Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances
Nuxalk Nation potlatch performances are multidimensional displays of supernatural mythology done through the use of traditional special effects. This is an untold story which I bring to light by reclaiming the descriptions of the secret society, the Kusiut, as recorded by anthropologist Thomas McIlw...
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Emily Carr University of Art and Design
2016
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ftarcabc:oai:arcabc.ca:ecuad_8485 2023-10-29T02:36:22+01:00 Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances Paul, Dionne (Dionne Paul) (Author) Emily Carr University of Art and Design Graduate Studies (Degree granting institution) 2016 electronic 46 p. https://arcabc.ca/islandora/object/ecuad%3A8485 https://doi.org/10.35010/ecuad:8485 English eng Emily Carr University of Art and Design https://arcabc.ca/islandora/object/ecuad%3A8485 ecuad:8485 u2: Graduate Studies u2: Art doi:10.35010/ecuad:8485 http://rightsstatements.org/vocab/InC-EDU/1.0/ This thesis is available to view and copy for research and educational purposes only, provided that it is not altered in any way and is properly acknowledged, including citing the author(s), title and full bibliographic details. http://creativecommons.org/licenses/by-nc-nd/4.0/ Potlatch Special effects Aboriginal culture Text thesis 2016 ftarcabc https://doi.org/10.35010/ecuad:8485 2023-10-01T18:00:37Z Nuxalk Nation potlatch performances are multidimensional displays of supernatural mythology done through the use of traditional special effects. This is an untold story which I bring to light by reclaiming the descriptions of the secret society, the Kusiut, as recorded by anthropologist Thomas McIlwraith, and in the discussions on my own art practice. There are similarities between Nuxalk traditional cultural production and western mainstream cultural production that I investigate with my writing and my art making. I use a form of hybridization of traditional special effects and mainstream special effects in the making of contemporary ceremonial art objects that, like the masks and blankets of the Nuxalk Nation, are meant to be performed and come to life. Both forms of special effects shape the socio-political issues of their time. Nuxalk winter dances, which are generally performed and witnessed mainly by First Nations community members, have foundational special effect techniques. I discuss and elaborate on them as a woman actively engaged in reclaiming, revealing and participating in the stories of my own people through art. Nuxalk secret society performers and the magic they created reconstructed realities that could be collectivized and set precedents that while not known to European based cultures, were demanding and technically extremely disciplined. My art practice builds on that discipline from the endless hours learning specific Nuxalk traditional methods to my own engagement in the assertion of matrilineal protocols. In addition I learned extensive special effects for mask from the film industry that include malleable materials to allow performers to emote facial expressions. Through conventional research methods and traditional practices, I have fabricated hybrid works of Nuxalk art that blend ancestral aesthetics with current techniques of the special effects industry. Researching Nuxalk ancestry has provided a lens to explore possible indigenous artistic advancement in my own art while ensuring ... Thesis First Nations Arca (BC's Digital Treasures) |
institution |
Open Polar |
collection |
Arca (BC's Digital Treasures) |
op_collection_id |
ftarcabc |
language |
English |
topic |
Potlatch Special effects Aboriginal culture |
spellingShingle |
Potlatch Special effects Aboriginal culture Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
topic_facet |
Potlatch Special effects Aboriginal culture |
description |
Nuxalk Nation potlatch performances are multidimensional displays of supernatural mythology done through the use of traditional special effects. This is an untold story which I bring to light by reclaiming the descriptions of the secret society, the Kusiut, as recorded by anthropologist Thomas McIlwraith, and in the discussions on my own art practice. There are similarities between Nuxalk traditional cultural production and western mainstream cultural production that I investigate with my writing and my art making. I use a form of hybridization of traditional special effects and mainstream special effects in the making of contemporary ceremonial art objects that, like the masks and blankets of the Nuxalk Nation, are meant to be performed and come to life. Both forms of special effects shape the socio-political issues of their time. Nuxalk winter dances, which are generally performed and witnessed mainly by First Nations community members, have foundational special effect techniques. I discuss and elaborate on them as a woman actively engaged in reclaiming, revealing and participating in the stories of my own people through art. Nuxalk secret society performers and the magic they created reconstructed realities that could be collectivized and set precedents that while not known to European based cultures, were demanding and technically extremely disciplined. My art practice builds on that discipline from the endless hours learning specific Nuxalk traditional methods to my own engagement in the assertion of matrilineal protocols. In addition I learned extensive special effects for mask from the film industry that include malleable materials to allow performers to emote facial expressions. Through conventional research methods and traditional practices, I have fabricated hybrid works of Nuxalk art that blend ancestral aesthetics with current techniques of the special effects industry. Researching Nuxalk ancestry has provided a lens to explore possible indigenous artistic advancement in my own art while ensuring ... |
author2 |
Paul, Dionne (Dionne Paul) (Author) Emily Carr University of Art and Design Graduate Studies (Degree granting institution) |
format |
Thesis |
title |
Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
title_short |
Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
title_full |
Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
title_fullStr |
Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
title_full_unstemmed |
Illusions For the Uninitiated: Traditional Special Effects in Potlatch Performances |
title_sort |
illusions for the uninitiated: traditional special effects in potlatch performances |
publisher |
Emily Carr University of Art and Design |
publishDate |
2016 |
url |
https://arcabc.ca/islandora/object/ecuad%3A8485 https://doi.org/10.35010/ecuad:8485 |
genre |
First Nations |
genre_facet |
First Nations |
op_relation |
https://arcabc.ca/islandora/object/ecuad%3A8485 ecuad:8485 u2: Graduate Studies u2: Art doi:10.35010/ecuad:8485 |
op_rights |
http://rightsstatements.org/vocab/InC-EDU/1.0/ This thesis is available to view and copy for research and educational purposes only, provided that it is not altered in any way and is properly acknowledged, including citing the author(s), title and full bibliographic details. http://creativecommons.org/licenses/by-nc-nd/4.0/ |
op_doi |
https://doi.org/10.35010/ecuad:8485 |
_version_ |
1781060249886654464 |