By Jessica Segall
A close friend of mine passed away while we were camping in the Brooks Range, hundreds of miles from a telephone where someone could reach me with the news. Knowing now, it is filtering the way which I experience this place. It is a challenge to be so far from home, 3,361 miles from home, to be exact. Much of the last weeks have been spent calling friends and relatives to plan the memorial. However, there is some comfort to being here. With a heavy heart I can walk out to edge of town to study the Chukchi Sea, or walk 5 miles to the tundra expanding beyond the horizon.
We
were lucky enough to be invited by the Parks Service to return to the Brooks Range last week, and camp in a new
location, 200 miles from Kotzebue. In
between that time I pulled in nets at fish camps and with subsistence fisherman
in town, learned how to catch and fillet a salmon. Living in the Alaskan arctic means
participating directly in the food chain.
Daily life is sustained by the hunt, and requires defending oneself from
larger carnivores. When the average
Western consumer is part of a cash economy, purchases food from secondary or
tertiary vendors imported from all corners of the planet, it creates a
disconnection from region, season and a sense of an integrated whole. When the
largest predators have been hunted to extinction on most of the American
continents, it is reasonable to feel, at the top of the food chain, a dominion
over other life forms, power over nature.
The
Wilderness Act defines wilderness as a protected place where "man, himself
is a visitor." While the intent is of the act is to protect our natural
resources from destructive human intervention, the language draws a violent
division, not only in terms of gender relations, but also in suggesting that
man (and not woman) is not of nature, spawning from Judeochristian ideas of man
as a likeness of God that has dominion "over every creeping thing that
creepeth upon the earth." Changing the conversation to encompass other
worldviews, animistic and non – Western could re-enforce an interconnected
sense of self and responsibility.
Considering protected
wilderness areas only ones that have not had a human history is problematic to
archeologists, who are researching the millennium of human occupation in arctic
Alaska. Some of the archeological
viewpoints are also representative of a Western bias, especially ones that consider
Indigenous cultures as part of natural history, but Western culture as part of
human history. Searching around the
archeological sites, items we saw were either deemed historic (oil cans dropped
from planes for potential, future refueling) or pre-historic (stone tools,
petroglyphs). By this definition, something becomes part of history is
once it is recorded in writing, (written language which can be translated –
Hieroglyphics were considered part of pre-history until the Rosetta
stone). In 2005, I visited the South
African Museum in Cape Town, the first natural history museum in sub-Saharan
Africa. The museum displays were in the process of renovation, removing dioramas
of indigenous people working with stone tools, updating the idea that African
history is natural history and colonial history is cultural history.
As a visual
artist, part of my job is to find ways to speak outside of language – which can
operate on a physical, sensorial, absurdist or spiritual level. When finding artifacts in the Brooks
Range, each object told a story tantamount to written language. Mike Holt, lead archeologist for the The Western Arctic National Parklands, explained to us how to identify lithics (stone
tools) among the exposed gravel of the tundra by looking for marks of intention. His trained eye can tell the difference between an apprentice and the marks of a
trained craftsman making a projectile point. As such, a trained
painter can look at a painting and tell from the marks what the interior life
and ideology was of the maker. Setting
aside easily dated material such as subject matter, the maker can be read by the
size of the canvas, the speed in which it was made, the dexterity of marks and
which marks are withheld. A straight
line is an ideology. A curved line is a different worldview. This is the written
language of the artist, the human hand. Coming down to it, the terms of history and
pre-history, culture vs. civilization, man vs. nature is married to an idea of
progress, and a straight line as a worldview.
Images
by Anitra Haendel
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