE FOUNDATION MISSION STATEMENT: an immeasurable gift The Alutiiq Heritage Foundation, through the Alutiiq Museum and Archaeological Repository, preserves the traditions of the Alutiiq people and promotes a greater awareness of the rich cultural legacy Sven Haakanson, Jr., Ph.D. of the indigenous peoples of the greater Gulf of Alaska region. Our collections are held in a repository that is accessible to the Executive Director public. We encourage and support research on Alutiiq culture and history, and disseminate the results of this research to the public through educational outreach, exhibits, special events, publications, and scholarly presentations. Angitqurtuci asirluci - Tax ID #92-0150422 The Alutiiq Museum Bulletin is published quarterly. It’s good you came back. Printed by AT Publishing. 2 The Collector Alphonse Pinart What do a medieval castle over look- near his home. The collection, which includes ing the English Channel and Alutiiq cer- about 300 Alaskan objects, has remained in emonial masks have in common? the museum’s expert care, miraculously Alphonse Pinart, a 20-year old anthro- surviving Boulogne’s destruction in World pologist who forever linked the his- War II. In 1990, the Château Musée tory of the French and Alutiiq moved to an historic castle overlook- peoples. ing the city, a turreted, moat encircled, Born in Marquise, a small stone building erected in 1227-1231 town in the northern tip of by Philippe Hurepel, the son of France, Pinart was the son of a French King Philippe Auguste. wealthy iron merchant. Family So, in a building steeped with prosperity provided him with a history, there lies a collection with good education, and an introduc- deep ties to the heart of both French tion to linguistics – the study of and Alutiiq culture. To the French, languages. Pinart became en- the treasure Pinart brought home rep- thralled with the possibility that resents an important era of scientific Alaska’s Native languages were re- inquiry and the contribution of French lated to those of Siberia, and might scholars to the knowledge of world cul- illustrate ancient ties between Alaskans tures. To Alutiiqs, the collection represents and Siberians. ancestral knowledge. It is a storehouse of Financed by his family, Pinart left the spiritual and artistic information. Thanks to comforts of academic life in France and sailed Pinart, two peoples, on two continents, represent- to Alaska in 1871. He arrived in Unalaska in May, where ing two distinct cultures, share a passion for one incredible he began 13 months of travel. In addition to the Aleutian collection. Islands, Pinart visited the Alaska Peninsula, Bristol Bay, and the Bering Sea coast. In the fall he set out for Ko- diak. After a two-month kayak journey, he reached the Thanks to Pinart for this collection. He had to be a archipelago in November. respectful person to gather so many items, learn about Pinart’s visit to Kodiak last six months, during which and write information about each one, not to mention he paddled to Alutiiq villages collecting boat models, that the items collected and the information as well paddles, bows, arrows, headdresses, bowls, spoons, and safely arrived in France all the way from the Kodiak about 80 masks. He also recorded Alutiiq stories and Archipelago . He realized the future value of the songs, as rare and precious today as the objects he ac- collection and information – We may learn and teach quired. our own creative history – the art; the powerfulness; the In 1875, Pinart gave his Alaskan notes and collec- craftsmanship; the dedication; the wonder. tions to the Château Musée, a regional museum in -Olga Pestrikoff, Port Lions Boulogne-sur-Mer, France, a coastal fishing community Qanginek tangramken! - It's been a long time since I've seen you! 3 Future Masters Becoming an artist is shop at Kodiak College led like training for any profes- by accomplished carver sion. In addition to talent, Perry Eaton with assistance it takes instruction and a lot from artists Coral Chernof of practice. Around Ko- and Sven Haakanson, Jr. diak talent is no problem. The exhibition, with its Island communities are 35 nineteenth century Alutiiq filled with aspiring carvers carvings, offers the chance and weavers, photogra- for students to study the origi- phers and silversmiths. nal works of Alutiiq masters, However, finding opportu- design their own full-sized nities to learn new skills and mask, and then work with in- perfect those talents can be structors to create it. The fi- difficult, particularly for Larsen Bay teens show off their bentwood bowls nal step will be the creation those who wish to study Photo by Sven Haakanson, Jr. of a story or a song to ac- Alutiiq arts. Two hundred company the carving. years of interaction with Western society suppressed Alutiiq In Alutiiq communities, masks were part of ceremonial arts, and today there are few artists who can teach tradi- culture. Dancers wore carved wooden faces to act out leg- tional practices. ends, family history, and recent events. “We want the stu- “In Alutiiq society artists learned their crafts by work- dents to complete the entire mask making process”, says ing with other artists,” explains Sven Haakanson, Jr., the Haakanson. “Not just the carving, but the interpretation of Alutiiq Museum’s Executive Director. “Boys watched older their piece. It is important for our artists to understand and men carve and practiced by making toys and simple objects. share the cultural meaning of masks.” Girls learned to weave and sew by assisting their mothers To assist students with their stories and songs, and their and aunts. The arts were a natural part of a child’s educa- translation into Alutiiq, Elders and Alutiiq speakers will also tion taught through hands on exploration with skilled adults. act as workshop instructors. The results of the workshop When our people started working for wages, and when they will be shown at a special exhibit in the fall of 2008 with a were made to be ashamed of their heritage, this transfer of short video of the students at work. knowledge stopped.” Ultimately, the museum believes that the project will This summer, the Alutiiq Museum will use the Giinaquq create a new generation of both artists and instructors.
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  • Alutiiq Museum Bulletin
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