Papers by Bernadette Engelstad
Museum Anthropology Review, Aug 31, 2015
Drawing from a collection of almost three hundred sculptures and prints brought together by Harva... more Drawing from a collection of almost three hundred sculptures and prints brought together by Harvard University alumnus, Chauncey C. Nash (Class of 1907) and donated to the Peabody Museum of Archaeology and Ethnology in the late 1960s, Hunters, Carvers and Collectors: The Chauncey C. Nash Collection of Inuit Art provides a well-researched and finely illustrated introduction to the early years of contemporary Inuit art. The author, librarian, and ethnomusicologist, Maija M. Lutz brings this collection to light with a thoughtful discussion that interweaves the cultural history of Inuit art in Arctic Canada-particularly the early years of printmaking in Kinngait (Cape Dorset)-with the personal history of the collector and his close relationship with Harvard University and the Peabody Museum.
Review(s) of: Caribou skin clothing of the igloolik inuit, by Pharand, Sylvie 2012, Iqaluit, Inha... more Review(s) of: Caribou skin clothing of the igloolik inuit, by Pharand, Sylvie 2012, Iqaluit, Inhabit Media, 198 pages.
University of Toronto Quarterly, 2010
Oxford University Press eBooks, Jun 6, 2017
Renderings of human figurines (inuguat) appear consistently throughout the archaeological record ... more Renderings of human figurines (inuguat) appear consistently throughout the archaeological record of the North American Arctic. Artefacts which date from the Old Bering Sea cultures in northwestern Alaska to the Dorset and Thule periods in the Canadian Arctic and Greenland include representations of the human figure, typically carved in ivory or wood. These images often reveal elemental concerns of Arctic peoples with regard to procreation, maternity, healing, shamanism, mortuary practice, and animal–human transformation. The persistent appearance of human figurines throughout the historical and contemporary periods demonstrates an abiding interest in the role of the human figure. Beyond the use of dolls as a source for children’s play, human figurines served as a means of developing skills for everyday life (and human survival) with a focus on social interaction, the hunt, and the creation of fur clothing, as well as on ceremonial activities and ritual practices.
Études inuit, 2015
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
This work is a book review considering the title Hunters, Carvers and Collectors: The Chauncey C.... more This work is a book review considering the title Hunters, Carvers and Collectors: The Chauncey C. Nash Collection of Inuit Art by Maija M. Lutz.
Études inuit, 2013
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
Études inuit, Sep 13, 2019
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
Review(s) of: Caribou skin clothing of the igloolik inuit, by Pharand, Sylvie 2012, Iqaluit, Inha... more Review(s) of: Caribou skin clothing of the igloolik inuit, by Pharand, Sylvie 2012, Iqaluit, Inhabit Media, 198 pages.
Études Inuit Studies, 2018
Through many years of dedicated fieldwork in the Canadian Arctic, Captain George Comer laid a sol... more Through many years of dedicated fieldwork in the Canadian Arctic, Captain George Comer laid a solid foundation for the future of museum anthropology. With the support of Franz Boas, Captain Comer—a New England whaling master with little formal schooling—assembled an extensive collection of Inuit ethnographic and archaeological artifacts, photographs, sound recordings, and natural history specimens for the American Museum of Natural History in New York City, as well as major museums in Berlin, Ottawa, and Philadelphia. This article examines a remarkable segment of that collection, the production of Inuit facial casts—portraits of over two hundred men, women, and children—created by Comer at Qatiktalik (Cape Fullerton), a whaling site on the west coast of Hudson Bay. In tandem with photographs taken by Comer, Geraldine Moodie, and others at the time, these facial casts comprise a vital chapter of Inuit social history, preserving the memory of individuals and families who lived, worked...
Oxford Handbooks Online, 2017
Renderings of human figurines (inuguat) appear consistently throughout the archaeological record ... more Renderings of human figurines (inuguat) appear consistently throughout the archaeological record of the North American Arctic. Artefacts which date from the Old Bering Sea cultures in northwestern Alaska to the Dorset and Thule periods in the Canadian Arctic and Greenland include representations of the human figure, typically carved in ivory or wood. These images often reveal elemental concerns of Arctic peoples with regard to procreation, maternity, healing, shamanism, mortuary practice, and animal–human transformation. The persistent appearance of human figurines throughout the historical and contemporary periods demonstrates an abiding interest in the role of the human figure. Beyond the use of dolls as a source for children’s play, human figurines served as a means of developing skills for everyday life (and human survival) with a focus on social interaction, the hunt, and the creation of fur clothing, as well as on ceremonial activities and ritual practices.
Études/Inuit/Studies, 2015
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
Museum Anthropology Review, 2015
Drawing from a collection of almost three hundred sculptures and prints brought together by Harva... more Drawing from a collection of almost three hundred sculptures and prints brought together by Harvard University alumnus, Chauncey C. Nash (Class of 1907) and donated to the Peabody Museum of Archaeology and Ethnology in the late 1960s, Hunters, Carvers and Collectors: The Chauncey C. Nash Collection of Inuit Art provides a well-researched and finely illustrated introduction to the early years of contemporary Inuit art. The author, librarian, and ethnomusicologist, Maija M. Lutz brings this collection to light with a thoughtful discussion that interweaves the cultural history of Inuit art in Arctic Canada-particularly the early years of printmaking in Kinngait (Cape Dorset)-with the personal history of the collector and his close relationship with Harvard University and the Peabody Museum.
Études/Inuit/Studies, 2013
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
University of Toronto Quarterly, 2010
Arctic Anthropology, 2005
In the early twentieth century explorers, ethnographers, and entrepreneurs penetrated the territo... more In the early twentieth century explorers, ethnographers, and entrepreneurs penetrated the territory of the Northern Copper Inuit who had been virtually isolated from western contact. They encountered a society and material culture seemingly unaltered by western influence. Working with both museum collections of indigenous fur clothing from this region and the graphic art of Copper Inuit elders, this paper proposes the existence of an extensive ceremonial clothing complex comprised of dance clothing and shamanistic vestments unknown elsewhere in the Canadian Arctic. The distinctive style of Copper Inuit caribou-fur clothing, including dance and shamanistic clothing, disappeared from this region by the 1930s. However, as a result of collaborative fieldwork in the early 1990s, a style of Copper Inuit clothing has re-emerged as dance clothing in the context of the Kingalik Jamboree, an annual festival held in Holman (Uluhaktok) on the western coast of Victoria Island, Canada. This preliminary study of the ceremonial clothing of the Copper Inuit reveals the creative skill of Inuit seamstresses in shaping cultural ideas and preserving ancestral traditions through clothing design.
Museum Anthropology, 1996
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Papers by Bernadette Engelstad