Eskimo Oversized Sherpa Hoodie Sweatshirt Blanket - Warm and Cozy - Reversible with Pockets Grey

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Specific rituals existed to placate the spirits of polar bears, which were seen as particularly powerful animals. It was believed that the spirits of polar bears remained within the skin after death for several days. When these skins were hung up to dry, desirable tools were hung around them. When the bear's spirit departed, it took the spirits of the tools with it and used them in the afterlife. [170] Kral, Michael J.; Idlout, Lori (2012). "It's All in the Family: Wellbeing Among Inuit in Arctic Canada". In Selin, Helaine; Davey, Gareth (eds.). Happiness Across Cultures. Science Across Cultures: The History of Non-Western Science. Vol.6. Dordrecht: Springer Netherlands. pp.387–398. doi: 10.1007/978-94-007-2700-7_26. ISBN 978-94-007-2699-4. Footwear [ edit ] Three layers of winter footwear: short inner slipper, inner boot (fur inwards), outer boot (fur outwards) Station Results – 1971–2000 Climate Normals and Averages". Environment Canada. 1 June 2021 . Retrieved 29 July 2021.

Emanuelsen, Kristin (2020). The Importance of Sewing: Perspectives from Inuit Women in Ulukhaktok, NT (Report). Ulukhaktok Community Corporation, Indigenous Services Canada, and University of the Sunshine Coast. Inuktitut syllabics were standardized in 1976 by the now-defunct Inuit Cultural Institute to reflect the Romanized spelling of Inuktitut words. [13] [14] Oakes, Jill E. (1991). Copper and Caribou Inuit Skin Clothing Production. Ottawa: University of Ottawa Press. doi: 10.2307/j.ctv16nz8. hdl: 1993/3533. JSTOR j.ctv16nz8. S2CID 128742543. Stern, Pamela R. (2010). Daily Life of the Inuit. Santa Barbara: Greenwood. ISBN 978-0-313-36312-2.Schmidt, Anne Lisbeth (2016). "The SkinBase Project: Providing 3D Virtual Access to Indigenous Skin Clothing Collections from the Circumpolar Area". Études/Inuit/Studies. 40 (2): 193–205. doi: 10.7202/1055438ar. ISSN 0701-1008. JSTOR 26578202. It doesn’t only look great, but a fur-trimmed hood also has the added virtue of actually working to keep you warm. For many Inuit groups, the timing of sewing was governed by spiritual considerations. Traditionally, women never began the sewing process until hunting was completely finished, to allow the entire community to focus exclusively on the hunt. [236] The goddess Sedna, mistress of the ocean and the animals within, disliked caribou, so it was taboo to sew sealskin clothing at the same time as caribou clothing. Production of sealskin clothing had to be completed in the spring before the caribou hunt, and caribou clothing had to be completed in fall before the time for hunting seal and walrus. [121] [237] Individual groups had local taboos that also played a part in the timing of the sewing process. [238]

Eskimos live in some of the coldest conditions known to man, they keep warm by wearing layers of fur. Insulation and heat conservation: Clothing worn in the Arctic must be warm, especially during the winter, when the polar night phenomenon means the sun never rises and temperatures can drop below −40°C (−40°F) for weeks or months. [6] Inuit garments were designed to provide thermal insulation for the wearer in several ways. Caribou fur is an excellent insulating material: the hollow structure of caribou hairs helps trap warmth within individual hairs, and the air trapped between hairs also retains heat. [18] Each garment was individually tailored to the wearer's body with complex techniques including darts, gussets, gathers, and pleats. [176] Garments were generally bell shaped to retain warm air. [177] Openings were minimized to prevent unwanted heat loss, but in the event of overheating, the hood could be loosed to allow heat to escape. [178] In many places, long, resilient hairs from wolves, dogs, or wolverines was used for hood trim, which reduced wind velocity on the face. [178] [179] Layers were structured so that garments overlapped to reduce drafts. [180] [181] For the warmer weather of spring and summer, where average temperatures can range from −0.8°C (30.6°F) to 11.4°C (52.5°F) in Nunavut, only a single layer of clothing was necessary. [182] [183] Both men and women wore two upper-body layers during the harsher temperatures of winter. The inner layer had fur on the inside against the skin for warmth, and the outer layer had fur facing outward. [10] [20] [184]Tulloch, Shelley; Kusugak, Adriana; etal. (December 2013). "Stitching Together Literacy, Culture & Well-being: the Potential of Non-Formal Learning Programs" (PDF). Northern Public Affairs. 2 (2): 28–32. The most basic version of the traditional Inuit outfit consisted of a hooded parka, pants, mittens, inner footwear, and outer boots, all made of animal hide and fur. [1] [2] These garments were fairly lightweight despite their insulating properties: a complete outfit weighed no more than around 3–4.5kg (6.6–9.9lb) depending on the number of layers and the size of the wearer. [3] [4] Extra layers could be added as required for the weather or activity, which generally cycled with the changing of the seasons. [5]

Shamans from groups which permitted the hunting of albino caribou, such as the Copper and Caribou Inuit, might have parkas whose colouration was inverted compared to regular garments: white for the base garment and brown for the decorative markings. [262] The fur used for a shaman's belt was white, and the belts themselves were adorned with amulets, coloured cloth, and tools, often representative of important events in the shaman's life or given to the shaman by supplicants seeking magical assistance. [263] [264] [265] Mittens and gloves, though not always visually distinct, were important components of shamanic rituals; they were considered to protect the hands and serve as a symbolic reminder of the shaman's humanity. [266] [267] The use of stoat skins for a shaman's clothing invoked the animal's intellect and cunning, while foot-bones taken from foxes or wolves invoked running speed and endurance. [95] [258] Sealskin mask from Igloolik, Baffin Island; acquired during Fifth Thule Expedition (1921–1924)Farr, Dorothy (Fall 2002). "Amauti: Exploring the Presence of Inuit Women as Subject and as Artist" (PDF). Inuit Art Quarterly. p.47 . Retrieved 24 June 2021. Since that time, Inuit groups have made significant efforts to integrate traditional sewing skills into modern Inuit culture, and cultural material is now taught in many northern schools and cultural literacy programs. [310] [311] Sewing is now seen by many as a method for connecting with Inuit culture. [312] Incorporating modern techniques and purchasing materials commercially reduces the time and effort needed for garment production, lowering barriers for entry. [313] [314] Although full outfits of traditional skin clothing are uncommon in day-to-day life, they may still seen in the winter and on special occasions. [305] [315] Hall, Judy; Oakes, Jill E.; Webster, Sally Qimmiu'naaq (1994). Sanatujut: Pride in Women's Work. Copper and Caribou Inuit Clothing Traditions. Hull, Quebec: Canadian Museum of Civilization. ISBN 0-660-14027-6. OCLC 31519648. Renouf, M. A. P.; Bell, T. (2008). "Dorset Palaeoeskimo Skin Processing at Phillip's Garden, Port au Choix, Northwestern Newfoundland". Arctic. 61 (1): 35–47. doi: 10.14430/arctic5. ISSN 0004-0843. JSTOR 40513180.

Through socialization and trade, Inuit groups throughout their history disseminated clothing designs, materials, and styles between themselves. There is evidence indicating that prehistoric and historic Inuit gathered in large trade fairs to exchange materials and finished goods; the trade network that supported these fairs extended across some 3,000km (1,900mi) of Arctic territory. [92] They also encountered and incorporated concepts and materials from other indigenous Arctic peoples such as the Chukchi, Koryak, and Yupik peoples of Siberia and the Russian Far East, the Sámi people of Scandinavia, as well as non-Inuit North American indigenous groups. [93] [94] [95] Caribou and seal [ edit ] Prepared ringed seal hide, German Federal Fur School [ de] MacDonald, John; Wachowich, Nancy, eds. (2018). The Hands' Measure: Essays Honouring Leah Aksaajuq Otak's Contribution to Arctic Science. Iqaluit, Nunavut. ISBN 978-1-897568-41-5. OCLC 1080218222. {{ cite book}}: CS1 maint: location missing publisher ( link) Issenman, Betty Kobayashi (1997). Sinews of Survival: the Living Legacy of Inuit Clothing. Vancouver: UBC Press. ISBN 978-0-7748-5641-6. OCLC 923445644.

Copper Inuit caribou skin trousers, pre-1927, showing distinctive placement of seams away from stress points Rathwell, Kaitlyn J. (2020). " "She is Transforming": Inuit Artworks Reflect a Cultural Response to Arctic Sea Ice and Climate Change". Arctic. 73 (1): 67–80. doi: 10.14430/arctic69945. ISSN 0004-0843. JSTOR 26974875. S2CID 216498025. Carlsen, Lars; Feldthus, Anders; Schmidt, Anne Lisbeth (1995). "The Preservation of Inuit Clothing Collected during the Fifth Thule Expedition (1921-24)". Arctic. 48 (4): 333–337. doi: 10.14430/arctic1256. ISSN 0004-0843. JSTOR 40511935. The first stage was the harvesting of the skin from the animal carcass after a successful hunt. Generally, the hunter would cut the skin in such a way that it could be removed in one piece. Skinning and butchering an adult caribou could take an experienced hunter up to an hour. [148] While butchering of caribou was handled by men, butchering of seals was mostly handled by women. [142] [149] Main article: History of Inuit clothing Woman's sealskin parka discovered at Qilakitsoq in 1972, dated to c. 1475