Report on author's observations of "inviting-in" feast held by Eskimos at St. Michael, Alaska in January, 1912. Feast is appeal to spirits represented by masks worn by participants for future success in hunting. Describes the dance house, songs, dances, masks etc. used in connection with this festival. (AB 6776).

Excerpt from The "Inviting-In" Feast of the Alaskan Eskimo The kdzgi is usually built on a larger scale than the native house or inne, and, for convenience sake, is located near the centre of the Village. It has, as a rule, a winter and a summer entrance, the former being used by the shamans and dancers, and the latter by the public. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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This landmark volume will stand for decades as one of the most comprehensive studies of a hunter-gatherer population ever written. In this third and final volume in a series on the early contact period Iñupiaq Eskimos of northwestern Alaska, Burch examines every topic of significance to hunter-gatherer research, ranging from discussions of social relationships and settlement structure to nineteenth-century material culture.

Inuit art, both ancient and contemporary, has inspired the interest of scholars, collectors and art lovers around the globe. This book examines Inuit art from prehistory to the present with special attention to methodology and aesthetics, exploring the ways in which it has been influenced by and has influenced non-Inuit artists and scholars. Part One gives the history of the main art-producing prehistoric traditions in the North American arctic, concentrating on the Dorset who once flourished in the Canadian region. It also demonstrates the influence of theories such as evolutionism, diffusionism, ethnographic comparison, and shamanism on the interpretation of prehistoric Inuit art. Part Two demonstrates the influence of such popular theories as nationalism, primitivism, modernism, and postmodernism on the aesthetics and representation of twentieth-century Canadian Inuit art. This discussion is supported by interviews conducted with Inuit artists. A final chapter shows the presence of Inuit art in the mainstream multi-cultural environment, with a discussion of its influence on Canadian artist Nicola Wojewoda. The work also presents various Inuit artists' reactions to Wojewoda's work.