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Skin Appliqué and Stencil Prints
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Chapters in this book
- Front Matter 1
- Contents 5
- Preface: Old Boots 8
- Editorial Note 9
- Introduction 12
- Keynote Address Our Clothing, our Culture, our Identity 23
-
Personal Narratives
- Seams of Time 28
- My Recollections - Nengqerralria Yupiaq Elder Elena Charles 31
- How Do We Heal? 34
- Quiet and Reserved Splendor: Central Yup'ik Eskimo Fancy Garments of Kuskokwim Bay, Bering Sea 37
-
Materials
- Caribou and Seal Hair: Examination by Scanning Electron Microscopy 42
- Arctic Clothing from Greenland 45
- The Poor Man's Raincoat: Alaskan Fish-skin Garments 48
- Tupigat (Twined Things): Yup'ik Grass Clothing, Past and Present 53
- Birds and Eskimos 62
-
Styles and Techniques
- Eskimo Sewing Techniques in Relation to Contemporary Sewing Techniques - Seen Through a Copy of a Qilakitsoq Costume 70
- Iniqsimajuq: Caribou-skin Preparation in Igloolik, Nunavut 74
- Amautiit 80
- Women's Skin Coats from West Greenland -with Special Focus on Formal Clothing of Caribou Skin from the Early Nineteenth Century 84
- The Roald Amundsen Collection: The Impact of a Skin Preparation Method on Preservation 91
- The Remarkable Clothing of the Medieval Norse Greenlanders 95
-
Change and Responses to Outside Influences
- Dressing Up in Greenland: A Discussion of Change and World Fashion in Early-colonial West Greenlandic Dress 100
- Formal Clothing: The Greenlandic National Costume 104
- Clothing as a Visual Representation of Identities in East Greenland 108
- Kayak Clothing in Contemporary Greenlandic Kayak Clubs 115
- Caribou, Reindeer and Rickrack: Some Factors Influencing Cultural Change in Northern Alaska, 1880-1940 121
- Hairnets and Fishnets:The Yup'ik Eskimo Kaapaaq in Historical Context 127
-
Clothing and Art
- Clothing in Inuit Art 132
- Skin Appliqué and Stencil Prints 139
- Clothing Portraits: Identity and Meaning in Inuit Figure Studies from the Eastern Arctic 142
- Kiana Creations: Iñupiaq Parkas as Wearable Art 148
- References 153
- Index 158
- Photographic Acknowledgements 160
Chapters in this book
- Front Matter 1
- Contents 5
- Preface: Old Boots 8
- Editorial Note 9
- Introduction 12
- Keynote Address Our Clothing, our Culture, our Identity 23
-
Personal Narratives
- Seams of Time 28
- My Recollections - Nengqerralria Yupiaq Elder Elena Charles 31
- How Do We Heal? 34
- Quiet and Reserved Splendor: Central Yup'ik Eskimo Fancy Garments of Kuskokwim Bay, Bering Sea 37
-
Materials
- Caribou and Seal Hair: Examination by Scanning Electron Microscopy 42
- Arctic Clothing from Greenland 45
- The Poor Man's Raincoat: Alaskan Fish-skin Garments 48
- Tupigat (Twined Things): Yup'ik Grass Clothing, Past and Present 53
- Birds and Eskimos 62
-
Styles and Techniques
- Eskimo Sewing Techniques in Relation to Contemporary Sewing Techniques - Seen Through a Copy of a Qilakitsoq Costume 70
- Iniqsimajuq: Caribou-skin Preparation in Igloolik, Nunavut 74
- Amautiit 80
- Women's Skin Coats from West Greenland -with Special Focus on Formal Clothing of Caribou Skin from the Early Nineteenth Century 84
- The Roald Amundsen Collection: The Impact of a Skin Preparation Method on Preservation 91
- The Remarkable Clothing of the Medieval Norse Greenlanders 95
-
Change and Responses to Outside Influences
- Dressing Up in Greenland: A Discussion of Change and World Fashion in Early-colonial West Greenlandic Dress 100
- Formal Clothing: The Greenlandic National Costume 104
- Clothing as a Visual Representation of Identities in East Greenland 108
- Kayak Clothing in Contemporary Greenlandic Kayak Clubs 115
- Caribou, Reindeer and Rickrack: Some Factors Influencing Cultural Change in Northern Alaska, 1880-1940 121
- Hairnets and Fishnets:The Yup'ik Eskimo Kaapaaq in Historical Context 127
-
Clothing and Art
- Clothing in Inuit Art 132
- Skin Appliqué and Stencil Prints 139
- Clothing Portraits: Identity and Meaning in Inuit Figure Studies from the Eastern Arctic 142
- Kiana Creations: Iñupiaq Parkas as Wearable Art 148
- References 153
- Index 158
- Photographic Acknowledgements 160