The "Inviting-in" Feast of the Alaskan Eskimo


Book Description

Report on author's observations of "inviting-in" feast held by Eskimos at St. Michael, Alaska in January, 1912. Feast is appeal to spirits represented by masks worn by participants for future success in hunting. Describes the dance house, songs, dances, masks etc. used in connection with this festival. (AB 6776).







The "Inviting-in" Feast of the Alaskan Eskimo


Book Description

Explore the rich culture and traditions of the Alaskan Eskimos as it pertains to their annual inviting-in feast. With detailed descriptions of the various customs and rituals involved in the feast, this book offers an insightful glimpse into the lives of a fascinating people. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.







INVITING-IN FEAST OF THE ALASK


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INVITING-IN FEAST OF THE ALASK


Book Description

Excerpt from The "Inviting-In" Feast of the Alaskan Eskimo I found the captain a very liberal man, not at all disposed to interfere with a peaceful native celebration, which had lost most of its religious significance, and which was still maintained mainly for its social significance, and as offering an opportunity for trade between two friendly tribes. The last day of the festival he was invited to attend, as the Eskimo wished him to see the dances for himself, and form his own opinion. On this occasion the Unalaklit chief made a remarkable speech, in which be summed up the native attitude toward the dance. The Eskimo is not given to public speaking, as is the Indian, and usually expresses himself in the shortest possible manner; but under the stress of strong emotion even he becomes eloquent. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.







The Inviting-In Feast of the Alaskan Eskimo


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Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.




The Dance Festivals of the Alaskan Eskimo


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Paper based on observations on the ceremonial dances of the Eskimo in the Bering Strait district.




The Way of Inuit Art


Book Description

Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.