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Sculpting Ivory (7 of 17): Materials - Walrus Tusk (Ivory)

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Twining Cedar (15 of 15): Ending - Weaving the Rim

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Sculpting Ivory (3 of 17): Meet Artist Levi Tetpon

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Twining Cedar (6 of 15): Harvesting and Preparing Maidenhair Fern

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Creating Quillwork 7 (of 8): Meet the Artists

Smithsonian Arctic Studies Center Alaska
During the Dene Quill Art project, two Athabascan artists and an ethnographic conservator shared quillwork techniques and develop new ones by studying historic museum objects. They shared their expertise with students, conservators and museum visitors. These educational videos provide detailed demonstrations of how to work with quill from cleaning and dying, to sewing, wrapping folding and weaving. For free curriculum on Athabascan peoples, including lessons with answers for teachers, see the about section to contact us. To learn more about Athabascan culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Listen & Learn Iñupiaq (1 of 6): Aqłitik (Dance mitts)

Smithsonian Arctic Studies Center Alaska
The Smithsonian Arctic Studies Center hosted a language and culture seminar at the Anchorage Museum in 2011, bringing together eight fluent Iñupiaq speakers for four days to discuss cultural heritage objects from their region in the Living Our Cultures exhibition. These videos present a range of information about life in northwest Alaska for the Iñupiaq people: hunting tools used for living from the land and sea to ceremonial items used at celebrations and gatherings to everyday clothing to cultural traditions and values. The videos are in Iñupiaq with subtitles in English and Iñupiaq, for following along in both languages. For a free educational guide with six lessons, including answers for teachers, see the about section to contact us. To learn more about Alaska Native cultures, please visit the website Sharing Knowledge at http://alaska.si.edu.

Sculpting Ivory (13 of 17): Shaping Ivory with Hand Tools

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Athabascan Moosehide Tanning & Sewing (3 of 23): Talking with Ahtna Elder Jeannie Maxim

Smithsonian Arctic Studies Center Alaska
Older generations of Alaska Athabascan (Dene) peoples tanned moose hides using time-tested methods to make strong, supple leather for sewing beaded or quill-embroidered tunics, jackets, mittens, bags and moccasins, as well as everyday essentials such as dogsled harnesses. Because traditional tanning is time-consuming and requires technical knowledge that has declined in recent generations, most moose hides are now sent out to commercial tanneries for processing with synthetic chemicals. Commercial tanning produces a lower quality hide, but more importantly, it displaces the passing on of Athabascan tanning knowledge. Recognizing this, contemporary artists Joel Isaak (Dena'ina Athabascan) and Melissa Shaginoff (Ahtna Athabascan) have been learning traditional methods for tanning moose hides from elders Helen Dick (Dena’ina Athabascan) and Jeanie Maxim (Ahtna Athabascan) and adding tested, contemporary tools. The Alaska office of the Arctic Studies Center worked with these committed artists and elders from September 2017 through June 2018 to carry out moosehide tanning work in communities and backyards in Kenai, Chickaloon, and Anchorage, and a sewing and beading residency at the Anchorage Museum. The collaboration resulted in the set of twenty-three educational videos presented here. A limited number of free DVDs are available upon request to Biddisond@si.edu or Crowella@si.edu. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge: Alaska Native Collections at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Athabascan Moosehide Tanning & Sewing (2 of 23): Talking with Dena’ina Elder Helen Dick

Smithsonian Arctic Studies Center Alaska
Older generations of Alaska Athabascan (Dene) peoples tanned moose hides using time-tested methods to make strong, supple leather for sewing beaded or quill-embroidered tunics, jackets, mittens, bags and moccasins, as well as everyday essentials such as dogsled harnesses. Because traditional tanning is time-consuming and requires technical knowledge that has declined in recent generations, most moose hides are now sent out to commercial tanneries for processing with synthetic chemicals. Commercial tanning produces a lower quality hide, but more importantly, it displaces the passing on of Athabascan tanning knowledge. Recognizing this, contemporary artists Joel Isaak (Dena'ina Athabascan) and Melissa Shaginoff (Ahtna Athabascan) have been learning traditional methods for tanning moose hides from elders Helen Dick (Dena’ina Athabascan) and Jeanie Maxim (Ahtna Athabascan) and adding tested, contemporary tools. The Alaska office of the Arctic Studies Center worked with these committed artists and elders from September 2017 through June 2018 to carry out moosehide tanning work in communities and backyards in Kenai, Chickaloon, and Anchorage, and a sewing and beading residency at the Anchorage Museum. The collaboration resulted in the set of twenty-three educational videos presented here. A limited number of free DVDs are available upon request to Biddisond@si.edu or Crowella@si.edu. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge: Alaska Native Collections at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Sculpting Ivory (4 of 17): Meet Artist Clifford Apatiki

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Twining Cedar (13 of 15): Weaving Designs - Overlay

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Athabascan Moosehide Tanning & Sewing (8 of 23): Dehairing a Moose Hide

Smithsonian Arctic Studies Center Alaska
Older generations of Alaska Athabascan (Dene) peoples tanned moose hides using time-tested methods to make strong, supple leather for sewing beaded or quill-embroidered tunics, jackets, mittens, bags and moccasins, as well as everyday essentials such as dogsled harnesses. Because traditional tanning is time-consuming and requires technical knowledge that has declined in recent generations, most moose hides are now sent out to commercial tanneries for processing with synthetic chemicals. Commercial tanning produces a lower quality hide, but more importantly, it displaces the passing on of Athabascan tanning knowledge. Recognizing this, contemporary artists Joel Isaak (Dena'ina Athabascan) and Melissa Shaginoff (Ahtna Athabascan) have been learning traditional methods for tanning moose hides from elders Helen Dick (Dena’ina Athabascan) and Jeanie Maxim (Ahtna Athabascan) and adding tested, contemporary tools. The Alaska office of the Arctic Studies Center worked with these committed artists and elders from September 2017 through June 2018 to carry out moosehide tanning work in communities and backyards in Kenai, Chickaloon, and Anchorage, and a sewing and beading residency at the Anchorage Museum. The collaboration resulted in the set of twenty-three educational videos presented here. A limited number of free DVDs are available upon request to Biddisond@si.edu or Crowella@si.edu. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge: Alaska Native Collections at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Sharing the Dena'ina Language (1 of 3): Dog Pack

Smithsonian Arctic Studies Center Alaska
The Alaska Office of the Smithsonian’s Arctic Studies Center hosted the Dena’ina Language Institute in 2010 at the Living Our Cultures exhibit gallery located in the Anchorage Museum. Elders Helen Dick and Gladys Evanoff shared their knowledge about Dena'ina heritage objects in the Smithsonian collections, using the objects as tools to teach the Dena'ina Athabascan language. They worked with language learners, linguists and museum staff to script and record new language learning videos, including the three videos presented here. To learn more about the Dena'ina language go to the Dena'ina Qenaga website at http://qenaga.org/. To learn more about Alaska Native cultures, please visit the website Sharing Knowledge at http://alaska.si.edu.

Listen & Learn SLI Yupik (1 of 12): Uunghaq (Harpoon)

Smithsonian Arctic Studies Center Alaska
The Arctic Studies Center hosted a St. Lawrence Island Yupik language and culture seminar at the Anchorage Museum in January 2012, bringing together seven fluent speakers for five days to discuss Yupik objects in the Living Our Cultures exhibition. The goals were to contribute to documentation of the Yupik language and to create language and culture teaching materials for use in schools and homes throughout Alaska and beyond. For a free educational guide with six lessons, including answers for teachers, see the about section to contact us. To learn more about Alaska Native cultures, please visit the website Sharing Knowledge at http://alaska.si.edu.

Sewing Salmon 4 (of 10): Marlene Nielsen's Method

Smithsonian Arctic Studies Center Alaska
The Sewing Salmon project – hosted by the Smithsonian Institution’s Arctic Studies Center at the Anchorage Museum in Alaska – brought together three contemporary Alaska Native artists to learn and teach about creating work from fish skin through studying historic fishskin objects and through sharing and comparing techniques they developed. Each artist has a commitment to this almost-lost art and shared their knowledge with students and visitors, and with curators and conservators who care for museum collections. For free curriculum on salmon in Alaska, including lessons with answers for teachers, see the about section to contact us. To learn more about Alaska Native cultures, please visit the website Sharing Knowledge at http://alaska.si.edu.

Sculpting Ivory (15 of 17): Sanding

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Twining Cedar (15 of 15): Ending - Weaving the Rim

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Twining Cedar (11 of 15): Weaving the Sides

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Sculpting Ivory (8 of 17): Materials - Baleen

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Sewing Salmon 3 (of 10): Coral Chernoff's Method

Smithsonian Arctic Studies Center Alaska
The Sewing Salmon project – hosted by the Smithsonian Institution’s Arctic Studies Center at the Anchorage Museum in Alaska – brought together three contemporary Alaska Native artists to learn and teach about creating work from fish skin through studying historic fishskin objects and through sharing and comparing techniques they developed. Each artist has a commitment to this almost-lost art and shared their knowledge with students and visitors, and with curators and conservators who care for museum collections. For free curriculum on salmon in Alaska, including lessons with answers for teachers, see the about section to contact us. To learn more about Alaska Native cultures, please visit the website Sharing Knowledge at http://alaska.si.edu.

Sculpting Ivory (2 of 17): Meet Artist Jerome Saclamana

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Sculpting Ivory (6 of 17): Studying a Historic Bowl

Smithsonian Arctic Studies Center Alaska
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work. During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The educational videos presented here introduce the artists and document the materials, tools and techniques they use to make ivory artwork. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge at /http://alaska.si.edu, where you can also find educational materials in the Resources section.

Twining Cedar (9 of 15): Weaving a Twined Bottom

Smithsonian Arctic Studies Center Alaska
Red cedar bark twined basketry is a distinctive Tsimshian art form. With the passing on of elder master artists and the demands of contemporary lifestyles, it became at risk. A handful of weavers today are working to master and revitalize twined cedarbark basketry, reconnecting with a proud heritage. In 2016, the Arctic Studies Center collaborated with The Haayk Foundation of Metlakatla to document the materials and techniques of cedarbark basketry. The project included a harvesting and processing workshop and a weaving workshop in Metlakatla, and a residency at the Arctic Studies Center in Anchorage where artists studied baskets from museum and private collections, practiced and refined weaving techniques, and taught museum visitors and school children about basketry. Teaching was led by Haida master weaver Delores Churchill, who learned from master Tsimshian weaver Flora Mather, with assistance from her daughter Holly Churchill, an accomplished weaver. In addition to Metlakatla students, three advanced Tsimshian weavers participated in the project, sharing techniques learned in their families and communities and learning new ones: Kandi McGilton (co-founder of The Haayk Foundation), Karla Booth (granddaughter of Tsimshian master weaver Violet Booth) and Annette Topham (niece of master Tsimshian weaver Lillian Buchert). Metlakatla elder Sarah Booth, a fluent speaker of Sm’algyax (Ts’msyen), assisted Kandi McGilton in documenting indigenous basketry terminology for use in language classes. The videos presented here, with footage from the workshops and residency, provide instruction on how to harvest and process materials and on how to weave a basket from start to finish. To learn more about Tsimshian culture, please visit the website Sharing Knowledge at /http://alaska.si.edu, where you will find information about all Alaska Native cultures and educational materials in the Resources section.

Athabascan Moosehide Tanning & Sewing (14 of 23): Soaking, Wringing and Scraping a Dried Moose Hide

Smithsonian Arctic Studies Center Alaska
Older generations of Alaska Athabascan (Dene) peoples tanned moose hides using time-tested methods to make strong, supple leather for sewing beaded or quill-embroidered tunics, jackets, mittens, bags and moccasins, as well as everyday essentials such as dogsled harnesses. Because traditional tanning is time-consuming and requires technical knowledge that has declined in recent generations, most moose hides are now sent out to commercial tanneries for processing with synthetic chemicals. Commercial tanning produces a lower quality hide, but more importantly, it displaces the passing on of Athabascan tanning knowledge. Recognizing this, contemporary artists Joel Isaak (Dena'ina Athabascan) and Melissa Shaginoff (Ahtna Athabascan) have been learning traditional methods for tanning moose hides from elders Helen Dick (Dena’ina Athabascan) and Jeanie Maxim (Ahtna Athabascan) and adding tested, contemporary tools. The Alaska office of the Arctic Studies Center worked with these committed artists and elders from September 2017 through June 2018 to carry out moosehide tanning work in communities and backyards in Kenai, Chickaloon, and Anchorage, and a sewing and beading residency at the Anchorage Museum. The collaboration resulted in the set of twenty-three educational videos presented here. A limited number of free DVDs are available upon request to Biddisond@si.edu or Crowella@si.edu. To learn more about Alaska Native cultures, please visit the exhibition website Sharing Knowledge: Alaska Native Collections at /http://alaska.si.edu, where you can also find educational materials in the Resources section.
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