Shore leave in Prince Rupert provides the chance to visit the extraordinary Museum of Northern B.C.  While all the collections are excellent, I love the First Nations’ regalia.  This time what catches my eye are the garments with audible accoutrements.  With wearable percussion, dancers interact with and enhance the beats of the drums.

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Apron with metal thimbles.
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Apron fringes with puffin beaks.
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Garment fringed with pieces of metal and Chinese coins.
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Leather dance apron with deer hooves.
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Chilkst shawl with puffin beaks.
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This bear claw crown would have been worn by the shaman.
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Carved goat horns combine in this crown.
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Fox skin tunic with with red wool felt and fringes with deer hooves.

When we get to Sitka, I head for the Sheldon Jackson Museum in search of wearable percussion.  One of two Alaska State museums, this holds the collection of Sheldon Jackson, a Presbyterian educator who founded a school for Native youth and collected the items in last decade of the nineteenth century.

But here I don’t find a single example of wearable percussion!  I suppose  people of Jackson’s ilk were not keen on the Potlatch.  Instead, this place is a temple of material culture and human ingenuity. Every drawer in the small octagonal museum holds intriguing objects.

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A shaman’s rattle hang in a case near the banks of drawers with other collections.
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After European contact and the availability of wire. Tlingit artisans tried their hand at stringed instruments.
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When hunter scratches on the ice with tool, the sound resembles that of seals. Feeling safe, the seal approaches the hunter.
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Wouldn’t a necklace of fox teeth or of crab mandibles make a pleasant sound?
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Or how about a Yup’ik necklace of ground squirrel mandibles? These necklaces were worn by both men and women.
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I’m sure some vocal sound or drumming accompanied use of these women’s healing belts.  Inupiaq belt features porcupine quills, one from the Bering Sea caribou teeth.
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Snow goggles save Inupiaq hunters from going blind and certainly make a fashion statement.

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