Yup'ik Masks. An archeology Essay. History Term Paper

Name
Course
Tutor
Date
Yup’ik Masks
Introduction
Artifacts are the most intriguing part of archeological studies, and they play a crucial role in decoding archeological records and providing crucial information on how people lived in the past (Nash 5). Most of the archeological information is gathered from the context of excavated artifact, the place where an artifact has been found, or with what other items it has been discovered with. Artifacts and their contexts help archeologists obtain important information that can be used to describe, compare, and contrast various cultures that existed several years back as well as formulate a comprehensive chronology of such cultures. Artifacts are objects that were intentionally shaped and designed through human efforts as part of their culture and daily living. Some artifacts are often discovered through accident; for instance, in the forests by tourists, by construction companies digging a building foundation or by farmers plowing their fields, among other forms of accidental discovery (Nash 5). For archeological excavation, the process is well arranged and managed, and typically, proceeds through a well-established process designed to obtain all the possible information concerning the site and the artifacts or objects recovered. Artifacts are classified into different categories based on various principles through a method referred to as typological analysis (O'Brien and Lee 7). Typology is a scientific field that involves the study of artifacts using various observable characteristics such as techniques of manufacture, form, and materials used. First, a typologist uses different principles such as raw materials, size, color, and shape to classify artifacts. Then they categorize artifacts using mutually exclusive traits referred to as attribute states. Various artifacts such as ceramic pots and masks can be sorted using shape or raw materials into different groups. While typologists are usually satisfied using traits to categorize artifacts, the archeological classification objective is to comprehensively develop artifact descriptions that can be used in comparison with objects from other places (O'Brien and Lee 10). In most cases, artifacts are not classified based on their function because it is difficult to unambiguously determine their functions. The concept of typology indicates that in a given area, artifacts that are similar in style or form are more likely to have been produced at about the same time, and there is a high likelihood that their stylistic transformations were gradual or evolutionary (O'Brien and Lee 7). However, typological classification is only an arbitrary construction used by archeologists to come to terms with archeological records. Consequently, there is no definite way of categorizing artifacts into different types. The current paper examines various Yup’ik masks as artifacts discovered in Alaska, North America.
Various Yup’ik Masks Analyzed
According to archeologists, the ancestors of the Yupik people originally came from Siberia and settled along the Western Alaskan coastal region and the Kuskokwim and Yukon River valleys around 3000 years ago (Alix and Karen 4). Today, the population of Yupik people is approximately 25,700, with around 24,000 of them living in Alaska, the United States, and nearly 1,700 living in Siberia (Alix and Karen 4). The term Yupik, which is the plural of Yupiit, is a combination of two words Yuk, which means a person, and Pik, which means real. Thus, Yupik stands for real people who speak a language known as Yuk or Yuiit, which is spoken by approximately three-quarters of the Yupik people today (Alix and Karen 4).
Yupik people are semi-nomadic and traditionally follow the seasons, moving in groups of people belonging to the same family (Alix and Karen 4). They traveled to their fishing camps during spring, where they fished and hunted sea mammals such as seals, walrus, and recently whales as well as collected plants and berries. As the seasons progressed and climate became unfavorable, they returned to their villages and settled down for the entire duration of harsh winters. Women lived together in a cultural house called ena, whereas men lived in a traditional communal house close to the women’s house called the qasgiq (Ayunerak 92). The qasgiq served as a center where young boys could receive teachings on survival tactics, life skills, and hunting. In addition, some young girls were also taught some of these skills inside qasgiq. Furthermore, qasgiq had another important function as it acted as a community center where ceremonies and festivals such as dancing and storytelling were performed. It was in this place where Yupiit learned and practiced their culture. Qasgiq was a building where Yup’ik masks were widely used and became crucial and integral part of the Yupik culture (Ayunerak 95).
The idea of masks was centered around the acceptance of evil and good spirits and an assurance that all creatures experienced birth cycle, death, and rebirth. Various ceremonies were performed to emphasize different features of the relationship between human beings, animals, and spirits, as indicated by figure 1 and figure 2. The Shaman was an important person in Yupik culture because they acted as the mediator between the physical and spiritual worlds. He invoked various spirits through visions that would provide him with the necessary guidance. In addition, he exorcised spirits associated with the evils that caused disasters and illnesses (Ayunerak 96). The Shaman was also responsible for summoning friendly spirits to drive away evil spirits associated with bad occurrences. To perform each of these ceremonies, Shaman used unique masks to allow them to execute their duties correctly.
This mask shown in figure 1 is known as Negaktok or the North Wind Mask or, more precisely, the spirit that liked the stormy and cold weather and was discovered in the early 20th century (Museum of Primitive Art n.p). The mask has white spots that were said to portray snowflakes and several wooden danglers that clanged when moved, producing a voice to the north wind spirits in a bid to please and persuade them to provide the humans with plenty food and protect them from disasters such as disease epidemics and storms.
This mask shown in figure 2 is referred to as The Bad Spirit of Mountain and was discovered in the late 19th century (The Metropolitan Museum of Art n.p). It is still in good condition and is made up of wood, feathers, and paint. It has a leather loop on its rear side used to hang it on the wall. It is displayed on St. Michael, Alaska Dallas Museum of Art, Dallas. The feathers and white decorations represent snowflakes or stars. The face of this mask portrays the bad spirit of the mountain, alluding to the relationship between the supernatural world and human beings (The Metropolitan Museum of Art n.p).
Shaman used specific masks to perform different cultural rituals to reinforce the relationship between the members of their society and ancestors or between humans and the animals that people relied on for food (Ayunerak et al. 95). While performing dances and storytelling, each mask worn by the Shaman represented his spiritual helper and during their visits to the spiritual world, such helpers would inform them on the wishes of various animals that they hunted for food and encouraged animal spirits to return during spring to sacrifice their bodies to hunters as shown in figure 3. The masks worn by Shaman was designed to contain...