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The Collaborative Representation of Alutiiq Identity Une Représentation En Collaboration De L’Identité Alutiiq Aron L
Document généré le 28 sept. 2021 22:54 Études/Inuit/Studies Terms of engagement: The collaborative representation of Alutiiq identity Une représentation en collaboration de l’identité alutiiq Aron L. Crowell Art et représentation Résumé de l'article Art and representation Le livre et l’exposition Looking Both Ways: Heritage and Identity of the Alutiiq Volume 28, numéro 1, 2004 People (Regards croisés: patrimoine et identité du peuple alutiiq) présentent une perspective à la fois alutiiq et anthropologique d’une société autochtone URI : https://id.erudit.org/iderudit/012637ar d’Alaska. Ce projet, fondé sur un partenariat communautaire et mené par la DOI : https://doi.org/10.7202/012637ar Smithsonian Institution et le Musée alutiiq de Kodiak, est considéré sous plusieurs angles: identité culturelle et revitalisation de la région alutiiq, nouveau paradigme de l’anthropologie en collaboration et opposition des Aller au sommaire du numéro modèles essentialistes et constructivistes du changement culturel. On propose l’existence d’une «logique culturelle» alutiiq de liens ancestraux, de parenté, de lieu et d’un milieu riche qui agissent comme fondements de la permanence de Éditeur(s) l’identité à travers deux siècles de transformations culturelles. L’entente de collaboration dans le cadre de projets sur le patrimoine autochtone est Association Inuksiutiit Katimajiit Inc. présentée comme un engagement complexe mais indispensable à l’anthropologie contemporaine. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Crowell, A. L. (2004). Terms of engagement: The collaborative representation of Alutiiq identity. Études/Inuit/Studies, 28(1), 9–35. https://doi.org/10.7202/012637ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur. -
Arts and the Southeast Economy
S OUTHEAST CONFERENCE The Arts Economy of Southeast . Alaska Photo by Clark Mischler Tree carving on Mount Roberts by master carver Richard Beasley September 2014 Our Arts Economy Southeast Alaska Arts Data KEY FINDINGS Artists and arts organizations are a key part ! The arts are an important component of the of the Southeast Alaska economy. They regional economy. Altogether artist, arts $57.8 Million: Dollars create products and perform services. They organization, and audience spending in spent by artists, arts generate spending and attract audiences, Southeast Alaska totaled an estimated $57.8 organizations and who in turn spend money at restaurants, million in 2013. audiences in 2013 hotels, and other local businesses. Artists impact education, and by positively Based on an analysis of our survey data, self- ! contributing to the quality of life, they attract employment tax returns, and wage and labor 2,340: Number of young people to the region, and help retain data, there are an estimated 2,340 Southeast artists with earnings Alaska artists who earned revenue from their those who are here. from arts in 2013 art in 2013. Altogether, these artists earned The purpose of this publication is to consider an estimated $29.9 million last year. In terms (full & part time) the role of arts in the Southeast Alaska of workforce earnings, the arts sector is ! economy. nearly twice the size of the regional timber $29.9 Million: industry. Revenue earned by METHODOLOGY Calculating the economic impact of art and Unlike employees in other industries, most regional artists in 2013 artists is notoriously difficult. -
Solving the Mystery of Chaco Canyon?
VIRTUALBANNER ARCHAEOLOGY BANNER • BANNER STUDYING • BANNER PREHISTORIC BANNER VIOLENCE BANNER • T •ALE BANNERS OF A NCIENT BANNER TEXTILE S american archaeologyWINTER 2012-13 a quarterly publication of The Archaeological Conservancy Vol. 16 No. 4 SOLVINGSOLVING THETHE MYMYSSTERYTERY OFOF CHACHACCOO CANYONCANYON?? $3.95 $3.95 WINTER 2012-13 americana quarterly publication of The Archaeological archaeology Conservancy Vol. 16 No. 4 COVER FEATURE 26 CHACO, THROUGH A DIFFERENT LENS BY MIKE TONER Southwest scholar Steve Lekson has taken an unconventional approach to solving the mystery of Chaco Canyon. 12 VIRTUALLY RECREATING THE PAST BY JULIAN SMITH Virtual archaeology has remarkable potential, but it also has some issues to resolve. 19 A ROAD TO THE PAST BY ALISON MCCOOK A dig resulting from a highway project is yielding insights into Delaware’s colonial history. 33 THE TALES OF ANCIENT TEXTILES BY PAULA NEELY Fabric artifacts are providing a relatively new line of evidence for archaeologists. 39 UNDERSTANDING PREHISTORIC VIOLENCE BY DAN FERBER Bioarchaeologists have gone beyond studying the manifestations of ancient violence to examining CHAZ EVANS the conditions that caused it. 26 45 new acquisition A TRAIL TO PREHISTORY The Conservancy saves a trailhead leading to an important Sinagua settlement. 46 new acquisition NORTHERNMOST CHACO CANYON OUTLIER TO BE PRESERVED Carhart Pueblo holds clues to the broader Chaco regional system. 48 point acquisition A GLIMPSE OF A MAJOR TRANSITION D LEVY R Herd Village could reveal information about the change from the Basketmaker III to the Pueblo I phase. RICHA 12 2 Lay of the Land 50 Field Notes 52 RevieWS 54 Expeditions 3 Letters 5 Events COVER: Pueblo Bonito is one of the great houses at Chaco Canyon. -
Anchorage Native News
Celebrating 25 years of family wellness Volume 9, Number 1 • January/February 2007 Anchorage Native News Celebrating 25 years of family wellness The Gathering Saturday, February 10, 2007 10:30 a.m. to 3:30 p.m. th Egan Civic & Convention Center 25 Anniversary Everyone is invited to attend and it’s free! Explore services available in the Anchorage community •Information booths and displays •Purchase Native arts and crafts •Free refreshments Families are invited to participate in these special activities •Face painting •Horse-drawn carriage rides •Anchorage Fire Department fire trucks While at the Gathering, enter drawings to win •iPod •Southcentral Foundation jackets •Native art Southcentral 1982-2007 Foundation Southcentral Foundation Non-Profit Org. 4501 Diplomacy Drive US Postage CONTENTS Anchorage, AK 99508 PAID Anchorage, AK Permit No. 1022 Forwarding Service Requested TRADITIONAL HEALING 6 ELDER DRUM 7 th SCF PHOTO ALBUM 8-9 25 Anniversary HEAD START 10 Anchorage Native News January/February 2007 SCF Vision/Mission Page 2 Southcentral Foundation celebrates 25 years of family wellness nonprofits, employing more than 1,300 changes in the philosophy, structure and people in over 65 programs. delivery of the direct services offered to its The organization has developed and customer/owners. implemented comprehensive health- In January 1999, SCF and the Alaska Native related services to meet changing Tribal Health Consortium signed an agreement needs, enhance culture, and empower for co-management of Indian Health Service individuals and families to take charge programs on the Alaska Native Health Campus, of their lives. the location of the ANMC, the PCC, SCF's main Currently, SCF serves over 46,800 administration building and several other Alaska Native and American Indian facilities. -
Anchorage Museum Press
MEDIA KIT 625 C Street Anchorage, Alaska 99501 (907) 929-9200 www.anchoragemuseum.org TABLE OF CONTENTS PG 1 Anchorage Museum overview, including permanent exhibitions, visitor favorites, admission, hours and more PG 3 Polar Lab overview, including story ideas for this initiative exploring life in the North PG 5 Smithsonian Arctic Studies Center fact sheet, including the background and features of this Alaska Native cultural treasure PG 8 Discovery Center fact sheet, including key features of this science facility for hands-on learning PG 10 Alaska Gallery Redesign, including changes to this popular gallery PG 11 Expansion 2017 - Rasmuson Wing, outlining how the museum will put more of its art collection on display PG 12 Anchorage Museum images MEDIA INQUIRIES Laura Carpenter, Public Relations Manager, (907) 929-9227, [email protected] P. 2 Janet Asaro, Director of Marketing and Public Relations, (907) 929-9229, [email protected] 625 C Street Anchorage, Alaska 99501 (907) 929-9200 www.anchoragemuseum.org MUSEUM OVERVIEW The Anchorage Museum’s mission is to connect EVENTS Offering a rich programming for people, expand perspectives, and encourage visitors of all ages, the museum inspires global dialogue about the North and its distinct people to gather, engage their senses and environment. Located in the heart of downtown exchange ideas. Programs include tours, Anchorage, the museum offers a distinct cultural family activities, artist installations and lectures, performances and art classes. experience for residents and visitors. CELEBRATING LIFE IN THE NORTH ART, HISTORY AND SCIENCE SPACES ALASKA GALLERY Dedicated to the history of SIZE The Anchorage Museum is the largest museum in the state, with more than Alaska’s people, the gallery features artifacts 170,000 square feet of indoor galleries from the many distinct Alaska Native cultures, and public space. -
N. Paradoxa, Four Exhibits of Alaska Native Art
Fow Exhibits ofAlaska Native Art --------- ---- Women Artists Breaking -Boundaries - -------- If an event, or a group of events can symbolize the dynamic Chateau MusCe du Boulogne sur Mer in France to study the of a time, recent exhibits of Alaska Native' art arguably largest collection of historical Alutiiq masks. This historical represent the changing position ofAlaska Native women artists. collection had been assembled between 187 1- 1872 by Consider the following four recent exhibitions: Alphonse Pinart. Although historically women fiom Kodiak From November 2007 to February 2008 the exhibit Island never made masks, this exhibit included the work of Contemporary Alaska Native Art from the Museum two female carvers, Lena Amason and Coral Chemoff, a Collection was on display at the Anchorage Museum of basket weaver, jeweller and carver. History and Art. Susie Silooks' sculpture Old Bering Sea On February 27, 2008 the Hilton Hotel in Anchorage, Woman was included in this exhibit. Using inspiration &om Alaska hosted KNBA radio station's annual Alaska Native artifacts discovered in archaeological excavations from art auction. The art presented for the auction included Silook's ancestral home on St. Lawrence Island in Alaska, jewellery, paintings, wearable art, and other mixed medn this sculpture is covered in detailed shallow relief carving Sonya Kelliher-Combs, an Inupiat, Athabascan artist reminiscent of designs found on Old Bering Sea objects. originally from Norne, Alaska donated a mixed media piece Although Silook works in a medium traditionally reserved titled Her Favorite Color was Blue, a hpuk,the traditional hr~teffite$+ ssulptures areaccepted withnutquestion evegdg dress worn by Alaska Native women, decorated ----- -------- - both within her community and at museums and galleries. -
Filming a Makah Village for Jim Jarmusch' S Dead Man
FILMING A MAKAH VILLAGE FOR JIM JARMUSCH' S DEAD MAN by TODD J. TUBUTIS BA. (honours), Beloit College, 1992 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Anthropology & Sociology We accept this thesis as conforming to the required standard: V THE UNIVERSITY OF BRITISH COLUMBIA July 1998 ©Todd J. Tubutis, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Anthropology & Sociology The University of British Columbia Vancouver, Canada Date 6 August 1998 DE-6 (2/88) ABSTRACT This thesis looks at ethnographic film using Jim Jarmusch's 1996 Dead Man as a "site." Dead Man's penultimate scene portrays a Northwest Coast village using Makah actors and Makah- made set pieces. The production of this scene provides a setting where mainstream American culture, represented by a Hollywood film crew, comes into contact with Makah culture in a collaborative filmmaking effort, making Dead Man a site of cultural negotiation and mediation. By contextualizing Dead Man with earlier films from the Northwest Coast by Edward S. Curtis and Franz Boas, by examining the film's production through the words of the participants, and by incorporating theoretical notions of contact zones, authenticity, and experience, the author gleans an understanding of the contemporary Makah experience of Dead Man. -
AN ALASKA NATIVE CORPORATION | CIRI.COM | JANUARY 2016 01 a WORD from the PRESIDENT Sophie Minich, CIRI President and Chief Executive Officer
SHAREHOLDER NEWSLETTER JANUARY 2016 Make a Panda Express to CIRI champions Difference 03 Tikahtnu 03 Color of Justice 04 President’s message ......................2 Shareholder estates .......................4 In memory.......................................5 Junior NYO Games.........................2 Important CIRI dates ......................4 Winner’s circle 5Save the date: Job Missing shareholders.....................3 Coming soon: SCF Gathering .........5 Resources .......................................6 spotlight CIRI shareholder, Michael Clark Sr. Left: CIRI shareholder and executive Greg Razo delivers the findings of a special commission formed to recommend reforms to the Alaska criminal justice system. Right: Razo shakes hands with Gov. Bill Walker who committed to work with Michael Clark Sr. the legislature to enact reforms. Michael Clark Sr. has a reputation. When he goes CIRI EXECUTIVE HELPS LEAD PUSH TO REFORM to art shows, the other artists know him as the ATM ALASKA CRIMINAL JUSTICE SYSTEM killer – the guy who persuades customers to pull out cash and buy his stone carvings until the ATM is empty. It’s a pretty good reputation to have. When a special commission released its list of “The numbers speak for themselves—we spend 60 recommendations to reform Alaska’s criminal justice percent more on corrections than we did 20 years Clark has been carving stone since he was eight system, it was CIRI shareholder and executive Greg ago; our prison population has grown 27 percent years old. A technique he picked up from relatives Razo who stood at the podium to deliver the findings. in the last decade; and two out of three inmates who lived in the Nome area. Even a dangerous who leave prison return within three years. -
Alaska Native Arts Education Survey. INSTITUTION Alaska State Council on the Arts, Anchorage
DOCUMENT RESUME ED 404 230 SO 025 968 AUTHOR Naccereto, R. W. TITLE Alaska Native Arts Education Survey. INSTITUTION Alaska State Council on the Arts, Anchorage. SPONS AGENCY Alaska State Dept. of Education, Juneau.; National Endowment for the Arts, Washington, D.C. PUB DATE May 91 NOTE 30p. AVAILABLE FROM Alaska State Council on the Arts, 411 West 4th Avenue, Suite 1E, Anchorage, Alaska 99501-2343. PUB TYPE Reports Research/Technical (143) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Alaska Natives; American Indians; *Art Education; Artists; Community Resources; Curriculum Development; Elementary Secondary Education; Instructional Materials; Visual Arts IDENTIFIERS *Alaska; Artists in Schools Program; Arts Organizations ABSTRACT In 1987 the Alaska Department of Education conducted a survey of the state fine arts curriculum. The resulting information revealed an inconsistency in Alaska Native Arts Education throughout the state. To explore this situation further, the Arts in Education Program conducted its own survey in the spring of 1990, entitled, "Native Arts Curriculum in the Schools." This survey was sent to 55 districts and was returned by 54. A similar survey, "Native Arts Educational Programming" was returned by 14 Native/Arts organizations. The findings indicated: (1)11 districts have a formal arts curriculum, with formal defined as a complete packaged guide. 30 districts have an informal curriculum that integrates Native Arts into other areas such as social studies or literary arts. 13 districts had no Native Arts curriculum.(2) -
Decolonizing Alaska Catalog
De colo nizing Al aska DEDICATED THANK YOU DECOLONIZING to Ron Senugetuk ALASKA Decolonizing Alaska is made possible with the Exhibits Curator, Andrew Goldstein provided visionary support of Bunnell Street Arts Center, invaluable advice and resources at every level of In honor of his commitment to nurturing great artists and Decolonizing Alaska is an important exhibition for Alaska this project’s development. Their professionalism encouraging them to reach farther and to resist the confines of its Board, Advisory Council, artists, staff and to encourage discussion about decolonization for Alaska’s and generosity evidence a deep commitment to colonization and categorization. volunteers. The exhibit and tour has been at Indigenous peoples through the arts. least three years in development and many, Alaska’s culture. orn in Wales, Alaska, Ron Senungetuk grew up with traditional B many hours of correspondence, grant-writing, When Alaska was colonized by pioneers, outsiders tried Iñupiaq values. He was sent to study at the Bureau of Indian Director of the Corcoran School of Arts and budgeting, and planning. I have been deeply to change us to American ways of thinking and being. Affairs high school in Sitka. Senungetuk then received his Design at the George Washington University, encouraged by our shared commitment to this We were still functioning as people of the land. Along the Bachelor of Fine Arts from the School for American Craftsman curator Sanjit Sethi has my sincere admiration work. way, Alaska Native art, as we know it, became art of their for his many exemplary projects to create space at the Rochester Institute of Technology, and a degree from choice, not necessarily ours. -
Todd Communications BOOKS LISTED by LITERARY CATEGORY on COLORED PAPER
BOOKS LISTED IN ALPHABETICAL ORDER IN FIRST WHITE SECTION. Todd Communications BOOKS LISTED BY LITERARY CATEGORY ON COLORED PAPER. 2021 CATALOG 2022 CDs Audio Holiday Note Cards Postcards NON-BOOK ITEMS CALENDARS CDs Multimedia Maps Prints & Posters LISTED IN Calendars Note Cards DVDs LAST WHITE SECTION See back of order form at the end of the last white section for wholesale calendar prices. 2022 Calendar available June 2021 Spectacular shots of bald Photos of Iditarod & Images by Alaska Northern Lights over Alaska Beautiful photos by Thirteen beautiful paintings Anchorage showcased eagles — young and old Yukon Quest races with all wildlife photographer by some of the 49th state’s Denali photographer & poet by Alaska’s finest artist, by photographer mushers’ finishing times Didier Lindsey finest photographers Jimmy Tohill Sydney Laurence Bob Hallinen Todd Communications TOP 20 SELLING ALASKA BOOKS 1 2 3 4 5 Milepost Boreal Simply Molly of Mama, Do You 2019 (71st Herbal: Wild Sourdough: Denali: Love Me? ed.) Food and The Alaskan A-Maze-Ing By Barbara M. Medicine Edited by Way Snow Joose Illustrated Plants of the by Barbara Kris Valencia (with sourdough Written and Graef North Lavallee by Beverley Gray packet) illustrated by 8.5”X 11” 5” X 6.2” 8” X 10” By Kathy Doogan WGBH Kids Soft Cover Board Book Soft Cover 5.25” X 8.5” 8” X 8” $6.99 $34.95 $44.95 Soft Cover Saddle Stitch $8.95 $4.99 6 7 8 9 10 Molly of Denali: A Wolf Called Alaska Raw Double Musky Molly of Party Moose Romeo By Bob Lacher Inn Cookbook: Denali: (I Can Read By Nick Jans -
Fran Durner Collection, B2016.004
REFERENCE CODE: AkAMH REPOSITORY NAME: Anchorage Museum at Rasmuson Center Bob and Evangeline Atwood Alaska Resource Center 625 C Street Anchorage, AK 99501 Phone: 907-929-9235 Fax: 907-929-9233 Email: [email protected] Guide prepared by: Sara Piasecki, Archivist TITLE: Fran Durner Collection COLLECTION NUMBER: B2016.004 OVERVIEW OF THE COLLECTION Dates: 1974-2005 Extent: 13 boxes; 13 linear feet Language and Scripts: The collection is in English. Name of creator(s): Fran Durner Administrative/Biographical History: Award-winning photojournalist Fran Durner came to Alaska in 1973. She worked for the Anchorage Times from 1976-1979 and the Anchorage Daily News from 1979-2010. She did freelance work for numerous publications including Life, National Geographic, Time and Der Spiegel. Scope and Content Description: The collection consists of 7354 color and black-and-white negatives, 35mm color transparencies, color and black-and-white prints, as well as news clippings, field notes, and other ephemera pertaining to the freelance photojournalism work of Fran Durner in Alaska during the 1970s-1990s. For more information, see Detailed Description of Collection. Arrangement: Arranged by format and subject. Subject categories primarily from original containers. Oversize mounted photographs arranged chronologically. CONDITIONS GOVERNING ACCESS AND USE Restrictions on Access: The collection is open for research use. Physical Access: Original items in good condition. Some slides damaged by decomposition of original plastic sleeves. One negative strip damaged by glassine adhesion. Technical Access: No special equipment is needed to access the materials. Conditions Governing Reproduction and Use: The Anchorage Museum is the owner of the materials and makes available reproductions for research, publication, and other uses.