Yup'ik dancing

Yup'ik dance or Yuraq, also Yuraqing (Yup'ik ''yuraq'' sg ''yurak'' dual ''yurat'' pl) is a traditional Inuit style dancing form usually performed to songs in Yup'ik, with dances choreographed for specific songs which the Yup'ik people of southwestern Alaska. Also known as Cup'ik dance for the Chevak Cup'ik dialect speaking Inuit of Chevak and Cup'ig dance for the Nunivak Cup'ig dialect speaking Inuit of Nunivak Island. Yup'ik dancing is set up in a very specific and cultural format. Typically, the men are in the front, kneeling and the women stand in the back. The drummers are in the very back of the dance group. Dance is the heart of Yup’ik spiritual and social life. Traditional dancing in the qasgiq is a communal activity in Yup’ik tradition. The mask (''kegginaquq'') was a central element in Yup'ik ceremonial dancing. Emily Johnson (1998)
“Yup'ik Dance: Old and New,”
''The Journal for the Anthropological Study of Human Movement'', Vol. 9, No. 3. pp. 131-149

Inuit dancing of their ancestors was banned by Christian missionaries in the late 19th century as ''primitive idolatry''. After a century, Cama-i dance festival is a cultural celebration that started in the mid 1980s with a goal to gather outlying village Inuit dancers to share their music and dances. There are now many dance groups who perform Inuit dances in Alaska. Most popular activity in the Yup'ik-speaking Inuit area is rediscovered Yup'ik dancing.

Eskimo dancing

Both Yup'ik and Iñupiaq dancing are also known as Eskimo dance in Alaska.

The most obvious ways in which the Eskimo dancing of northwestern Alaska (known as Iñupiaq style Eskimo dance) differs from that of southwestern Alaska (known as Yup'ik style Eskimo dance) are in: the beating of the frame-drum from below, rather than from above; the standing, rather than the kneeling, of the male dancers; the very small use of decorative dance fans (''de rigueur'' in the south); and the considerable musical ceremonialism that still survives (which never developed as much in the south and southwest of Alaska, although it certainly existed there).Thomas F. Johnston (1976)
The Eskimo Songs of Northwestern Alaska
''Arctic'', Vol 29, No 1 (1976), pp. 7-19

Yuraryaraq

''Yuraryaraq'' sg ''Yuraryarat'' pl (lit. "way of dancing") or ''Yupiit Yuraryarait'' (lit. "Yup'ik ways of dancing") embrace six fundamental key entities identified as ''ciuliat'' (ancestors), ''angalkuut'' (shamans), ''cauyaq'' (drum), ''yuaruciyaraq'' (song structures), ''yurarcuutet'' (regalia) and ''yurarvik'' (dance location).Theresa Arevgaq John (2010).
Yuraryararput Kangiit-llu: Our Ways of Dance and Their Meanings
'. University of Alaska Fairbanks. Fairbanks, Alaska.

The ancestors (''ciuliaq'' sg ''ciuliat'' pl, ''ciuliaput'' "our ancestors") are regarded with respect and believed to be part of the living in Yup'ik epistemology.

The shaman (''angalkuq'' sg ''angalkuk'' dual ''angalkut'' pl) played a functional role in dance. The role of shaman as the primary leader, petitioner, and a trans-mediator between the human and non-human spiritual worlds in association with music, dance, and masks. The shaman’s professional responsibility was to enact ancient forms of prayers to request for the survival needs of the people. The specified masks depicted survival essentials requested in ceremonies. Shamans often carved the symbolic masks that were vital to many Yup'ik ceremonial dances and this masks represented spirits that the shaman saw during visions.Ahnie Marie Al'aq David Litecky (2011)
''The Dwellers Between: Yup'ik Shamans and Cultural Change in Western Alaska''
. The University of Montana ''Nepcetat'' (powerful ceremonial masks) were empowered by shamans. Shamans wearing masks of bearded seal, moose, wolf, eagle, beaver, fish, and the north wind were accompanied with drums and music.

The drum (''cauyaq'' sg ''cauyak'' dual ''cauyat'' pl) is only instrument in yuraryaraq. Drum that is accompanied with a drum stick (''cauyaun'', ''mumeq'', ''mengruq''). The drum is made with a round bentwood frame crafted with a designed handle. Traditionally, the drumskin (''eciq'' or ''cauyam ecia'') was made out of fine mammal stomach lining. The drum was to be treated with respect and used for ceremonial purposes. The Yup'ik calendar clearly marks the seasons and seasonal rounds of activity. The November (''Cauyarvik'' in Nelson Island dialect, ''Causarvik'' in Kotlik dialect, lit. "place for drumming”) is the time for drumming.

The song structures (''yuaruciyaraq'' sg) in ceremonies are composed and choreographed differently. The ceremonies are accompanied with music and must adhere to specific composition formalities as practiced by Yup’ik ancestors. This musical forms of songs are warm-up chorus (''ayakata’aryaraq''), chorus (''agnera''), first verse (''apalluan ciuqlia''), voiceless motion (''cauyarialnguq''), second verse (''apalluan kinguqlia''), encore (''pamyua'').

The dance regalia (''yurarcuun'' sg ''yurarcuutek'' dual ''yurarcuutet'' pl) includes ''qaliq'' (fancy fur parka), ''nasqurrun'' (wolf/wolverine/caribou beaded headdress), ''uyamik'' (beaded necklaces), ''tegumiak'' (finger mask or woven grass caribou dance fans), ''piluguuk'' (decorated boots), and ivory/beaded earrings. Men wear round wooden fans with waterfowl or owl feathers. Today, both female and male dancers wear designed qaspeq (hand-sewn calico pullover clothing).

Dance mask (''kegginaquq'' sg ''kegginaquk'' dual ''kegginaqut'' pl) was a central element in Yup'ik ceremonial dancing.

Dance fans or finger masks or maskettes (''tegumiaq'' sg ''tegumiak'' dual ''tegumiat'' pl): Hand-held fans accentuate the fluid movements of a dancer’s arms. They were used in traditional winter ceremonies and continue as part of contemporary Yup’ik dance regalia. Men’s fans, like this pair, have feathers inserted into wooden hoops.

Dance headdress (''nasqurrun'' sg ''nasqurrutek'' dual ''nasqurrutet'' pl): Women wore similar headdresses, which remain a part of modern Yup’ik dance regalia for both sexes.

The dance location (''yurarvik'' sg ''yurarviik'' dual ''yurarviit'' pl lit. "place for dancing”). The qasgiq is where people danced in ancient times. The qasgiq, was the community center for ceremonies and festivals which included singing, dancing, and storytelling.

Types

The Yuraq (''yuraq'' sg ''yurak'' dual ''yurat'' pl) is use generic term for Yup'ik/Cup’ik regular dance. Also, yuraq is concerned with animal behaviour and hunting of animals, or with ridicule of individuals (ranging from affectionate teasing to punishing public embarrassment). But, use for inherited dance is Yurapik or Yurapiaq (''yurapiaq ~ yurapik'' sg ''yurapiit'' pl, lit. "real dance") and yurapik long story dance performed by women, Fienup-Riordan, Ann (1996). ''The Living Tradition of Yup'ik Masks: Agayuliyararput (Our Way of Making Prayer)''. Seattle, WA: University of Washington Press. or is a dance style that relates to dance sequences that have no associated song ndare owned by individuals and passed down through family lines.

Types of dances are ''nangercelluku'' (first dances), ''yagirat'' (motions dances), ''cukaqautet'' (fast beat dances), ''ciuqitet'' (contemporary dances), ''ingulautet'' (slow dances). Rhythmic dances combined distinct gestures, story-telling, songs and the use of drums and masks. There were six styles of yuraq: ''arula'' dances consisting of yuraq, verse and chorus; ''yurapiat'' (storytelling dances); ''ingula'' dances, which were slow, oldstyle dances performed by women following berry harvests; ''pualla'' dances, primarily performed by men; ''yurat'' done to ''taitnauq'' songs; and ''telciqata'arcutet'', or proper entrance dances.

Banning of dancing

The reasons of the discrediting of traditional native dances are the effects of social changes that came about in the late 19th century as a result of fur trade, epidemics, and missionary activity. Along with the expansion of Europeans and Americans into Alaska were accompanying hardships for the indigenous people: epidemic diseases, strong Christian missionary activities, and western educational policies such as English language-only rules. Ancestral Eskimo dancing and non-Christian festivities, traditional ceremonies, and shamanistic rites were discouraged or even demonized and banned by Christian missionaries in the late 19th century as ''primitive idolatry''. Shamanistic rituals are no longer practiced, although some elders have information about these rites. Song and dance have remained. The Moravian Church had banned dancing from the villages. Yuraq dancing feasts between villages in the King Salmon and Naknek region were forbidden by Russian Orthodox priests as of 1933. Dancing as part of Yup'ik feasts no longer existed as Jesuit missionaries forbade it at the end of the 19th century. Many of these spiritual ceremonies, such as the ''Agayuyaraq'', an intervillage ceremony associated with the performance of masked dances usually at the end of the winter season, were abandoned. Masked dances and the Kelek (masquerade) dances were among the first to be removed from Yup'ik practice. Because of their highly spiritual content, dances were considered dangerous by missionaries who called them "heathen idol worship, devil's frolic and black art".

Dance festivals

There are now many dance groups who perform Eskimo dances in Alaska. There are many performances and festivals, however, that are more traditional in their role. Masked dances especially have served as a strong reminder of the connection to the worlds of animals and spirits. Dances embody the Yup'ik conception of the world. The beliefs that stem from this conception are the models by which Yup'iks live. Today, a dance festival, both in preparation and the actual event, consumes an entire village with its significance, just as it did in pre-contact times.

The first Yup'ik dance festival is Yupiit Yuraryarait (lit. "Yup'ik ways of dancing") started in 1982 at St. Mary's (''Negeqliq''), fostering a revival of the traditions of the Yup’ik people. Concerned about the survival of Yup’ik cultural heritage, the Negeqliq first brought together artists where traditional dancing was still practiced to participate in a festival designed to pass on dance traditions to younger generations. Nine villages in Yukon–Kuskokwim Delta came to that intervillage festival. The success of that event stimulated the creation of dance festivals throughout the lower Yukon River region. The Yupiit Yuraryarait is a dance festival that is now held every three or four years.

The second Yup'ik dance festival is Cama-i (lit. "hello; greetings; pleased to meet you; good to see you again") started in 1984 in Bethel (''Mamterilleq''). Traditional dancers from all over Alaska and beyond participate every March in the Cama-i dance festival. Bethel is unique in the region in having an astounding diversity of cultures, including a large contingent of Koreans. The Cama-i dance festival, an annual event in Bethel in the spring, hosts Alaska Native dancers from all over the state as well as Korean and Japanese dancers, and dancers from other regions of the world and the nation.

See also

* Drums of Winter (''Uksuum Cauyai'')
* Inu-Yupiaq
* Pamyua
* Messenger Feast (''kevgiq'')
* Bladder Festival (''nakaciuq'')
* Yupiit Piciryarait Cultural Center
* Inuit music

References

{{Reflist

External links

* YouTube Video
2014 Cama-i Dance Festival - Atmautluak Dancers
* YouTube Video
2014 Cama-i Dance Festival - Chevak Dancers

Yupik culture
Ritual dances
Dance in the United States
Native American dances