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Parkas are part of a living tradition in southwest Alaska. Some are ornamented with tassels, beads, and elaborate stitching; others are simpler fur or birdskin garments. Although fewer fancy parkas are sewn today, many people still wear those made for them by their mothers and other relatives. \"Parka-making\" conversations touch on every aspect of Yup'ik life-child rearing, marriage partnerships, ceremonies and masked dances, traditional oral instructions, and much more. In The Flying Parka , more than fifty Yup'ik men and women share sewing techniques and \"parka stories,\" speaking about the significance of different styles, the details of family designs, and the variety of materials used in creating these functional and culturally important garments. Based on nearly two decades of conversations with Yup'ik sewing groups and visits to the National Museum of the American Indian and the National Museum of Natural History, this volume documents the social importance of parkas, the intricacies of their construction, and their exceptional beauty. It features over 170 historical and contemporary images, full bilingual versions of six parka stories, and a glossary in Yup'ik and English.

Los estudios sobre el giro postdigital en la literatura española se han asentado en la última década. El presente artículo interroga un breve corpus novelístico para determinar 1) qué presencias postdigitales y estrategias de representación predominan y 2) cómo se relaciona con su historia tecnológica. El corpus comprende Game Boy de David Parkas (2019) y Reina de Elizabeth Duval (2020). Así, se pretende ampliar el rango de los estudios previos, que se han centrado mayormente en la generación pionera de los mutantes. La metodología del estudio consiste en un análisis cualitativo de los textos mediante Atlas.ti. Se ha elaborado un modelo interpretativo según el cual anotar las novelas y se han analizado los datos de la anotación en la herramienta.

Zooarchaeological data from sites 49-KTZ-299 and 49-KTZ-300 at Deering, Alaska, and ethnographic and oral historical information from Inupiat, Yupiit, Inuit, and other northern Indigenous communities are brought together to examine Ipiutak and Western Thule reliance on birds. Cut-mark, elemental-representation, and aging data from bird bones suggest that Ipiutak and Western Thule living at Deering between ca. AD 700 and 1200 utilized birds not only as food, but also as raw materials for making needles and sewing garments. Bird-skin clothing manufacture is a gendered and spiritually charged activity for northern Indigenous peoples, and the antiquity of these associations is explored. Although circumpolar bird subsistence encompasses intertwining economic, sociocultural, spiritual, and symbolic components, the dynamism and multidimensionality of these practices have been underrecognized in academic discourse on subsistence.

By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.

The concept of turning nothing into something or making something into something extraordinary is exactly what Inuit have done for centuries for survival, function and purpose. Using materials from nature, reusing unutilized materials and recycling good materials to creating something useful is a way of life for many in the north. Inuit make things from by-products of hunted animals all the time such as tools, clothing, household items, and even devises for transportation. In this series we see the incredible things made traditionally made by Inuit and how we make and use our creations today. Inuit have worn Parkas for thousands of years. Parkas would traditional be made from furs of land animals such as caribou and wolf and others, also from sealskin from seals and other marine mammals. It was also common for Inuit to use bird skin to tediously make their warm parkas. Inuit had to make their clothing from what was available to them. These days Parkas can be made from todays’ materials. We will watch Mary Lee-Aliyak, originally from Rankin Inlet, living in Iqaluit on the process of making a modern parka.

This paper presents a low-cost conservation project from the Polar Museum, Cambridge, in which two Inuit gut parkas from the museum's collection were prepared for display and analysed to identify their material components. The project relied on cultivating professional networks and adapting inexpensive mounting methods to get maximum value from a very small budget. The parkas were analysed with a range of techniques including scanning electron microscopy (SEM), energy dispersive X-ray spectrometry (EDX), attenuated reflectance Fourier transform infrared spectroscopy (ATR-FTIR) and a novel low-cost and non-destructive protein analysis technique to identify species. The results of the analysis are presented along with an explanation of the inexpensive mounting system which was devised to display the parkas as they were originally worn. The advantages and limitations of using a networking approach to analysis are also discussed.Keywords: object conservation, sustainability, mount, gut parka, Inuit, protein analysis, network

In 2014, the National Museum of Denmark (NMD), in conjunction with the Greenland National Museum and Archives (Nunatta Katersugaasivia Allagaateqarfialu [NKA]), as well as the Museum of Cultural History, Oslo, launched the website Skin Clothing Online. The site presents the NMD’s total collection of 2,170 historic skin clothing items, dating from circa 1830 to 1950, from the circumpolar area. The clothing can be studied in minute detail due to high-resolution photos; 100 complete suits were photographed from all sides. Furthermore, 107 items of clothing were measured by means of 3D technology, which can be used to draw precise two-dimensional patterns. The documentation is made accessible to the public through a website, in compliance with creative commons licenses: CC-BY-SA for the photos and CC-BY-SA-NC for the patterns. The website uses content from the database SkinBase. Since 2017 parts of the NKA’s collection of archeological skin clothing from Qilakitsoq (circa 1475 AD), as well as historical garments and contemporary fashions, have also been made accessible, in keeping with the same copyright rules for photos. The NKA staff entered the items into the database without difficulty using a Virtual Private Connection (VPN). The Danish and Greenlandic national museums encourage international partners to contribute items to the website. The aim is to create a collaborative open forum for information and research with easy access for everybody to unique, fragile pieces of circumpolar cultural heritage. With clothing from Arctic peoples and clothing used on expeditions to Antarctica, the Polar Museum in Cambridge will be the next museum to contribute to the website.