Unfrozen Stories

Permanent virtual exhibition 

Indigenous Art Forms as Living Reflections on Frozen Commons

Ice, snow, and permafrost are integral to Arctic human-nature connections. It provides shelter, water, and infrastructure, and forms Arctic identities. Indigenous Peoples’ livelihoods deeply intertwine with frozen landscapes. Our ancestors have developed diverse ways of interacting with, keeping and sharing knowledge about living in the cold environments, including through language, art, and ways of being. Deterioration of Arctic frozen environments driven by climate change impacts not only Indigenous communities but has the potential of affecting the whole of humanity. Complexity of problems the Arctic is facing today requires a search for new ways of discussing, understanding, and envisioning our relationship with land and water for now and for the future.  

Unique long-standing relationships with frozen commons are masterfully incorporated into Indigenous art forms which can be understood as forms of art that stem from the holistic understanding of human and other then human relationships. With the goal of bringing Indigenous voices forward to speak about socio-environmental challenges, community well-being, justice and equality, success and failure, Indigenous art forms provide a glimpse into the knowledge base and experiences of Arctic communities building a bridge of understanding across diverse knowledge systems. 

Intergenerational knowledge transfer and relationality are foundational for Indigenous creative storytelling and constitute the core basis in the creation of the art pieces. Knowledge of grass weaving, skin and fur sewing, beading, and carving does not come in one day. These skills come from within the community across multiple generations of meticulous practitioners and those observing them with care and are further delivered by artists and storytellers to wider audiences.  

Stories skillfully crafted by Indigenous women seamlessly come together to celebrate the vibrant Arctic life and at the same time grieve the lost generations of knowledge holders, interrupted relations, and the rapidly melting ecosystem. Through this exhibition we draw attention to how Indigenous creative storytelling depicts delicate understanding of plentiful states of Arctic waters including diverse qualities of snow, variable conditions of ice, and rapidly changing permafrost grounds. Stories shared here represent strong and resilient cultures that continue relying on old and time-tested Indigenous smart technologies of comfortable living in the North. These stories were diligently gathered by generations of Indigenous hunters, reindeer herders, fishermen, berry and herb pickers, mothers, fathers, grandparents, great-grandparents… Depicting the essence of what it means to be a respectful and responsible citizen of the Arctic ecosystem, these artworks celebrate the beautiful Arctic lands and waters that are viewed by Indigenous Peoples not as wilderness and a hostile environment, but as a deeply loved home.

Text by Tatiana Degai

Haliehana Alaĝum Ayagaa Stepetin

Qiiĝam Aĝadaa

Grass Sun Medallion Necklace

More about artwork

The blended mediums of qiiĝam aĝadaa from the land and the sea reflect an Unangax̂ relationality to place that informs our survival and thriving in Unangam Tanangin, the Aleutian Islands of Alaska. Unangax̂ Peoples in and of Unangam Tanangin are at the maritime gateway to the Arctic via the Bering Sea and the Pacific Ocean.  

Haliehana Alaĝum Ayagaa Stepetin. Qiiĝam aĝadaa / Grass sun medallion necklace. Hand-woven raffia with a basketry center; includes glass beads and is edged with chngatux̂ [sea otter] fur.
12.7×12.7 x 51 cm, 2024 

Isx̂atim Qitxuu ama Chngatum Qasii

Grass Basket Bottoms and Sea Otter Stitches

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Unangax̂ grass baskets are some of the tightest and finest woven baskets in the world, with hundreds of stitches per square inch. Sea otter fur shares a similar quality, with thousands of hairs per square inch, making this a significant animal kin for Unangax̂ and our survival in Unangam Tanangin homelands. The juxtaposition of sea otter fur and woven Unangax̂ basketry speaks to the interrelated nature of Arctic ecosystems.

Haliehana Alaĝum Ayagaa Stepetin. Isx̂atim Qitxuu ama Chngatum Qasii / Grass Basket Bottoms and Sea Otter Stitches.
28 x 28 cm, 2024 

Amber Webb

Tuntu

Caribou

More about artwork
Yupik people would describe how if we observe carefully enough, sometimes the animals will honor us by flashing their spirit.  This piece celebrates the tuntu (Caribou) spirit and the sacred relationship between the Yupik people and the animals that sustain us. It also symbolizes mourning because they are no longer abundant in the Aleknagik area…

Ink on Wood Panel.
68.6×30.5 cm, 2024

Nasqurrun

Headdress

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Nasqurrun – headdresses used for Yuraq (Yupik dance) are important to spiritual practices.  This nasqurrun honors my great-grandmother, Emma Nunn, who was the last person in my family to dance before my mom began taking us to practices in Anchorage with a group from St. Mary. Traditionally, they are not as elaborately beaded, but this was made while meditating and praying for healing from the many years our people were forbidden to practice our spiritual beliefs because outsiders believed they were evil…
Glass beads, cotton fabric, pellon, nylon thread, beaver, white fox. 63,5 x 17, 78 cm, 2024 

Naqugun

Women’s Belt

More about artwork
The tradition of Yupik Dance belts for women is not widely practiced in the artist’s region.  Many of our spiritual practices were stolen from us.  This belt is a spiritual line in the sand.  The prayer in each stitch symbolizes cutting the path of my people to separate the trauma of colonialism and colonization from the indigenous joy of our future.  The design is meant to show a single winter day since the trauma of the last 300 years is like a single winter day in the lifespan of Yupik existence…

Amber Webb. Naqugun / Women’s Belt. Glass beads, pellon, nylon thread, white fox, ermine, moose hide. 152,4 x 20,32 cm, 2024.  

Tatiana Degai

Oleg Zaporotsky. Misty frost. Kovran.  Photograph, digital C-Print, 29,7×42 cm, 2022.

Story of Zavina-Kugagt

Xanč’an atxatxank ŋizzalank itǝnmǝn’i’n fčifče’n sunjɬqzuze’n. Inxse’nk nwe’n kannen’an atxatxanke, ma’ kč’amzanla’n sunjɬqzuze’n, nasqzuzwen ǝzzan ǝnfkatanoke inkneɬ ɬinmiwatamoke, lem č’amzanjɬꭓ’an wetwet ǝɬčkustnoke. Lem xan’an atxatxank č’inǝŋlaꭓ Zavina-Kugagt sunjɬqzuknen, min txsanom ek čqɬnom skǝzne’n. Ənnan klelx Balagitg sin. Nu ŋejŋex’al inxse’nk sǝmtanke nasqzuzen ǝnnan iwlaꭓa’njɬ k’imi’njɬ spǝl č’eliwatanoke. 

S. P. Krasheninnikov kk’enjɬqzu’in: “It’e ma’ta inxt spleɬ inmisinazen, ǝnnan ktxǝŋ xank inxtenk ǝnzuznen ǝnxejwelaɬ nwonk q’ewq ek iwlq mank enmesenkas ǝnnanke ti’n lu’miznen. It’e 0qǝ’nizen qnaŋ spǝl pinjɬfa’sen, č’inaŋq ǝzzan leqzuzen.” (1949, p. 204)

Inki Balagitg mslelnǝŋx’al ɬaleqzuzen, Zavina kistenk kzuqzuznen. Ənna txɬknen či’nŋitiqzuznen, qǝmŋiqzuzen, p’ǝlꭓe’n anzazozne’n, k’imi’n ǝmtxlaznen. It’e Balagitg kestanke ilwiziqzuzen pǝɬčilki. Zavina eskčaq riwatqzuzen ti’nwekit qisꭓčaq č’ač’aqzuzen txsanok inkneɬ čqɬnok. Wen jaq Balagitg qa’m pǝɬč’ilkinkin inkneɬ manke ta ɬxiqzuzen, Zavina uzuqzuzen jatki, qisꭓčaꭓank jaja’n k’oɬqzuze’n, knaŋ čfqzuzen.  

In the Upper World, among the thick Kamchatka clouds, the Itelmen spirits live — lords of the natural elements. They periodically descend into the Middle World — the world of living people — to improve the weather and look over human affairs.    In the Upper World lives the beautiful Zavina-Kugagt – the goddess of the morning dawn and evening sunset. Her lover is the wind spirit named Balakitga. Along the high mountains, Balagitga periodically descends in the form of a man into the world of people and creates wind flows with his long curly hair.  When he wants to disturb some place with the wind, he shakes his head over it for as long and as strongly as the great wind pleases him, and when he gets tired, the wind will subside and good weather will follow” (Krasheninnikov, S. P. Opisanie zemli Kamchatki: s prilozheniem raportov, doneseniĭ i drugikh neopublikovannykh materialov. Izd-vo Glavsevmorputi. 1949: p. 204).    While Balagitga travels around the world, Zavina is waiting for him at home. She sews a new outfit, preens herself, blushes her cheeks, combs her hair. When Balagitka returns home on time, Zavina rejoices in painting the sky with the bright colors of sunset and sunrise. If Balagitga lingers and stays somewhere overnight, Zavina begins to frown, thickening the clouds in the sky and causing rain. I  grew up hearing this story of strong love between beautiful Zavina-Kugagt and Balakitga from my grandmother – Victoria Petrasheva, an Itelmen knowledge holder, leader, and scholar. She taught me to respect our creation stories, our Elders, and our teachings. My grandmother was born on a dog sled in the tundra somewhere on the way to her home Utkholok village on the Western coast of Kamchatka. She loved Kamchatka winters with their heavy snowstorms, strong coastal winds and rains, warm sun, colorful tundra, and amazing people.    We come from the land of powerful volcanoes, multiple networks of rivers and watersheds, and a rich salmon ecosystem. We share our homeland with brown bears, mighty eagles, trickster ravens, and many other living beings. Itelmen people live along the Kamchatka seashores of the Pacific Ocean and the Sea of Okhotsk and quite often we are given the gift of magnificent sunsets and dawns created by Zavina-Kugagt – a combination of bright yellow, orange and red colors of the perfectly round sun coming down and rising up flushing the sky with a diverse palette of yellow to red shades.  Čʼačʼalaχ is an Itelmen word to describe this palette.

Kzos

Awaiting Balakitga 

Tatiana Degai. Kzos / Awaiting Balakitga. Salmon skin mosaic. Salmon skin, colored pencils, paper, 29.7 х 35.6 cm, 2024

Tatiana Degai in collaboration with Viktor Ryzhkov, Jonathan Bobaljik, and Oleg Zaporotsky.

Inspired by the profound Itelmen creation story of the love between Zavina-Kugagt, the goddess of sunrise and dawn, and Balakitga, the spirit of the wind, “Awaiting Balakitga” captures a pivotal moment in their timeless existence.  

As Zavina-Kugagt anticipates the return of her beloved Balakitga, she gracefully fills her days with the artistry of creation, weaving intricate garments with the companionship of her faithful friend, Swan. This artwork encapsulates the essence of this intimate scene, portraying Zavina-Kugagt as she meticulously stitches together the fabric of her elaborate garment, each thread a testament to her enduring love for Balakitga. Amidst her labor of love, Zavina-Kugagt’s melodic voice resonates with ancient melodies, filling the air with enchanting songs that echo the soul of Kamchatka’s beauty. The sun, a silent witness to her devotion, gracefully descends, casting a kaleidoscope of čʼačʼalaχ hues across the sky, a testament to the celestial romance that unfolds beneath its watchful gaze. 

Crafted in collaboration with Itelmen language experts, including Viktor Ryzhkov and Jonathan Bobaljik, this artwork serves as a tribute to the rich cultural heritage and enduring spirit of the Itelmen people. The installation includes a series of photographs by Oleg Zaporotsky, capturing the beauty of the trational Itelmen lands and waters. Through its intricate details and evocative imagery, “Awaiting Balakitga” invites viewers to immerse themselves in the timeless story of love, longing, and the enduring power of creation.

Zavina-Kugagt's

Winter Headdress

More about artwork

Zavina-Kugagt’s Headdress is a homage to the frosty winters of Kamchatka, a land teeming with diverse life and boundless beauty. This piece seamlessly weaves together elements that capture the essence of the season. Inspired by the kaleidoscope of colors and textures found in Kamchatka’s snow-covered landscapes, the beadwork is an interpretation of nature’s intricate tapestry.

Tatiana Degai. Zavina-Kugagt’s Headdress. Off-loom bead weaving, string beading. Glass beads, pearls, sea shells, hare fur. 59 x47 cm, 2024 

Elena Rybina

Four Generations of Ivoshyokh’s Bags

Author: Elena Rybina in collaboration with her family 

Needlework is fundamental for creating and repairing garments that provide insulation and protection against the cold. Traditional techniques such as sewing with animal hides and fur are time-tested methods for crafting durable and warm clothing that can withstand cold temperatures. Needlework allows for efficient use of resources by employing materials such as animal hides, fur, and sinew to create clothing and other essential items, ensuring that every part of the animal serves a purpose. Additionally, the Khanty People minimize waste by repurposing and mending garments.    The craft of needlework is deeply intertwined with the cultural identity of Indigenous Peoples in the Arctic, for whom crafting practical artworks is a way of life, deeply intertwined with culture, tradition, and survival. Central to this tradition are the instruments and tools used for crafting, which hold both practical and spiritual significance.     Specialized bags are created with meticulous care to safeguard these essential items, reflecting the values and lifeways of the People. These bags are not merely utilitarian – they are works of art in their own right, reflecting each community’s unique aesthetic and cultural identity. They are often adorned with intricate beadwork, mosaic designs, or other traditional embellishments, each design carrying its own symbolic meaning.     The bag is an indispensable attribute of a Khanty woman. It contains all of the essentials for sewing clothing and household items. This collection presents four generations of Ivoshyokh bags.

Urkhir Bag 

1-st Generation
The Urkhir bag for storing things was sewn over 80 years ago by my grandmother Tatyana Egorovna Rebas (Longortova), born in 1913. She was born in a traditional fishing settlement, and belonged to the large Longortov family, who lived in the upper reaches of the Sanya River. There were five sisters in the family. Their mother was a skilled seamstress and tried to pass on her skills to her daughters. 

Yontastykhir Bag 

2-nd Generation "Yontastykhir" is a bag for storing necessary sewing and crafting tools. I made this bag in 2023 based on the pattern of an antique bag. Reindeer hide, dyed fabric, beads, and metal decorations were used for sewing this bag. For the decoration, I used the traditional Khanty “Sun” ornament.The bag is sewn with threads made from reindeer tendons and has all the attributes of a sewing bag with compartments for needles and thimble, as well as a case for scissors. I added red and green colors for a more interesting and bright ornament for this bag in particular. 

Aikhur Bags

3-rd Generation Such bags are used for storing their dolls, ivory toys and pieces of sewing cloth. Presented here are two bags. One was created by my mother Natalia Aleksandrovna Gorshkova in 2021.   The second handbag was sewn as a sewing learning exercise by my daughter Varvara under the delicate guidance of my mother. The ornament in the middle is called pine nut, the ornament along the bottom symbolizes reindeer antlers. 

Reindeer sinew

Author: Elena Rybina

More about artwork
This piece of sinew represents generations of Arctic Indigenous sewers who continue the tradition of making reindeer sinew threads, one of the most durable materials in the Arctic, alive. Similar technology is shared across diverse Arctic communities, especially those who live in deep relationship with the reindeers and caribou, the key providers of warm fur, nutritious food, leather, and household tools.

Reindeer sinew. 45×20 cm, 2024 

Akanj dolls

by Varvara and Aleksandra Rybina

More about artwork
These are examples of traditional dolls that Khanty girls create as part of their learning and playing practices. They are created using the twisting cloth technique and are decorated with glass beads. When made by a mother or a grandmother, such dolls serve as protectors for the young girls.

Varvara and Aleksandra Rybina. Akanj dolls. Twisted cloths,13.5×8 (yellow headscarf) and 12.5×6.5 (red multicolour headscarf) cm, 2021 

Embroidery with Khanty ornament

Author: Elena Rybina

More about artwork

This artwork is a small depiction of the Khanty ornament called hare’s ears. It is made in the traditional applique on fabric technique. The fabric used on this example is cotton. Such technique and design would be used to decorate a Khanty dress.

Elena Rybina. Embroidery with Khanty ornament. 42×11 cm, 2023

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