Alaska Native Arts & Culture

In Alaskan Cemetery, Native And Orthodox Rites Mix

The first thing you see at Alaska’s Eklutna Cemetery is a tidy white church, with copper-colored onion domes that are topped by the three-barred Russian Orthodox cross.

The church is a reminder of the days when Alaska was claimed by imperial Russia. But it hardly prepares you for the unique combination of Native American and Russian Orthodox influences in the graveyard beyond.

Our guide is Aaron Leggett, who waits patiently under a light but steady rain to explain his community’s burial traditions.

Eklutna is a Dena’ina Native village, just off the highway about 25 miles north of Anchorage.

According to Leggett, an anthropologist and curator at the Anchorage Museum, the Dena’ina are an Athabascan people, who have occupied Alaska’s south-central Cook Inlet area for more than 1,000 years. Athabascans are part of a vast Native American language group that stretches into Canada and Mexico. They are linguistically related to Apaches and Navajos.

Before they encountered the Russian fur traders and priests who began coming to the coast in the early 1700s, the Dena’ina cremated their dead.

Leggett says the ashes were usually put into a birch-bark basket and placed in a tree or by a riverbank, in the belief that would free the spirits to make their final journey to what the Dena’ina call “the High Country.”

The Dena’ina began to convert to Russian Orthodoxy around 1836, Leggett says, after a smallpox epidemic wiped out half their population.

“But when we converted to Orthodoxy, the church forbid us from cremating human remains,” he says. “And as a result, we constructed these spirit houses, where the spirits would have a place to go — and not bother the living until they made that final journey.”

According to church traditions, the spirit would need as many as 40 days to make that passage from the grave site. In the Eklutna Cemetery, around 100 spirit houses cluster near the edge of the woods, sheltered by birch and alder trees.

Most of the houses are like long, low boxes built over the graves. They have peaked roofs, usually with a board like a cockscomb that runs along the ridge. The boards are cut into fancy patterns, like Victorian gingerbread.

Keeping with Dena’ina beliefs, the houses provide shelter for the spirit. And following the Orthodox tradition, the bodies are buried in the ground. But an Orthodox burial is a back-breaking process in a place that’s built on glacier-scoured rock.

“You couldn’t pick a place that is more inopportune to bury somebody,” Leggett says. “You go down about 3 inches, and you start running into these very large rocks. So it becomes back-breaking work, and you really have to have a team of people to be able to dig down enough to bury a person.”

Leggett would know. His family comes from Eklutna, and many family members are buried here.

Once a body has been buried, Leggett says, a blanket is spread over the stones that are mounded on the grave. “What that is, is symbolic of covering the person,” he says. “You’re wrapping them in warmth, and also, in many Native American cultures, wool blankets were a sign of trade and wealth, so it was just another way of showing respect.”

When they’re finished, the houses are placed on top of the blanket. Most are painted in primary colors: bright blues, reds and yellows.

Some have windows and porches — one even has a cupola — but they’re modest compared with a masterpiece that stands by itself, in a grove near the edge of the cemetery. It was built for Leggett’s grandmother, an important person in the community.

“My grandmother was Marie,” he says. “Her maiden name was Marie Ondola; her married name was Marie Rosenberg. And she passed away in 2003.”

Marie Rosenberg’s spirit house is a model of a two-story white clapboard building, with glass windows and a red tin roof that glistens in the rain.

“It’s actually based on the girl’s dormitory at the Eklutna Vocational School that was operated by the Bureau of Indian Affairs here in Eklutna from 1925 to 1945,” Leggett says.

Built on a welded-steel frame by Leggett’s uncle Frank, the house stands about 4 feet high, surrounded by bouquets of artificial flowers. “A hundred years from now, that church may not be standing, but this spirit house will be,” Leggett says.

The rain beads up on the spirit house windows, where an icon of the Virgin Mary looks out, past the edge of the Eklutna Cemetery, and into the trees.

Angoon dance group leads Celebration entrance

Xudzidaa Kwáan dance group leader Gilbert Fred takes the microphone near the start of Celebration 2012's Grand Entrance on Thursday, June 7, at Juneau's Centennial Hall. Photo by Ed Schoenfeld.

 

Celebration 2012 ended Saturday night with the Grand Exit, where more than 5o groups from Anchorage to Southeast to the Pacific Northwest made their final procession.

Xudzidaa Kwáan Dancers were at the lead. The Angoon group was also chosen to head up the Southeast Alaska Native cultural festival’s Grand Entrance, at the start of the three-day event.

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If you were there, you would have seen dance leaders Gilbert Fred and his brother-in-law Alan Zuboff move back and forth across the stage, directing traffic as they sang and danced. From time to time, one would move toward the hall entrance, urging an arriving group to sync drumbeats with those on stage.

Fred says it was a great honor.

The Xudzidaa Kwáan Dancers of Angoon lead the Grand Entrance Parade down Juneau's Willoughby Aveue Thursday, June 7. Photo by Heather Bryant/KTOO.

“It was arduous and tiresome and it tested our fortitude and it was better than aerobics. But I think it was indeed a labor of love for our culture and for the fact that we had so many different nations coming together here and converging on Juneau to share our culture with one another,” Fred says.

The grand entrance continued for more than two hours, until everyone was in the hall.

Zuboff says the group’s strength comes from its experience, dating back generations.

“When it first began, it was just an elders’ group. But as time went on, the elders realized the young ones weren’t learning. So they did something that they had never done, and allowed (in) generations. They decided that the young ones, including the babies, should start dancing in order for them to learn,” he says.

Today’s group continues sharing those traditions. Members work with the Xootsnoowú Dachaxanx’i Yán dancers, formed through the Angoon school’s Indian Education Program.

Fred says the students are eager to learn, but have to get past their electronic distractions.

“One of the requirements in class, when they come to class, is to please turn their cell phones on silent and put them into your bag. We don’t want them dancing and then getting a ringtone and answering their phone while we’re supposed to be in character,” Fred says.

How does he keep them focused?

“We let them know that these songs and dances … carry a history connected with the people with the different clans. And it’s a part of who they are, and they have to know who they are and they will better succeed in life and they’ll better deal with peer pressure. It’s their culture that connects them to the community, to their parents and to their elders, and to one another.”

Like many traditional adult groups, the Xudzidaa Kwáan Dancers wear expertly-crafted regalia, adorned with images of their history and culture.

Zuboff wears a clan hat more than 300 years old. And he’s worn blankets handed down over three or four generations.

“It’s not just a common piece of thread or a piece of wood. It’s a bit of all the spirits of the older generation that made this and danced in them,” Zuboff says. “And sometimes you can maybe feel their energy in the dance group. Or sometimes you can hear them singing, to hear them saying, ‘Do this.’ ”

Every Celebration has a different lead dance group, chosen by a committee of the Sealaska Heritage Institute, which organizes the events.

Institute President Rosita Worl says members picked Xudzidaa Kwáan because of its strength, and its traditions.

Leaders Zuboff and Fred are thankful for the recognition. But they’re also glad they don’t have to direct such a massive group of dancers for a while.

“It’s almost like you feel your canoe get sucked into a tidal current, ” Fred says, getting a nod of agreement from Zuboff. “And we’re able to restabilize and readjust.”

Angoon dancers cross the stage during Celebration 2012's Grand Entrance. Photo by Ed Schoenfeld.

Parnell signs shellfish farm bill at OysterFest

Gov. Sean Parnell signs a mariculture loan bill at Juneau’s Hangar Ballroom on Tuesday. Watching, from the left, are Haa Aani’ mariculture coordinator Anthony Lindoff, Sealaska CEO Chris McNeil, Haa Aani CEO Russell Dick and Commerce Commissioner Susan Bell.

The state is expanding its support for mariculture.

Governor Sean Parnell this week signed a bill creating a revolving loan fund for shellfish farms.

“The fund will be capitalized and if you want to engage in and begin operating a small business of that kind, you’ll now have greater access to capital in the state to do it,” Parnell said at the Juneau bill-signing. “You will also have an opportunity for a loan from the Alaska microloan revolving fund. This is a niche where the banks don’t offer it typically as a product. But (it’s) focused on access to capital for entrepreneurs of our state.”

The bill-signing was part of the kickoff reception for the Haa Aani OysterFest.

The event is connected to the Celebration 2012 Native culture festival. Haa Aani, part of the Sealaska regional Native Corporation, has helped start several oyster farms in rural Southeast.

The legislation also provides financial support for other business opportunities.

“There are two more revolving loan funds created in here related to communities being able to buy quota, something our communities have not had access to capital for, as well as the commercial charter revolving loan fund to allow individuals to get into the halibut charter business,” Parnell said.

OysterFest features cooks demonstrating recipes using Southeast-grown shellfish. It continues through Saturday across from the Sealaska parking lot in downtown Juneau.

A grand entrance to Celebration 2012

Celebration 2012 is officially underway. Southeast Alaska’s largest Native cultural gathering kicked off in earnest this morning (Thursday) with the Grand Entrance Procession in Juneau. KTOO’s Casey Kelly has more.

Hundreds of Native Alaskans gathered in downtown Juneau for the Grand Entrance for Celebration 2012.
Hundreds of Native Alaskans gathered in downtown Juneau for the Grand Entrance for Celebration 2012. (Photo by Heather Bryant/KTOO)

Dozens of groups, decked out in Chilkat blankets, button robes and other Native regalia, made their way singing, dancing and drumming through Juneau’s Willoughby District from the Alaska Native Brotherhood Hall to Centennial Hall.

Hundreds of spectators lined the parade route. Robert Sharclane, who grew up in Hoonah and now lives in Juneau, brought his kids.

“I’m half Tlingit, and it’s a fairly statewide, large and special event, and I just wanted them to participate in it and get an experience seeing it,” he said.

Sharclane’s nine-year-old daughter Pearl was wowed by the various dance groups.

“It’s cool to watch it and all the dresses they have,” she said.

Once all 55 groups made it into Centennial Hall, Sealaska Heritage Institute and Corporation officials formally opened the ceremony. SHI Trustee Clarence Jackson read a list of elders who have passed away since the last Celebration in 2010, including Dr. Walter Soboleff, the renowned Tlingit Presbyterian minister who helped found Sealaska Heritage Institute in 1980. Soboloeff was 102-years-old when he passed away last year.

Celebration was first held 30 years ago, after Sealaska Native Corporation founded the non-profit Heritage Institute to document and preserve the cultures and traditions of the Tlingit, Haida and Tsimshian people. The event is held every other year and has expanded to include Native groups from outside Southeast Alaska.

Representatives from the Nisqually Tribe of Washington performed a traditional welcome song at the Grand Entrance.

SHI President Rosita Worl thanked all the dance groups, which she credits for making Celebration a success.

“We owe Celebration to our dancers. We owe Celebration to our ancestors. We owe Celebration to our children,” Worl said. “We know our culture is going to be strong and carry on for the next 10,000 years.”

This year’s Celebration events run through Saturday at Centennial Hall and other locations around Juneau. Organizers estimate 2,000 people will participate, with another 5,000 attending as audience members.

Celebration juried art competition winners named

Tlingit War Helmet
Tlingit War Helmet by Rick A. Beasley. Photo by Matt Miller/KTOO News.

One of the early events of Celebration 2012 featured the announcement of winners of the juried art competition and unveiling of a month-long exhibit of their work.

The event, which culminated during Wednesday evening’s festivities, is organized and sponsored by the Sealaska Heritage Institute. It’s intended to encourage creation and development of Southeast Alaska Native art forms.

This year, the former categories of traditional and contemporary Native art were replaced by Customary and Customary Inspired Northwest Coast Art.

In the Customary Art category, Archie Cavanaugh won first place with his Eagle Man Mask, Sonya Koenig-Johnson’s Spruce Root Hat came in second, and third place went to Ruby Hughes for her vest titled Woodworm Woman.

In the Customary Inspired Art category, Harmony Hoss won first place for her Beaver Purse, Clarissa Rizal was second for her Argillite Totem, and Shgen DooTan George took third with her Woven Octopus Bag.

Cash prizes of a $1,000, $750, and $500 were awarded to the top three in each category.

Best of show award of $1,500 went to Arthur Nelson for his Raven Bowl.

Jurors included master carver Nathan Jackson who judged Customary Art, and art scholar Peter Corey who judged Customary Inspired Art.

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Thirty-two pieces by 21 artists are on display at the Juneau Arts and Culture Center through the end of June.

We’ll have an in-depth look at some of the art next week on KTOO.

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