Museum Research

Smithsonian Institution, National Museum of Natural History, Department of Anthropology, Arctic Studies Center March 2003

RESEARCHING MASKS AT THE SMITHSONIAN

I was fortunate enough to celebrate the week of my birthday in March by researching Bristol Bay, Norton Sound, Nunivak, Yukon, and Kuskokwim masks, drums, and other Yup'ik artifacts at the Smithsonian Institution, Department of Anthropology, Arctic Studies Center. With the assistance of Dr. Stephen Loring, I studied hundreds of Yup'ik artifacts collected by E.W. Nelson and others stored at the Museum Support Center (MSC). The Smithsonian's Department of Anthropology has an impressive collection of Yup'ik artifacts which are excellent examples of Yup'ik ingenuity, craftsmanship, and artistry. The collection gives one a sense of the Yup'ik worldview and the significance of Yup'ik cosmology in all aspects of traditional Yup'ik life. This is indeed a powerful and moving collection providing us with a vital link to the rich and colorful Yup'ik past and worldview. The pieces are stored in an excellent state of the art facility and are handled with the care they deserve. The collection was so powerful, spiritual, and precious to me that I found myself shaking every time I picked up and examined a mask, drum, or other artifact. As my apa Cunar would do and with him in mind, I took great care in spiritually protecting myself when handling the collection.

The focus of my brief research project was to do an initial assessment of the number and condition Yup'ik masks and drums in the collection. Due to time constraints, I only had enough time to see about 1/3 of the northern mask collections which was enough to pique my curiosity and consider future research projects. I also focused my study on traditional Yup'ik carving and design techniques utilized in the making of traditional masks and drums which will be incorporated into my own artwork. And, I wanted to study the thematic design characteristics consistent in traditional designs against what I already know and understand about traditional Yup'ik masks and drums.

OUTCOME OF RESEARCH AND RECOMMENDATIONS

To a limited degree, I achieved most of my objectives but also realize that I simply scratched the surface in terms of working with such a large collection. I was honored to have the opportunity to glimpse into my Yup'ik past and was thrilled to have worked with the Smithsonian's experts and well trained staff. As I worked with the collections, the excitement and anticipation was rewarded each time another cabinet or drawer was opened revealing a breath taking treasure of artifacts. Photographs, images, and drawings do no justice to the actual pieces in the collection; you must see them with your own eyes and let your senses take in the rest. When you smell the smoke and see the soot from the gasqiq on the masks, smell the seal oil in the in the lamps, and see the blood on the shaman's mask, you begin to realize that we are not so far removed from our Yup'ik "History". Realizing that the pieces I handled were from my grandparent's and great grandparent's lives was sobering and touched a part of my soul bringing tears to my eyes.

With all the radical changes our people have endured over the last 3-4 generations, experiencing these pieces from a contemporary Yup'ik point of view gave me a unique perspective of our culture! The pieces in the collections provide evidence that Yup'ik peoples are highly skilled and talented artisans who are very clever, creative, imaginative, and extremely intelligent. The nature of the work also shows that Yup'ik people were extremely resourceful, skilled survivors, strong in stature, and were so spiritual that it is reflected in every aspect of Yup'ik, tools, life and art.

I definitely feel the need, and have a personal commitment, to do additional follow-up work with the Yup'ik collection. I would welcome future projects to reassemble, repair, and/or provide more detailed educational documentation on these pieces through educational video, photography, or audio recordings with the assistance of elders and youth. After seeing the collection, I recognize the significance of this collection and the need for further comprehensive documentation utilizing existing cultural resources before they are no longer available. Even if we do not have stories associated with each piece, we still can document specific design elements, carving techniques, tools utilized, and symbolic meaning within the works. With this in mind, I would like to present some of my findings and suggestions to Native organizations and other Native researchers.

Based on the database printouts provided by the Smithsonian, I found basic to very limited information provided in the actual Smithsonian database about the piece or elements found within the piece (i.e. colors, materials used, size, weight, number of parts included in the composite piece, tools utilized...). Current and newly updated information and existing publications may be referenced when the database is upgraded.
The ongoing effort to bring in elders and youth documenting relevant information about artifacts should be continued and supported. This could be done as an educational project utilizing video tape and later formatted for educational purposes. I strongly believe that Yup'ik youth be involved with the elders in this project as part of cultural enrichment and to physically connect with their past. Information from this project may be added or referenced to the database when it becomes available.
Based on sketches and notes taken when masks were initially collected, a number mask appendages are separated from the actual mask itself making it an incomplete piece. Since it appears that separation occurred after the pieces were collected, an effort should be made to rejoin mask appendages to the original masks. It also appears (based on original sketches and upon close inspection) that some appendage items may have been cut or broken off after they were collected; possibly done to accommodate shipping or moving of the pieces. If initial sketches done by Nelson and others indicate appendages attached, the pieces should be brought back to the original state using original types of materials. It would also be helpful to record number of holes and attachment points existing on each mask in the database.
Due to initial handling and treatment applied to pieces, it appears (based on sketches and notes) that many of the feathers and fur originally on masks and dance fans have deteriorated,are barely visible, or are severely damaged. If drawings indicate fur or feathers when originally collected, some type of replacement or repair work, in accordance with the Smithsonian's guidelines, may need to be considered. If replacement is considered, original types of materials and techniques must be utilized.
I noted that a number of masks were stored disassembled due to size. To minimize damage, it may be advisable to re-assemble masks and provide storage cradles (I've seen this on other masks in the collection) to protect them from the damage caused by disassembling and reassembling. And, from a Yup'ik perspective, it seems appropriate that they be stored as found in their original found state and to prevent separation of pieces in the future.
I noted that a few mask pairs split up in the collection. In spite of the fact that collection times and dates may vary, it would be appropriate to bring original mask pairs together and, if not already done, note pairs in the database.
I highly recommend that all Yup'ik carvers, artist, and Yup'ik cultural educators take the time to see this invaluable collection because of the range of technical abilities expressed in the works. It is an awesome collection in its scope and scale and the cleverness of the pieces will forever influence your work. If you do plan to see the collection, be prepared to make whatever contributions you can.
If not already in place, an Alaskan Native carvers guild should be established including, as one of its goals, to research and document specific information about carving, design, and engineering techniques found in the masks, drums, and artifacts in the collection. The carving guild may want to consider a role in the repair and restoration of damaged or deteriorated artifacts. I strongly feel the need to be involved with this and would welcome the opportunity to work on such a project.

Several project are possible and I am sure the Smithsonian's Anthropology Department has other project ideas for Native researchers. In terms of research, the Anthropology Department would definitely know the priorities of the collections better then I do. Make sure you give yourself plenty of time to see the collection as it is extensive. I was in the storage facility for 4 days, plowed through a 73 page database inventory containing several pieces on each page, and only saw about 1/3 of the mask collection. AND, most importantly, plan ahead and identify a focus for what you want to research or look at. The Anthropology department would be more then happy to provide you with a printout of what they have in their collection. To make arrangements to see and work on the collection contact the Smithsonian Institute, Anthropology Department, Arctic Studies Center, read the collections policy, and fill out the on-line request form. Research funds for Native researchers are available and links will be provided when they are made available.