10 figures are expressively carved of walrus ivory and embellished with blue and black glass bead labrets and eyes; red pigment enhances each figure's mouth, figures range in size from 2.75 in. to 3.5 in. fourth quarter 19th century This set depicts a dance which would be held in the Qasgiq, or community house. Typically a space for males, women occasionally would be allowed to participate in certain activities. Examples of dancers placed in model Qasgiqs are curated with the collections of Sheldon Jackson Museum, Sitka (II.S.1,) and the Hearst Museum (2-4573). These have been recorded as having been collected around 1898. Both men and women take part in dances, each having a characteristic kind of movement and style. Women dance clothed, with the feet solidly fixed on the ground while their upper bodies sway with an undulating motion and their hands gesticulate in tie with the music... Men often dance nude, moving their arms and hands vigorously. They may occasionally crouch and leap about, sometimes crying out periodically in time with the music. In other dances, the objects to show their lightness, agility, and speed, and in these they may be flanked by women dancers whose smooth and swaying movements contrast strongly with the men's (Fitzhugh and Kaplan 1982: 204). The people sit on all three tiers of benches and on the floor except for the front side, which is left for the performers. The men occupy the benches; some are without their parkas, some altogether naked. It is hot and stifling. Two oil lamps on the "proscenium," that is, in the corners of the front side of the fire pit, and four additional ones in different parts of the kazhim though a dim light on the motley crowd of spectators. There are grass mats hanging from the front edge of the lowest benches and they separate the actors' dressing-room. Four shamans are sitting on this bench holding drums 2-1/2 feet in diameter in their teeth. Two old men in tattered parkas and with smeared faces appear on the stage from time to time to ease each other and make fun of the spectators, saying that the latter in vain have come together hoping to see the new dance which they themselves, the old men, stole from the man who made it up. This is in place of an overture. (Zagoskin, in Michael 1976: 226-227 as quoted in Fitzhugh and Kaplan 1982: 204).
10 figures are expressively carved of walrus ivory and embellished with blue and black glass bead labrets and eyes; red pigment enhances each figure's mouth, figures range in size from 2.75 in. to 3.5 in. fourth quarter 19th century This set depicts a dance which would be held in the Qasgiq, or community house. Typically a space for males, women occasionally would be allowed to participate in certain activities. Examples of dancers placed in model Qasgiqs are curated with the collections of Sheldon Jackson Museum, Sitka (II.S.1,) and the Hearst Museum (2-4573). These have been recorded as having been collected around 1898. Both men and women take part in dances, each having a characteristic kind of movement and style. Women dance clothed, with the feet solidly fixed on the ground while their upper bodies sway with an undulating motion and their hands gesticulate in tie with the music... Men often dance nude, moving their arms and hands vigorously. They may occasionally crouch and leap about, sometimes crying out periodically in time with the music. In other dances, the objects to show their lightness, agility, and speed, and in these they may be flanked by women dancers whose smooth and swaying movements contrast strongly with the men's (Fitzhugh and Kaplan 1982: 204). The people sit on all three tiers of benches and on the floor except for the front side, which is left for the performers. The men occupy the benches; some are without their parkas, some altogether naked. It is hot and stifling. Two oil lamps on the "proscenium," that is, in the corners of the front side of the fire pit, and four additional ones in different parts of the kazhim though a dim light on the motley crowd of spectators. There are grass mats hanging from the front edge of the lowest benches and they separate the actors' dressing-room. Four shamans are sitting on this bench holding drums 2-1/2 feet in diameter in their teeth. Two old men in tattered parkas and with smeared faces appear on the stage from time to time to ease each other and make fun of the spectators, saying that the latter in vain have come together hoping to see the new dance which they themselves, the old men, stole from the man who made it up. This is in place of an overture. (Zagoskin, in Michael 1976: 226-227 as quoted in Fitzhugh and Kaplan 1982: 204).
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
