About Oscar
John Oscar
Oscar attended the University of Alaska, Fairbanks from 1977 to 1984 and studied under Ron Senungetuk, Glenn Simpson, Terry Choi and Kesler Woodward.
Oscar produces three dimensional framed art. The fine art celebrates the Yup'ik dance, the environment, animals, fish, birds, and Yup'ik stories adorned in spirit masks. Oscar has developed a unique blend of modern and cultural motifs, and influenced how other Alaska Native artisans produce their work into a new generation. Before relocating to Bethel, Oscar developed a studio in Mekoryuk with the support of the community. "I believe each of us are given talents by Ellam Yua, the same God in the Bible, and the opportunity He gives us to share it with our fellow neighbor with Love's intercession," said Oscar.
MASKS OF THE YUP’IK / CUP'IG
John Oscar, At'saq
Yup’ik and
Cup'ig used masks representing animals of the land, sea and air
during festivals. They did not believe in these masks as gods,
but temporary imitations of animals, stories and surroundings.
Carvings of
animals and dried inflated bladders were hung in the communal house
on strings leading to the middle. In the center of this string
was a human figurine representing Ellam Yua (Person of the
Universe). The string symbolized man and nature and their
relationship to the "one who watched and existed everywhere".
It was pulled up and down in rhythm to the drum, and celebrated with
Ellam Yua.
Relatives from other villages would bring gifts
of garments, hunting tools, utensils, food, household goods and
useful material for clothing. Participants would prepare in
advance for the event, practicing their songs and dance. This
event brought kinship’s closer and rekindled extended families.
Gifts were shared especially among the elderly and the poor.
Some masks had holes in their outstretched hands.
This was the symbol of Ellam Yua having control of the fish and
animals. When man disputed over resources, Ellam Yua would
close His hands. After all, the universe belonged to Ellam
Yua's care, and humans were merely borrowers.
After the festival, the animals were returned
symbolically through these masks. Submerging them under the
ice or burned. Sometimes children would just obtain them for
play or simply used for kindling. Shamans were not seen as
priests or leaders of the village, but ones who had the gift to heal
and the ability to protect his community from other harmful beings
or another bitter shaman. They were said to have the ability
to move natural events, and in times of shortage, offer advice where
fish and animals were abundant or beseech for their availability.
As in all human societies, not all were compassionate; a few were
influenced by corrupt forces and became spiteful.
As the spirit of animals returned to Ellam Yua, they informed Him
how well they were treated by humans, and asked to be returned for
the following year’s festival by making themselves available through
hunting, fishing and gathering. Ellam Yua being pleased of the
humans’ kindness for one another, and the respect they showed, gave
the fish and wildlife permission to celebrate life again, and the
cycle continued.