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Now in a full-color second edition, Not Just a Pretty Face is an engaging exploration of the role of dolls and doll making in Alaska Native cultures. From ancient ivory carvings to the thriving tourist market, dolls and human figurines have played integral parts in the ritual, economic, and social lives of Native Alaskans. Dolls served as children's playthings, represented absent community members at ceremonies, and predicted the movements of game animals for shamans. Not Just a Pretty Face surveys these and other uses of dolls and figurines, illustrating in beautiful color photographs the diversity of the doll-making tradition in Eskimo, Athabaskan, and Northwest Coast Native communities. Authors explore the ethnographic literature, twentieth-century oral histories, and photographic documentation of dolls and the doll-making process. Contemporary doll makers explain, in their own words, how they learned to make dolls and what doll making means to them. The second edition features a photo essay on Rosalie Paniyak of Chevak, one of the most influential doll makers in Alaska today. Not Just a Pretty Face provides a panoramic view of an ancient tradition and situates the art of doll making within a contemporary context. Scholarly, yet accessible, Not Just a Pretty Face is a lively contribution to the literature on dolls, anthropology, and Native studies.
The human desire to adorn the body is universal and timeless. While specific forms of body decoration and the motivations for them vary by region, culture, and era, all human societies have engaged in practices designed to augment and enhance people’s natural appearance. Tattooing, the process of inserting pigment into the skin to create permanent designs and patterns, is one of the most widespread forms of body art and was practiced by ancient cultures throughout the world, with tattoos appearing on human mummies by 3200 BCE. Ancient Ink, the first book dedicated to the archaeological study of tattooing, presents new, globe-spanning research examining tattooed human remains, tattoo tools, and ancient art. Connecting ancient body art traditions to modern culture through Indigenous communities and the work of contemporary tattoo artists, the volume’s contributors reveal the antiquity, durability, and significance of body decoration, illuminating how different societies have used their skin to construct their identities.
Analyzes and describes two assemblages of artifacts excavated in the 1930s from the Hillside Site; the first by Henry B. Collins in 1930 and 1931; the second by J.L. Giddings in 1939.
This book introduces readers to the belief and symbolism present in the prehistoric art of the Bering Strait region. For about a century, the archaeology of this area has mainly focused on material, economic, and technological perspectives, leaving studies of prehistoric spirituality, religion, and cosmology to be under-conceptualized. This text questions the nature of materiality, and the relationship between it and spirituality. It employs an analytical and methodological approach located within the frameworks of practice theory and animist ontologies to open up thought-provoking avenues for interpretive possibility. This book also provides new knowledge about the prehistoric material culture of ancient Inuit people, and offers an assessment of contemporary archaeological theories, such as cognitive archaeology, structural archaeology, and shamanism theory, in order to examine the reliability of these theories in the studies of prehistoric art. According to the ontological trend which has constituted a powerful challenge to traditional nature/culture and body/mind dichotomies, this book reconsiders prehistoric Inuit cultures, providing an analysis of therianthropic motifs on prehistoric ivories to explore potential shamanism within ontological and cosmological structures.
The appearance during the first millennium A.D. of small, exquisitely carved artifacts of walrus ivory in the Bering Strait region marks the beginning of an extraordinary florescence in the art and culture of North America. The discovery in the 1930s and 1940s of world-class carvings of animals, mythical beasts, shape-shifting creatures, masks, and human figurines astounded scholars and excited collectors. Nevertheless, the extraordinary objects that belong to this fascinating, sometimes frightening, world of hunting-related art remain largely unknown. Gifts from the Ancestors examines ancient ivories from the coast of Bering Strait, western Alaska, and the islands in between--illuminating their sophisticated formal aesthetic, cultural complexity, and individual histories. Many of the pieces discussed are from recent Russian excavations and are presented here for the first time in English; others are from private collections not usually open to the public. The essays, written by an international group of scholars, adopt a refreshing interdisciplinary approach that gives voice to the various competing, and now sometimes cooperating, stakeholders, including Native groups, museums, archaeologists, art historians, art dealers, and private collectors.