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MASKS OF THE YUP’IK / CUP'IG ESKIMO

     Yup’ik and Cup'ig used masks that represented animals of the land, sea and air at festivals.  Agayuliyararput (Our Way of Making Prayer),  which also translates to "our way of hanging things".  Some masks were so large they had to be hung before they were worn.  The ancestors did not believe in these masks as gods, but mainly temporary imitations of animals, stories and surroundings. Masks were also used humorously to tease relatives.

    Carvings of animals and dried inflated bladders were strung in the Qas’giq on sinew leading to the middle.  In the center of this communal web was a figurine representing Ellam Yua (Person of the Universe).  This string symbolized man and  nature and their relationship to the "one who watches".  It was pulled up and down in rhythm to the drum.  Ellam Yua, as the ancestors declare, "is always watching you, and exists everywhere".  The people celebrated with Ellam Yua, as the one who had control of the animals and their surroundings.

        The festival, as seen by the early missionaries saw it as the work of the "devil", because some masks looked scary, and denounced gift giving as a "useless waste of wealth and energy".   These masks were misrepresented and largely feared by early outsiders and forced their beliefs on the people.  Relatives from nearby 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 dance skills and songs.  This event brought kinship’s closer to rekindle and become acquainted with extended families.  Every participant was given gifts, and shared among all.  Everyone that was capable shared their bounty with those that were less fortunate, the elderly and the poor, and those without someone to hunt for them.

        Some of the 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; some were influenced by corrupt forces and became spiteful.

        The animals would return to Ellam Yua and inform Him that the humans had treated them well, and asked to be returned for the following years festival by way of giving themselves to the humans.  By man's hunting, fishing and gathering.  Ellam Yua being pleased of man's kindness and respect for one another would give the animals permission to celebrate life again. 

The story above is based on research of masks and its relationship to shamanism, including an interview with some of the early mask makers of the Yukon-Kuskokwim.  In 1979, I was fortunate to have met with these carvers, along with my instructor Ron Senungetuk. We had the opportunity to interview and showed slides of masks they may recognize and interpret.  These respected artists have since passed on, master carvers who actually participated in the dance festival using masks.  To name a few, my late father-in-law John Kusauyak; Kay Hendrickson, and Larry Float all of Mekoryuk, and Nicholas Charles, Sr. of Bethel.

Links on Masks:

    Arctic Studies Center

    Agayuliyararput - Our Way of Making Prayer

    Yup'ik Masks - Phillip J. Charette, my nephew, Yup'ik Way. I'm proud of hIm.