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Circumpolar Inuit Economic Summit
VOLUME 10, ISSUE 1, MARCH 2017 Inupiaq: QILAUN Siberian Yupik: SAGUYA Summit Participants. Photo by Vernae Angnaboogok Central Yupik: CAUYAQ UPCOMING EVENTS Circumpolar Inuit Economic Summit April 1-3 ICC Executive Council Meeting • Utqiagvik, By ICC Alaska Staff Alaska • www.iccalaska.org April 6 At the first international gathering of Inuit in June 1977 at Barrow, Alaska, First Alaskans Institute: Indigenous the Committee for Original Peoples’ Entitlement (COPE) offered up two Research Workshop • Fairbanks, Alaska • www.firstalaskans.org resolutions concerning cross-border trade among Inuit. April 11-12 Bethel Decolonization Think-Tank • Bethel, The first resolution called for a sub-committee with representatives from each Alaska • www.iccalaska.org region to investigate and report on possible new economic opportunities and April 7-9 Alaska Native Studies Conference • Fairbanks, trade routes. It stated that the discovery of oil and gas and our ownership Alaska • www.alaskanativestudies.org or royalties provided capital needed for reinvesting in and promoting Inuit April 24-27 industry. International Conference on Arctic Science: Bringing Knowledge to Action • Reston, Virginia • www.amap.no The second resolution called for a sub-committee on energy to investigate the May 10 feasibility of a circumpolar Inuit energy policy. These two resolutions were I AM INUIT Exhibit Event at the UAF Art Gallery tabled nearly forty years ago by the Inuvialuit of western Canada. • Fairbanks, Alaska • www.iaminuit.org May 11 In 1993, ICC held an Inuit Business Development Conference in Anchorage, 10th Annual Arctic Council Ministerial Meeting • Fairbanks, Alaska • Alaskan to discuss: trade and travel; strengthening economic ties and; natural www.arctic-council.org resources and economies. -
A Customs Guide to Alaska Native Arts
What International travellers, shop owners and artisans need to know A Customs Guide to Alaska Native Arts Photo Credits: Alaska Native Arts Foundation Updated: June 2012 Table of Contents Cover Page Art Credits……………………………………….……………..………………………………………………………………………………………………………………24 USING THE GUIDE ................................................................................................................................................................................ 1 MARINE MAMMAL HANDICRAFTS - Significantly Altered .............................................................................................................. 3 COUNTRY INFORMATION ................................................................................................................................................................... 4 In General (For countries other than those listed specifically in this guide) ............................................................................... 4 Australia ............................................................................................................................................................................................... 5 Canada ................................................................................................................................................................................................. 6 European Union ................................................................................................................................................................................. -
Ancient DNA Reveals the Chronology of Walrus Ivory Trade from Norse Greenland
bioRxiv preprint doi: https://doi.org/10.1101/289165; this version posted March 27, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Title: Ancient DNA reveals the chronology of walrus ivory trade from Norse Greenland Short title: Tracing the medieval walrus ivory trade Bastiaan Star1*†, James H. Barrett2*†, Agata T. Gondek1, Sanne Boessenkool1* * Corresponding author † These authors contributed equally 1 Centre for Ecological and Evoluionary Synthesis, Department of Biosciences, University of Oslo, PO Box 1066, Blindern, N-0316 Oslo, Norway. 2 McDonald Institute for Archaeological Research, Department of Archaeology, University of Cambridge, Downing Street, Cambridge CB2 3ER, United Kingdom. Keywords: High-throughput sequencing | Viking Age | Middle Ages | aDNA | Odobenus rosmarus rosmarus bioRxiv preprint doi: https://doi.org/10.1101/289165; this version posted March 27, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Abstract The search for walruses as a source of ivory –a popular material for making luxury art objects in medieval Europe– played a key role in the historic Scandinavian expansion throughout the Arctic region. Most notably, the colonization, peak and collapse of the medieval Norse colony of Greenland have all been attributed to the proto-globalization of ivory trade. -
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. -
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. -
The Ivory Trade: the Single Greatest Threat to Wild Elephants
THE IVORY TRADE: THE SINGLE GREATEST THREAT TO WILD ELEPHANTS Elephants have survived in the wild for 15 million years, but today this iconic species is threatened with extinction due to ongoing poaching for ivory. As long as there is demand for ivory, elephants will continue to be killed for their tusks. According to best estimates, as many as 26,000 elephants are killed every year simply to extract their tusks. A Brief History of the Ivory Trade Demand for ivory first skyrocketed in the 1970s and 1980s. The trade in ivory was legal then -- although for the most part it was taken illegally. During those decades, approximately 100,000 elephants per year were being killed. The toll on African elephant populations was shocking: over the course of a single decade, their numbers dropped by half. In October of 1989 the UN Convention on International Trade in Endangered Species (CITES) voted to move African elephants from Appendix II to Appendix I, affording the now highly endangered animal the maximum level of protection, effectively ending trade in all elephant parts, including ivory. With the new Appendix 1 listing, the poaching of elephants literally stopped overnight. The ban brought massive awareness of the plight of elephants, the bottom dropped out of the market, and prices plummeted. Ivory was practically unsellable. For 10 years, the global ban stood strong and it seemed the crisis had ended. Elephant numbers began to recover. Unfortunately, the resurgence in elephant populations, while nowhere near the numbers prior to the spike in trade, was nevertheless a catalyst for some African countries to consider reopening the trade. -
Viking Age Settlement and Medieval Walrus Ivory Trade in Iceland and Greenland
City University of New York (CUNY) CUNY Academic Works Publications and Research Hunter College 2015 Was it for walrus? Viking Age settlement and medieval walrus ivory trade in Iceland and Greenland Karen M. Frei National Museum of Denmark Ashley N. Coutu University of Cape Town Konrad Smiarowski CUNY Graduate Center Ramona Harrison CUNY Hunter College Christian K. Madsen National Museum of Denmark See next page for additional authors How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_pubs/637 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Authors Karen M. Frei, Ashley N. Coutu, Konrad Smiarowski, Ramona Harrison, Christian K. Madsen, Jette Arneborg, Robert Frei, Gardar Guðmundsson, Søren M. Sindbækg, James Woollett, Steven Hartman, Megan Hicks, and Thomas McGovern This article is available at CUNY Academic Works: https://academicworks.cuny.edu/hc_pubs/637 Was it for walrus? Viking Age settlement and medieval walrus ivory trade in Iceland and Greenland Karin M. Frei, Ashley N. Coutu, Konrad Smiarowski, Ramona Harrison, Christian K. Madsen, Jette Arneborg, Robert Frei, Gardar Guðmundsson, Søren M. Sindbæk, James Woollett, Steven Hartman, Megan Hicks and Thomas H. McGovern Abstract Walrus-tusk ivory and walrus-hide rope were highly desired goods in Viking Age north-west Europe. New finds of walrus bone and ivory in early Viking Age contexts in Iceland are concentrated in the south-west, and suggest extensive exploitation of nearby walrus for meat, hide and ivory during the first century of settlement. -
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) -
Todd Communications BOOKS LISTED by LITERARY CATEGORY on COLORED PAPER
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