Presentation about the music of the Inpuiat Eskimos.

1. Inupiat Eskimos of the Last Frontier “How many songs I own, I cannot say. I have not kept count of them. I merely know I have many, and that everything in me is song. I sing as I draw breath.” (Quote from a passage from Knud Rasmussen.) This photo is of my sister-in-law’s paternal grandparents. We are unsure of when the photo was taken.

2. People of The Arctic Circle The Inuit people of the north slope region of Alaska are believed to have migrated to this area from Siberian. Inupiat is a language with different dialects, one of which is Inupiaq and the other Inuit. Inupiaq is the primary language spoken by the native Alaskan population of the North Slope region of Alaska. The map above shows the various regions of Alaska and the languages spoken by the natives in the region.

3. Researchers of the People of The Arctic Circle Many studies of the Inupiat Eskimos were conducted during the 19th century. One of the main resources for this project was a book by Ernest Burch Jr. He has written three volumes that cover the lives of the Inupiaq nations and their interactions with the westerners. The first period of study was 1800 through 1848. After that time frame the interactions between westerners and the Alaskan Natives increased significantly due to the arrival of whaling ships and the arrival of the British navy ships. His extensive research combined with various other colleagues gives us his third and final volume, Social Life in Northwest Alaska: The Structure of the Inupiaq Eskimo. The combined work of Ernest Burch and Lorraine Koranda documents numerous facets of the lifestyles of Eskimos in Northwestern Alaska. Lorraine Koranda decided to focus her essay on the Alaskan Eskimos in the arctic region and along the northwestern coast. Her essay documents the sounds, vocals, instruments, dress regalia and various festivals used and observed by this group of people. Her work in documenting the music and culture have provided extraordinary material for this project. Some of these examples are displayed in the following slides. These individuals discuss numerous songs, dances, rituals, and festivals that were an integral part of the Inupiaq world.

4. The People of The Arctic Circle When researchers first came to Alaska the Inupiaq population was spread across a vast area. Otto von Kotzebue visited the area in 1816 and described them as follows: (Burch, 3) This imagine has obviously changed over the past 100 years. Most Inupiaq Eskimos now wear clothes just like you and me. They have grocery stores, but still rely heavily on subsistence to survive. Their music and heritage are more important now then ever before, especially if they hope to keep it alive in the youth of today. Many groups exist today whose main focus is the keep their heritage alive in their youth.

5. The Music Songs were often composed by an individual person. Songs were composed for a variety of reasons. Some of these are: An accompaniment for a dance, Celebration of a successful hunt, As entertainment while doing a boring job An accompaniment for games Songs are sung in unison by male and female voices combining for vocals. Songs used for dancing were typically no more than thirty measures. Songs used for purposes other than dancing were usually shorter than thirty measures. The melody was often “based on a scale possessing five main tones (DEGAC ascending), with microtonal inflections.” (Burch, 361) “The preferred voice quality for public performance is strident, loud, harsh, and without obvious variation in dynamic levels except for stress or accent.” (Korranda, 353)

6. The Music This piece is one example of a song recorded by Lorraine Korranda during her research on the Alaskan Eskimos. This song was a Box Drum Song collected in Kotzebue, Alaska. The piece shows the drum part on the line directly above the staff, while the vocals are listed under the staff as is done with other forms of music. (Koranda, 342)

7. The Music This piece is another example of a song recorded by Lorraine Korranda during her research on the Alaskan Eskimos. The round drum was used in this piece as indicated by number 6. (Koranda, 343)

8. Festivals of the Inupiat People Kivgiq – This festival is typically held every other year in January or February. The mayor of the North Slope Borough is responsible for calling for the festival. Kivgiq is an international event which attracts visitors from around the Arctic Circle. Thanksgiving Community Feast – held as a community potlatch to distribute food to the community around Thanksgiving Christmas Community Feast - held as a community potlatch to distribute food to the community around Christmas. Nalukataq – Spring Whaling Festival Bladder Festival – honors the spirits of sea mammals harvested

10. This festival is a festival held after spring whaling. If no whales are harvested there is no festival.

11. The festivals were arranged and given by the successful whaling captains or ‘umialik’ and his family.

12. A primary purpose of nalukatak was to make peace with “the deceased whales and ensure through magical means the success of future hunting seasons.” (Chance)

14. The dance begins with the umialik, his wife and the crew.

15. Other crew members took turns following the umialik.

17. Festivals of the Inupiat PeopleThe Festival of Kivgiq Click the following link to view a video from Kivgiq 2009. http://www.youtube.com/watch?v=nOnO1_XoqaU In this video you will see an example of the paddle movement and eating.

19. Male dancers portrayed strength, masculinity, and moved about the dance floor.

21. Sayuun:

22. Music, Clothing and Regalia were chosen carefully

23. Dances were taught to a specific group of people and practiced before being performed in public

24. Considerably more sophisticated

25. Atuutipiaq:

26. Anyone who felt like dancing could join in the dance

27. Typically maintained a slower beat

29. Song are considered ceremonial or for purposes of entertainment only.

30. Dancers never touch each other or dance close together.

32. Uuliavik: Dance that involves one woman and two men. The premise of the dance is that one man is trying to take the woman away from the other.

35. Stalking: Leading forward with one side of the body on a diagonal, one arm outstretched and attention/eyes focused on imagined prey.

36. Story Traveling: One hand extended forward in a specific direction, pointing.

37. Paddle: Arms cocked in front of the body, hands shaped as if holding a paddle, movement to either side of the body. Paddle with the beat. The remainder of the items can be viewed at the following website: http://www.uaf.edu/theatre/litooma/intro.html The information regarding movements on this slide were acquired from the following website: http://www.uaf.edu/theatre/litooma/intro.html

38. The Instruments of the Inupiat While other cultures instruments have evolved the Alaska Natives have maintained their simple instruments which are hand-held tambourine-type drum, called keylowtick, kissautqaq or qilaun and the box drum, called kaylukuk. Photos courtesy of http://www.alaska-in-pictures.com/data/media/21/inupiaq-eskimo-drummers_2105.jpg

39. The Instruments of the Inupiat Keylowtick / Kissautqaq / Qilaun – Round Drum Frame The frame of the drum is typically made of a thin strip of wood approximately 60 to 80 inches in length. The wood is soaked and formed into a ring. The handle is made from bone, ivory, or antler that is 4-to-6 inches in length. Photos courtesy of the Sheldon Jackson Museum (http://www.museums.state.ak.us/documents/sjm/artifacts/june-2007.pdf)

40. The Instruments of the Inupiat Keylowtick / Kissautqaq / Qilaun – Round Drum Photos courtesy of the Sheldon Jackson Museum (http://www.museums.state.ak.us/documents/sjm/artifacts/june-2007.pdf) Skin The skin typically comes from an animal typically harvested by the Inupiat families. The skin might come from a walrus stomach, the lining of a caribou or seal intestine, or the membrane of a bowhead whale liver. The item is moistened and then stretched over the wood frame. The skin is held in place by braided sinew. Photos courtesy of the Burke Museum https://www.washington.edu/burkemuseum/collections/ethnology/collections/display.php?ID=44739)

41. The Instruments of the Inupiat Box Drum – “Kaylukuk” This photo shows the box drum. This drum is constructed with open ends on the top and bottom. Two of the sides have five points on them. A design is usually painted around the edge on the top side of the drum. Feathers are often used as decoration, in addition to eagle claws or baleen lacings. The drum is suspended on a tripod or from the ceiling of the qargi. The drum was used primarily in the Messenger Feast ceremony during the 19th century, but many dance groups have used them during concert performances in more recent times.

42. The Instruments of the Inupiat “Kissautqaq” or “Qilaun” – Round Drum The photo in the lower right corner shows a close-up of the handle on the drum from the previous slide. We can see that the handle is made from a piece of bone or antler. The drum handle below appears to be from ivory. The handle in the upper right corner looks to be made from bone. Photos courtesy of the Burke Museum https://www.washington.edu/burkemuseum/collections/ethnology/collections/display.php?ID=44739)

43. The Dress of Dance Groups Male and female dancers/singers wear mukluks, pants of similar color and atiluks during performances. They usually wear formal dance attire during performances, but will wear casual day-to-day clothing for impromptu get-togethers or practices. The atiluk is hand made by members of the village. Many of the dance groups from this region tend to wear one color to identify themselves with their group. The male atiluk is similar to that of a handmade parka worn by many of the Alaska natives on the North Slope. It is adorned with stitching and trim. The women’s atiluks are adorned with a skirt around the bottom and trim. Dancers are usually seen wearing gloves on their hands. Some wear head dresses and other regalia. The younger dancers often wear their atiluks or kuspuk (parka) when they dance, though it may not match the adult dancers. Top: The SuurimmaanitchuatDancers were the only native Alaskan group invited to march in the inauguration parade for President Barack Obama. Photo courtesy of www.flickr.com/photos/inauguration/3174701832/

44. The Dress of Dance Groups This photo was recently taken at the Alaska Federation of Natives convention in Anchorage, Alaska. This is one of the members of the SuurimmaanitchuatDancers featured on the prevous slide. The Inupiat’s enjoy a bit of fun and games, just like the other cultures in America.

45. The Dress of Dance Groups Frederick Brower of the Barrow Dancers dancing during Kivgiq, a mid-winter celebration that was revived in the late 1980s. Photo by Luciana Whitaker-Aikins. http://www.nativetech.org/inupiat/pullinginnewyearbody.html Throughout the various photos and videos incorporated in this presentation you will notice that most of the dancers are wearing either dance regalia mitts, such as the photo on this slide, or cotton or wool mittens. The Inupiaq nations do not know exactly where this tradition started, but figure since the ceremonial dances were conducted for the “purpose of pleasing the spirits, covering the hands that did menial tasks and which might touch ritual paraphernalia was required.” (Koranda, 349)

46. Performances of the Inupiat The following links provide examples of the Inupiat Eskimos’ music and dance: http://www.youtube.com/watch?v=KsSbxw8AXrE&feature=related http://www.youtube.com/watch?v=xBowRKM8Kf4 http://www.youtube.com/watch?v=3BVeQbgp3yQ And even the youngest are learning the history of their people… http://www.youtube.com/watch?v=hdOCeuijJe4 http://www.youtube.com/watch?v=sovThLOJTdM This performance is especially cute as the author mentions it’s difficult for a three-year-olds to “dance, sing and stomp at the same time.” This video was taken in the Early Childhood Education wing at Ipalook Elementary school in Barrow, Alaska. They start children in this half day program when they are three years old. My daughter attended school for two years in this program and they often taught them the songs and dance of the Inupiat culture.

47. Bibliography Burch, Ernest S. Social life in northwest Alaska: the structure of Iñupiaq Eskimo nations. Fairbanks: University of Alaska Press, 2006. Koranda, Lorraine D. “Music of the Alaskan Eskimo." Musicsof Many Cultures: an Introduction. Ed. May, Elizabeth.Berkeley: University of California, 1980. Chance, Norman A. The Inupiat and Arctic Alaska(1990), Harcourt Brace. Stackhouse, Martha “The Sacred Gift of Song, Dance and Festivity.” http://www.nativetech.org/inupiat/pullinginnewyearbody.html ,1996.