More specifically, Natives have researched and rediscovered much of their history through the exploration of traditional art forms. Masks are an important expression of Native art. This paper will concentrate on the traditional variations between Pacific Northwest and Arctic cultures regarding the production of a mask (the materials used and the process of its creation), the emergence of new artists and contemporary ways, and the translation into contemporary meanings and uses of masks.

Traditional differences between Pacific Northwest and Arctic Masks
There are many differences in the traditional materials, meaning, and use of masks between Pacific Northwest and Arctic Natives. Pacific Northwest people groups used materials common to their area, which included different types of wood (such as spruce root and cedar), paint, bone, wool (spun from dog hair), and wealthier families decorated their masks with dentalia (Northwest Natives). Dentalia were a difficult tooth shell to collect from within the ocean that was used as a form of money, but also to decorate masks, blankets, and dress clothing (Northwest Natives). Acquisition of these materials was done by hand using man-made tools. For example, trees (often red cedar) were chopped down and split with stakes in order to have a workable piece of wood (Masks). Then the wood was dried in order to prevent splitting or warping of the mask when completed (Northwest Natives).

There were three common types of masks created in the Pacific Northwest. “Single face masks” were often made, which was a carved mask using a solitary piece of wood (Masks). Another common type of mask that followed European influence was the “mechanical masks.” These masks were built with hinged mouths or eyes, allowing movement of the mask (Masks). A final form was the “transformation mask.” This was a layered mask, which, when opened, would reveal another mask (Masks). Each of these types of masks depicted either a spirit or an animal (Northwest Natives). Once the shape and design of the mask was carved, the Pacific Northwest Natives added color. The traditional colors used in the masks were black, red, white and occasionally blue or green. These colors were derived from organic materials (Masks). Charcoal was ground down to create black paint. Ochre, an impure iron ore, was used to make red paint (Masks). Copper minerals were mixed with chewed or dried salmon eggs to make blues and greens.

While there are similarities between Pacific Northwest and Arctic Natives concerning mask making, there are many differences in the style and presentation of the finished product. Kenneth Bogle, a writer for the Online Daily of the University of Washington says, “Separated by thousands of miles, the Yup’ik developed a spare, whimsical aesthetic quite different from the familiar black-and-red curvilinear stylizations of Pacific Northwest Coast Indians.” According to the UBC Museum of Anthropology, Inuit Eskimos (a Native group from the Arctic) also used vastly different materials. Some of these materials included: caribou hide, dog fur, paint, feathers, and string. Due to the harsh climate of the Arctic, wood was not a common, available art medium (Bogle, pars. 10-11). Any wood used was likely found washed ashore.

Characteristics of the masks were also much “cruder” in regards to the carving and “form-line” style practiced along the Northwest region (Bogle, pars. 12-13). The carving was not as ornate and the coloring was not as “outlandish” (Bogle, pars. 12-13). The technical styling was not only different, but as was the purpose of a mask. Arctic groups often created masks to imitate real persons or spirits, for representation in storytelling (Northwest Natives). One mask, on display at the UBC of Anthropology, imitates what a white, aged settler looked like. The mask was made of stretched caribou hide and dog fur was used for hair. This particular mask was likely used in telling young children about when unfamiliar men moved into the area.

The Emergence of New Artists and Contemporary Ways

There has been a movement within the last century to see Native art reemerge as a major, serious form of expression within the mainstream art world. In the process of rediscovering traditional mask making, there has been an adaptation of the ancient ways to become possible in a fast-paced, contemporary world with numerous technologies available at the fingertips of today’s artists. While contemporary artists strive to maintain their ancestors’ traditional ways, there is a shift or “rebirth” of the art to reflect what life is like today. There is now an emergence of contemporary art that reflects a traditional and evolving culture. Two artists, Dempsey Bob and Phillip Charette, stand out among their peers in representing their culture today. Bob is a mask maker from the Pacific Northwest and Charette is from the Arctic.

Dempsey Bob
Pictured on link: Dempsey Bob is depicted carving what looks like a wooden version of his Frog Mask. The bronze Frog Mask has 12 editions and is 6”x5”x4”. (Photo from www.dempseybob.com )

Dempsey Bob is an excellent example of a contemporary Pacific Northwest mask artist. Trained by his parents, grandparents, and brief attendance at the Kitanmax School of Northwest Coast Art in Ksan, British Columbia, in Canada, Bob seeks to teach the upcoming generations how to make masks and ensure “the continuation of their culture” (First Nations Art). While Bob understands the importance of maintaining tradition for the continuance of heritage, he believes there is a necessary base “for innovative reinterpretations which are both timely and resonant” (First Nations Art).

Much of Bob’s art has resurfaced among other Native artwork as innovative because of his embracing of non-traditional materials. He has carved alder and cedar for over 30 years, but has recently thrust himself into the study of sculpting bronze (Dempsey Bob). The different feel of the material and awkwardness in shaping the metal, while making it resemble the intricate art of his people, has challenged Bob to continue endeavoring this new artistic medium (Dempsey Bob).

His response to allowing his art to change with time is, “Our art has to evolve otherwise it will die…I often wonder where the art would be today if our people did no stop carving for all those years. We have to make our art real for our people today” (Dempsey Bob). And so Bob hopes to reflect his culture today through contemporary art.
Phillip “Aarnaquq” Charette

Pictured Left: Phillip Charette is photographed with his clay “North Wind Winter Spirit Masks.” They were celebration masks, welcoming the onset of winter and winter activities. Each mask was made using 12 pieces of pottery, 114 pieces of porcelain, 35 wild turkey feathers, hand bent red oak frames, and 71 handmade red glass beads (also made by Charette). The masks were designed to float. (Photo from www.yupikmask.com)

Phillip Charette is one of today’s leading contemporary Yup’ik artists, an Arctic culture originating in Western Alaska. After he received his Masters in Administration, Planning and Social Policy from Harvard University, Charette decided to thrust himself full-time into the world of Native American art (RAHI Staff). Charette says his goals are to explore and discovery “new methodologies” that will incorporate new mixed media materials allowing him to discover new art forms that will address new “cultural challenges and issues” (Stonington Gallery Artists). It is because of his hands-on approach that Charette has “rediscovered” and conveyed much of traditional Yup’ik storytelling and spirituality.

Charette desires to incorporate contemporary materials and interpretations that will create a stronger impact as well as add some “twists” to traditional Native art (Wy Kan Ush Pum Gala). Charette said that as he researches for work, the research takes him “into the vaults of art and history museums where the smell, feel, and energy of artifacts connect me to my family and ancestors” (Yup’ik Mask). Though this connection is vital for understanding Yup’ik origination, the translation and meaning today will take on a different face. As a result of this, Charette’s work would be considered contemporary in design, but reflecting traditional ideas, themes, and emphasizing the traditional knowledge, spirituality, talents and skills once used in survival (Yup’ik Mask).

Picture on link. The title of the mask is, “Young Yua Guardian.” This mixed-medium mask was inspired by Charette’s Apa (grandfather), who told him a story about when he had been lost at sea (Yup’ik Mask). A familiar bird led Charette’s Apa to land, saving his life. The moral of the story was that if one respects and cares for animals, the animals would take care of one in return. The “yua” or bird’s human-like spirit is displayed in the pictured mask as child-like. The rest of the mask represents a feminine guardian and her care over the children. (Photo from www.critfc.org )

The Translation to Contemporary Meanings and Use of Masks Meanings

Though much of traditional Native art is transitioning into a contemporary world, some of the meanings and functions of masks have remained the same. For example, in the Pacific Northwest the meaning of a mask could be found through what character was portrayed. There was a general understanding of what meanings certain animal faces communicate. All along the Northwest coast, Raven was considered to be a trickster or magical being (Masks). Raven was often rooting for the underdog, yet at the same time criticizing him. Because of his magical powers, Raven also carried heroic status (Masks). Two more very common animals used in mask imagery were the thunderbird and the eagle. These two birds were considered to be the most powerful creatures because of their ties to Native leadership (Masks). Thunderbirds and eagles were only connected with clans of high social status, like chiefs or wealthy families (Masks).

Masks in the Arctic were not designed for the specific task of symbolizing a particular character. Masks were created as storytelling tools and were not as consistent in depending on cultural characters, such as Raven or Eagle (Alaska Guide Store). As the Alaska Guide Store says, “It is impossible to know the specific meanings behind any type of mask, as the meaning was personal to the mask’s creator and related to the story he or she wished to tell.” While it is not uncommon a figure such as Raven could be a large part of storytelling within the Arctic cultures, the story was not determined by the mask. Rather the mask was used as a “theatrical device” in the story one wished to tell (Alaska Guide Store).

Although the meanings in the imagery in the Pacific Northwest and Arctic are quite different, the uses were very similar. According to an educational essay written on masks by Margaret Cumming, masks were often created for the purpose of being a part of a secret society ritual. Secret societies were gatherings of members concerning war, inducting young people, and shaman rituals (Masks, Northwest Natives). Another very important purpose of a mask was to be used during celebrations or potlatches (Northwest Natives). Once lavish gifts were bestowed upon the guests of the potlatch, ceremonial dances began (Masks). During these ceremonial dances, it was only “specially trained dancers” who wore the masks and brought a story to life (Masks). Generally women and children were excluded from knowing what the true meaning of a story and mask were. But this uninformed nature did not keep a woman or child from taking part in witnessing the dance (Masks).

Recently, many Native peoples have acknowledged the changing use of masks and their importance in daily culture. Wilson Daniels, a Cowichan band member and storyteller in British Columbia, says, “Masks were used as characters or symbol in stories told. Nowadays, they’ve become more decorative.” Masks have become a wall decoration that can be bought at a number of art galleries across the country, which loses the real value and importance for which the mask was designed. In a recent interview, Phillip Charette expressed his disappointment of selling a Yup’ik mask to a woman who was not interested in buying the mask for its storytelling and cultural value, but because it matched her wallpaper.

A piece of wood, or animal hide, have gone from having rough edges to smooth surfaces, from simple to complex, from storytelling objects on the faces of men, to the walls of art galleries being sold as decorations. Whether Pacific Northwest or Arctic masks, the bottom line is quite similar. Mask making was a once neglected art form discarded and abolished because of its rich heritage, but has recently been revived by contemporary artists seeking to present their cultural stories to the world.

Phillip Charette strongly feels contemporary Native artists have contributed innovation and cutting edge themes to the Native art world. But more than that, he believes Native artists want to tell a new story that will bring about change, “Artists have begun to deal with contemporary themes, such as welfare, government issues, and are bringing it out through their art. Our story is being told with our art and we are able to do that by using contemporary materials.”

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