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Автор: Molly Lee
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isbn: 9780295998749
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       Baleen Basketry

      OF THE NORTH ALASKAN ESKIMO

       Baleen Basketry

      OF THE NORTH ALASKAN ESKIMO

      Molly Lee

      Foreword by Aldona Jonaitis

      New Preface and Introduction by the Author

      University of Washington Press

      SEATTLE & LONDON

      published in association with the

      University of Alaska Museum

      FAIRBANKS

       For my son, his father, and his grandparents

      Copyright © 1983 by the North Slope Borough

      Planning Department, Barrow, Alaska

      Foreword, Preface, and Introduction to the 1998 edition

      © 1998 by the University of Washington Press

      Printed in the United States of America

      All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher.

      Library of Congress Cataloging-in-Publication Data

      Lee, Molly

      Baleen basketry of the North Alaskan Eskimo / Molly Lee

      p. cm.

      Originally published: Barrow, Alaska:

      North Slope Borough, Planning Dept., c. 1983.

      With new pref. and introd.

      Includes bibliographical references.

      ISBN 0-295-97685-3 (alk. paper)

      1. Eskimo baskets—Alaska. 2. Whalebone baskets—Alaska.

      1. Title

      E99.E7L417 1998 97-35482

      745.593–DC21 CIP

      Unless otherwise stated, the baleen baskets illustrated in this book, if decorated, use light baleen and have ivory starter pieces and finials. Measurements are given in centimeters; height precedes diameter. For baskets in public institutions, museum catalogue numbers are given in brackets after the collection identification.

      The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. ∞

      Contents

      Foreword by Aldona Jonaitis

       Preface

       Introduction to the 1998 Edition

       Introduction

       The Cultural Context of Baleen Basketry

       The Historical and Formal Development of Baleen Baskets

       Characteristics of Baleen Baskets

       Basket Types

       Basket Construction

       Appendixes

       Notes

       References

       Acknowledgments

       Index

      Foreword

      I met Molly Lee in 1985 at a Native American Art Studies conference where she gave a talk on baleen baskets, a type of art about which I knew virtually nothing. There was a reason for my ignorance: this basketry was not part of a centuries-old indigenous art form and there was little in print about it. Baleen baskets had been “invented” in the relatively recent past and were made for tourists. Because they could not easily be assigned to categories of mainstream western art, they were generally dismissed as craftwork and thus inferior to the fine arts.

      A scholar who was unwilling to adhere to such a restrictive paradigm, Molly Lee treated Inupiat baleen baskets as objects of significant artistic merit, which also embody profound statements of cultural identity. Her trenchant observations at that conference more than a decade ago prompted me, and I’m sure others, to rethink objects made for the tourist market as worthy of serious study. Argillite carvings, Eastern Woodlands moose hair embroidery, and Plains ledger drawings, as well as baleen baskets, are just a few examples of art that until recently was disparagingly labeled as “acculturated.” In the last decades of the twentieth century a new respect for tourist art acknowledges its intrinsic merit, its cultural significance, and its place in the world’s history of art.

      It is most fortunate that this book is available again after a decade out of print. It stands as a major contribution to the literature on the enduring vitality of Native art.

      ALDONA JONAITIS

      Director

      University of Alaska Museum, Fairbanks

      Preface

      The seed of this study was sown on the June day in 1976 when I first saw a baleen basket. Browsing through the display cases at The Legacy Ltd. in Seattle, a mecca for lovers of Native art, my eye lit on a small black basket with an ivory carving of a seal on its top. The seal was posed as though sunning itself on the spring ice; tiny baleen plugs gave its eyes the right luster, and every whisker on its small snout was exquisitely articulated. Enchanted by the basket’s tightly woven, elliptical body, I turned it over and saw that a signature had been etched into the ivory starter disk on its bottom: Abe P. Simmonds, Barrow, Alaska, 1952. It was a name I would come to know well over the next few years. Despite the basket’s high price I bought it on the spot. As I walked out of the shop with it, I little realized that I had embarked on a six-year journey that would take me from Barrow, Alaska, to Nantucket, Massachusetts, and through the dusty shelves of libraries, archives, museums, and private collections in between.

      This research was undertaken as part of a graduate program in art history at the University of California, Santa Barbara. Frustrated by repeated attempts to find more information on baleen baskets than was available in one brief article (Burkher and Burkher 1954), I decided to research and write about them for my master’s thesis. At first the idea met with little enthusiasm from my committee. Baleen basketry was a tourist art, and only a year after the publication of Graburn’s groundbreaking study Ethnic and Tourist Arts (1976), tourist arts had not been accepted as a legitimate focus of scholarly research. Eventually, however, letters of support from several museum curators in Alaska won over the skeptics, whose enthusiasm thereafter was critical to the completion of the study.

      My objectives for the thesis were threefold: to reconstruct