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heritage
Article
Alutiiq Fish Skin Traditions: Connecting Communities in the
COVID-19 Era
Elisa Palomino 1, * and June Pardue 2
Citation: Palomino, E.; Pardue, J.
Alutiiq Fish Skin Traditions:
Connecting Communities in the
COVID-19 Era. Heritage 2021,4,
4249–4263. https://doi.org/
10.3390/heritage4040234
Academic Editors: Claire Smith, Lilia
Lucia Lizama, Israel Herrera and
Alok Kumar Kanungo
Received: 13 September 2021
Accepted: 15 October 2021
Published: 6 November 2021
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This article is an open access article
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1Central Saint Martins, Fashion Department, University of the Arts, London N1C 4AA, UK
2Alaska Native Studies Minor, University of Alaska Anchorage, Anchorage, AK 99508, USA;
jlpardue@alaska.edu
*Correspondence: e.palomino@csm.arts.ac.uk
Abstract:
The Alutiiq, Indigenous inhabitants of the coastal regions of Southwest Alaska, created
garments made from fish skins, especially salmon, expertly sewn by women from Kodiak Island.
Traditionally, Alutiiq education focused on acquiring survival skills: how to navigate the seas in all
weathers, hunting, fishing and tanning animal skins. Today, many Alutiiq people continue to provide
for their families through subsistence fishing, honouring the ocean and navigating difficult times by
listening to their collective wisdom. This paper describes the series of fish skin tanning workshops
taught by June Pardue, an Alutiiq and Inupiaq artist from Kodiak Island that connected participants
in Alaska Native communities during the COVID-19 isolation months. Through an online platform,
June passed on expert knowledge of the endangered Arctic fish skin craft, assisting participants
in coping with the pandemic crisis by tapping into their knowledge of the natural world, cultural
resourcefulness, storytelling abilities and creative skills. Brought into the digital age, the fish skin
workshops strengthened connections among Alutiiq and Alaskan craftspeople while establishing
new connections with an expanded network of fashion designers, museum curators, conservators
and tanners. Finally, the paper highlights how fish skin Indigenous practices address the United
Nations Sustainable Development Goals (SDGs) regarding poverty, health and well-being, gender
equality, clean water and sanitation, decent work and economic growth, social inequality, responsible
consumption and production, climate change and maritime issues.
Keywords:
alutiiq indigenous peoples; fish skin craft; traditional knowledge; education for sustain-
ability; United Nations sustainable development goals
1. Alutiiq Indigenous Peoples and Fish Skin
1.1. Alutiiq Indigenous Peoples
As noted by Rachel Mason [
1
], Alutiiq is a relatively new term that has been used since
the early 1980s to refer to both the language and culture of the group of Alaska Native
people indigenous to the Kodiak Island Archipelago (Figure 1) on the southern coast of the
Alaska Peninsula and the lower tip of the Kenai Peninsula. Some archaeologists believe
that the ancestors of the present-day Alutiiq have inhabited the land for over 7000 years [
2
].
With a subsistence economy largely dependent on the marine environment and its
animal resources, the island and coastal regions of southwest Alaska provided access
to a range of fish species, especially salmon, used in the past for clothing production.
Archaeological data indicates that Kodiak’s first settlers harvested salmon throughout the
prehistoric era, with increasing intensity over time. About 900 years ago, Alutiiq people
established large villages along major salmon streams where quantities of fish could be
harvested [3].
When the first Europeans arrived in Alaska, Alutiiq culture was flourishing. In 1741,
Danish explorer Vitus Bering (travelling on behalf of Russia) landed on Kodiak Island in
the northern Alutiiq territory, and by 1760, Russian fur hunters were regularly trading with
Alutiiq people [
4
]. Russians exploited native labour for their mammal hunting expertise
Heritage 2021,4, 4249–4263. https://doi.org/10.3390/heritage4040234 https://www.mdpi.com/journal/heritage
Heritage 2021,44250
exporting and eventually exhausted Alutiiq fur skin resources. Local seamstresses were
forced to rely on skins with little value to the export fur trade, particularly fish skins and
bird skins to make clothes for their families [3].
Heritage 2021, 4 2
Figure 1. Alaska Peninsula and Aleutian Islands. Crossroads of Continents. Huffman. AK Audubon. 2017.
With a subsistence economy largely dependent on the marine environment and its
animal resources, the island and coastal regions of southwest Alaska provided access to a
range of fish species, especially salmon, used in the past for clothing production. Archae-
ological data indicates that Kodiak's first settlers harvested salmon throughout the pre-
historic era, with increasing intensity over time. About 900 years ago, Alutiiq people es-
tablished large villages along major salmon streams where quantities of fish could be har-
vested [3].
When the first Europeans arrived in Alaska, Alutiiq culture was flourishing. In 1741,
Danish explorer Vitus Bering (travelling on behalf of Russia) landed on Kodiak Island in
the northern Alutiiq territory, and by 1760, Russian fur hunters were regularly trading
with Alutiiq people [4]. Russians exploited native labour for their mammal hunting ex-
pertise exporting and eventually exhausted Alutiiq fur skin resources. Local seamstresses
were forced to rely on skins with little value to the export fur trade, particularly fish skins
and bird skins to make clothes for their families [3].
The arrival of Russian missionaries in Kodiak in 1794 and “institutionalised educa-
tion” also had negative consequences for the Indigenous population. Missionaries at-
tempted to supress traditional spiritual practice by banning shamanistic rituals, although
some elders kept information about these rites. Traditionally, Alutiiq shamans, as healers
and spiritual practitioners, made contact with the supernatural world [1]. The Russian
education system attempted to eclipse the practice of the traditional Alutiiq culture which
focused primarily survival skills: how to navigate the seas in all weathers, hunting fishing,
or even how to repair your fish skin parka while out in the Arctic wilderness.
When Russia sold Alaska to the United States in 1867, Alutiiq lives were in peril. The
Karluk River on the west side of Kodiak Island, one of the richest salmon streams in the
world, had long been used as an exploitable fishery resource by Russians and Americans.
The first cannery in Karluk was established in 1882 (Figure 2). Salmon, the staple of the
Alutiiq diet, became a highly desired commodity, feeding the American economy. The
industrial expansion of the salmon fishery quickly led to overfishing and a dramatic de-
cline in salmon resources that had supported Native families for generations [1].
Figure 1. Alaska Peninsula and Aleutian Islands. Crossroads of Continents. Huffman. AK Audubon. 2017.
The arrival of Russian missionaries in Kodiak in 1794 and “institutionalised education”
also had negative consequences for the Indigenous population. Missionaries attempted to
supress traditional spiritual practice by banning shamanistic rituals, although some elders
kept information about these rites. Traditionally, Alutiiq shamans, as healers and spiritual
practitioners, made contact with the supernatural world [
1
]. The Russian education system
attempted to eclipse the practice of the traditional Alutiiq culture which focused primarily
survival skills: how to navigate the seas in all weathers, hunting fishing, or even how to
repair your fish skin parka while out in the Arctic wilderness.
When Russia sold Alaska to the United States in 1867, Alutiiq lives were in peril. The
Karluk River on the west side of Kodiak Island, one of the richest salmon streams in the
world, had long been used as an exploitable fishery resource by Russians and Americans.
The first cannery in Karluk was established in 1882 (Figure 2). Salmon, the staple of the
Alutiiq diet, became a highly desired commodity, feeding the American economy. The
industrial expansion of the salmon fishery quickly led to overfishing and a dramatic decline
in salmon resources that had supported Native families for generations [1].
During the American period, Alaskan traditional clothing styles were viewed as
backward by the newly arrived Americans who introduced manufactured Western clothing
styles. Gradually the need, desire and respect for Native-made clothing disappeared [
5
].
Although fish remained an important food supply, by the mid-20th century, the use of fish
skin clothing dramatically declined, with fish skin boots and parkas being replaced by
rubber boots and commercially manufactured rain gear.
Heritage 2021,44251
Heritage 2021, 4 3
Figure 2. The Alaska Improvement Company. Salmon cannery at the mouth of the Karluk River. Kodiak Island. Alaska,
USA. NARA. Kodiak Historical Society. 1889.
During the American period, Alaskan traditional clothing styles were viewed as
backward by the newly arrived Americans who introduced manufactured Western cloth-
ing styles. Gradually the need, desire and respect for Native-made clothing disappeared
[5]. Although fish remained an important food supply, by the mid-20th century, the use
of fish skin clothing dramatically declined, with fish skin boots and parkas being replaced
by rubber boots and commercially manufactured rain gear.
In the 1990s, the Kodiak Area Native Association (KANA) began to take greater con-
trol of salmon resource management and several Alutiiq communities implemented
salmon hatchery programs, developing a firm economic base, balancing subsistence and
commercial fishing. Although the technologies used to harvest and process fish have
changed with time, Alutiiq people still rely heavily on fish and the tradition of handling
the fish respectfully from initial capture to consumption has been passed from one gener-
ation to the next.
1.2. Alutiiq Fish Skin Traditions
During the eighteenth century, an Alutiiq wardrobe included garments made from
animal skins, especially sea otter, seal, bird, caribou, ground squirrel and various species
of fish. These garments were expertly sewn by women from Kodiak Island. Specifically,
the skins of salmon, cod, herring and halibut were used to make clothing, straps, bags and
shoes. Women spent countless hours working during the dark winter months, by the light
of oil lamps, to turn these natural materials into durable and beautifully decorated cloth-
ing.
Alutiiq used the skin of salmons to construct resilient, windproof parkas (Figure 3),
ideal for Kodiak’s maritime environment. A parka could be used as a bed, as a blanket
and even as a house while travelling; that way, Alutiiqs were not afraid of damp, frost or
wind [6]. Parkas were circulated through trade and travel and were regarded as coveted
gifts. Festival hosts presented parkas to visitors at the end of winter gatherings. Before
warfare, leaders distributed parkas to the members of their raiding party and parkas were
considered valuable loot when taken from raided villages.
Figure 2.
The Alaska Improvement Company. Salmon cannery at the mouth of the Karluk River. Kodiak Island. Alaska,
USA. NARA. Kodiak Historical Society. 1889.
In the 1990s, the Kodiak Area Native Association (KANA) began to take greater
control of salmon resource management and several Alutiiq communities implemented
salmon hatchery programs, developing a firm economic base, balancing subsistence and
commercial fishing. Although the technologies used to harvest and process fish have
changed with time, Alutiiq people still rely heavily on fish and the tradition of handling the
fish respectfully from initial capture to consumption has been passed from one generation
to the next.
1.2. Alutiiq Fish Skin Traditions
During the eighteenth century, an Alutiiq wardrobe included garments made from
animal skins, especially sea otter, seal, bird, caribou, ground squirrel and various species
of fish. These garments were expertly sewn by women from Kodiak Island. Specifically,
the skins of salmon, cod, herring and halibut were used to make clothing, straps, bags and
shoes. Women spent countless hours working during the dark winter months, by the light
of oil lamps, to turn these natural materials into durable and beautifully decorated clothing.
Alutiiq used the skin of salmons to construct resilient, windproof parkas (Figure 3),
ideal for Kodiak’s maritime environment. A parka could be used as a bed, as a blanket
and even as a house while travelling; that way, Alutiiqs were not afraid of damp, frost or
wind [
6
]. Parkas were circulated through trade and travel and were regarded as coveted
gifts. Festival hosts presented parkas to visitors at the end of winter gatherings. Before
warfare, leaders distributed parkas to the members of their raiding party and parkas were
considered valuable loot when taken from raided villages.
Heritage 2021,44252
Heritage 2021, 4 4
Figure 3. Alutiiq doll wearing a fish skin parka, gloves and boots. Alaska State Museum. Juneau,
AK, USA. Artist: June Pardue. 2012.
For Alutiiq peoples, garments hold spiritual significance. As significant art pieces,
they express the creativity and identity of the seamstress; as talismans, they provide a
spiritual connection between people and animals, serving as both personal amulets and
portraits of the Alutiiq universe. Through traditional tanning, processing and sewing,
Alutiiq women believe it is possible to transfer the "spirit of an animal" into a garment
made from its skin [7]. Hickman [8] describes fish skin parkas as a key component in
shamanistic ceremonies preparing for the first fishing of the season. They were pieces of
artwork that expressed the identity of their owner and forged a close spiritual connection
between people and animals.
Historically, Alutiiq people dressed the dead in their best set of fish skin clothes, as-
sisting them on their journey to the other side and enhancing their visibility in the spirit
world. In this way, clothing both signalled and supported the transformation of the dead
[7].
Recent cultural revitalization movements have strengthened craft traditions for
Alutiiq people. Similar movements have occurred elsewhere among Alaska Native peo-
ple. The Kodiak Area Native Association and the North Pacific Rim Health Corporation
have developed a cultural heritage program supporting programs contributing to cultural
identity [1]. Fish skin was once used as a common material in the Aleutian Islands; today,
the number of Alutiiq artists continuing this tradition keeps growing. Many Alaska Na-
tive artists are making choices to preserve and pass on their Indigenous traditions and
skills, such as fish skin tanning and sewing, so that these traditions remain a vital part of
Alaska Native culture and identity [9].
2. Alutiiq Fish Skin Workshop during COVID-19 Isolation: Case Study
2.1. Project Creation
The research is investigated through Elisa Palomino and June Pardue's current prac-
tices as educators. Elisa Palomino supports fashion design students engaged in the sus-
tainable use of fish skin as an alternative raw material for fashion and June Pardue is an
Figure 3.
Alutiiq doll wearing a fish skin parka, gloves and boots. Alaska State Museum. Juneau,
AK, USA. Artist: June Pardue. 2012.
For Alutiiq peoples, garments hold spiritual significance. As significant art pieces,
they express the creativity and identity of the seamstress; as talismans, they provide a
spiritual connection between people and animals, serving as both personal amulets and
portraits of the Alutiiq universe. Through traditional tanning, processing and sewing,
Alutiiq women believe it is possible to transfer the "spirit of an animal" into a garment
made from its skin [
7
]. Hickman [
8
] describes fish skin parkas as a key component in
shamanistic ceremonies preparing for the first fishing of the season. They were pieces of
artwork that expressed the identity of their owner and forged a close spiritual connection
between people and animals.
Historically, Alutiiq people dressed the dead in their best set of fish skin clothes, assisting
them on their journey to the other side and enhancing their visibility in the spirit world. In
this way, clothing both signalled and supported the transformation of the dead [7].
Recent cultural revitalization movements have strengthened craft traditions for Alutiiq
people. Similar movements have occurred elsewhere among Alaska Native people. The
Kodiak Area Native Association and the North Pacific Rim Health Corporation have
developed a cultural heritage program supporting programs contributing to cultural
identity [
1
]. Fish skin was once used as a common material in the Aleutian Islands; today,
the number of Alutiiq artists continuing this tradition keeps growing. Many Alaska Native
artists are making choices to preserve and pass on their Indigenous traditions and skills,
such as fish skin tanning and sewing, so that these traditions remain a vital part of Alaska
Native culture and identity [9].
2. Alutiiq Fish Skin Workshop during COVID-19 Isolation: Case Study
2.1. Project Creation
The research is investigated through Elisa Palomino and June Pardue’s current prac-
tices as educators. Elisa Palomino supports fashion design students engaged in the sus-
tainable use of fish skin as an alternative raw material for fashion and June Pardue is an
Heritage 2021,44253
educator in Indigenous cultural skills teaching in major Alaskan universities and over 25
rural locations across Alaska.
Before the arrival of COVID-19, Elisa had collaborated with three different Arctic
and Sub-Arctic indigenous communities (Ainu from Hokkaido, Japan; Hezhen from Hei-
longjiang province, China; Athabascan from Alaska, U.S.) and she had created four fish
skin tanning workshops across the Arctic [
10
]. Through their fish skin tanning practices,
they had shared with her the knowledge of living in harmony with nature and with each
other to navigate the hardest of times. In 2019, Elisa received a Fulbright scholarship to
research Indigenous Arctic fish skin clothing at the Arctic Studies Center (ASC) at the
Smithsonian National Museum of Natural History in Washington, D.C. and the ASC,
Anchorage Museum in Alaska where Aron Crowell and Dawn Biddison introduced Elisa
to the 2018 “Sewing Salmon project”. In a series of video recorded workshops, Alaska
Native artists met to learn and teach methods and cultural knowledge about fish skin
processing and sewing through studying historic fish skin objects and through sharing and
comparing techniques they developed [
11
]. June was part of the “Sewing Salmon project”
and simultaneously ran many fish skin tanning workshops in Alaska also featured at the
Anchorage Museum Arctic Studies Center web platform [12].
During the COVID-19 lockdown, Elisa kept asking herself: “Are we prepared to
learn from this crisis?” “Who can we look to for inspiration?” “Where can we find a real
model of resilience?” As Westerners, we have much to learn from Indigenous Peoples.
Despite centuries of cultural assimilation, they continue to maintain a close connection
with nature, resisting the standardization that comes with globalization. The Arctic Indige-
nous Peoples’ vital relationship with the environment and essential dependence on the
animals that support a subsistence lifestyle—including economy of materials and the spiri-
tual role of fish skin—resonated with a variety of issues emerging during the COVID-19
pandemic lockdown.
“Resilience is the capacity of individuals, societies, cultures, economies, and ecosystems
to reorganise and recover from change and disruption in a way that enables them to retain
their identity and develop further.” [13]
A means of responding to the critical issues posed by the COVID-19 lockdown
emerged in the proposal to co-host an online fish skin tanning workshop with June Pardue,
a highly respected Alutiiq and Inupiaq artist from Kodiak Island, Alaska (Figure 4). Meet-
ing in 2019 at the Smithsonian’s Arctic Studies Center in Anchorage, Alaska, Elisa and June
stayed in touch by social media. As educators, the lockdown presented similar problems
in engaging students, both in Alaska (for June) and in London (for Elisa).
One the biggest challenges the COVID-19 emergency has created has been how to
teach studio-based, hands-on courses online. Although universities around the globe
have suspended classes and transitioned to remote teaching, distance learning is not easy
for students who learn by making, requiring access to studios and workshops. As a
response to digitalised education, Elisa wanted students to learn a new craft and start
working with their hands again. Craft-based skills need to prevail in the context of massive
digitalization during this specific period in history. Craft has the power to stimulate,
inspire and soothe us—an important reason to keep making with our hands through this
difficult period. Although online craft courses are not a new phenomenon, this fish skin
platform offered possibilities for students from a range of backgrounds and nationalities to
come closer despite the physical distance. Technologies such as Zoom online classes have
helped to resolve contemporary issues, including the lack of connection during lockdown.
Furthermore, lessons learned in lockdown will be imbedded into their practice for good.
Students had been in isolation on their own or with families for up to 12 weeks. It
was paramount to bring them closer despite the physical distance. The goal was trying
to support students through this difficult time keeping them inspired and connected.
Engagement was also really important at a time where students were suffering from the
lack of structure associated with the traditional classroom experience. Students missed the
Heritage 2021,44254
peer support they received by being in the studio with each other, since so much additional
learning goes on during that time.
Heritage 2021, 4 6
Figure 4. Alutiiq fish skin tanning workshop in isolation flyer. May 2020.
One the biggest challenges the COVID-19 emergency has created has been how to
teach studio-based, hands-on courses online. Although universities around the globe have
suspended classes and transitioned to remote teaching, distance learning is not easy for
students who learn by making, requiring access to studios and workshops. As a response
to digitalised education, Elisa wanted students to learn a new craft and start working with
their hands again. Craft-based skills need to prevail in the context of massive digitaliza-
tion during this specific period in history. Craft has the power to stimulate, inspire and
soothe us—an important reason to keep making with our hands through this difficult pe-
riod. Although online craft courses are not a new phenomenon, this fish skin platform
offered possibilities for students from a range of backgrounds and nationalities to come
closer despite the physical distance. Technologies such as Zoom online classes have
helped to resolve contemporary issues, including the lack of connection during lockdown.
Furthermore, lessons learned in lockdown will be imbedded into their practice for good.
Students had been in isolation on their own or with families for up to 12 weeks. It
was paramount to bring them closer despite the physical distance. The goal was trying to
support students through this difficult time keeping them inspired and connected. En-
gagement was also really important at a time where students were suffering from the lack
of structure associated with the traditional classroom experience. Students missed the
peer support they received by being in the studio with each other, since so much addi-
tional learning goes on during that time.
The first fish skin workshop involved fashion students, an amateur leather tanner
with knowledge on tanning technology and a museum curator expert in fish skin artefacts
with experience in working with craft communities. After the initial workshop, June has
taught more than twenty fish skin workshops amongst different Alaska village tribes and
communities. As a result to all her commitment with fish skin tanning, June has recently
been awarded a fellowship from the Rasmusen Foundation of Anchorage, Alaska. The
contemporary struggles of Arctic Indigenous communities are often reflected in the loss
of Indigenous practices. Indigenous technology, knowledge and cultural resources, such
as those related to fish skin tanning, remain relatively inaccessible to students in Alaskan
schools. Through the workshops, knowledge of fish skin tanning has provided students
with specific skills and brought them closer to nature.
Figure 4. Alutiiq fish skin tanning workshop in isolation flyer. May 2020.
The first fish skin workshop involved fashion students, an amateur leather tanner
with knowledge on tanning technology and a museum curator expert in fish skin artefacts
with experience in working with craft communities. After the initial workshop, June has
taught more than twenty fish skin workshops amongst different Alaska village tribes and
communities. As a result to all her commitment with fish skin tanning, June has recently
been awarded a fellowship from the Rasmusen Foundation of Anchorage, Alaska. The
contemporary struggles of Arctic Indigenous communities are often reflected in the loss
of Indigenous practices. Indigenous technology, knowledge and cultural resources, such
as those related to fish skin tanning, remain relatively inaccessible to students in Alaskan
schools. Through the workshops, knowledge of fish skin tanning has provided students
with specific skills and brought them closer to nature.
Focusing on what fish skin heritage means to different Arctic Indigenous groups
and how they may value fish skin heritage differently, the workshops aimed to engage
with cultural diversity and audiences with different abilities and areas of expertise, in-
cluding museum curators, amateur tanners and young Indigenous students. Traditional
knowledge of fish skin craft offers important opportunities for greater access to cultural
heritage. In particular, fish skin heritage provides new opportunities in (re)connecting
Arctic communities with common cultural heritage, which was removed through processes
of colonialization and assimilation. The fish skin workshops brought into the digital age
could make new and sustainable connections between the virtual world and craftspeople.
2.2. Participants
Over a two-week period, Elisa and June publicised the initial fish skin workshop by
reaching out to students, museum staff and amateur tanners, and through social media
around the Arctic, by inviting Native students from remote communities around Alaska.
After the initial workshop (Table 1), June was invited to teach remotely in several
Alaska Native institutions where she usually teaches in person. Non-profit institutions
provide financial support to encourage heritage programs, creating opportunities to make
Alaska Native technology more accessible in the state. This support for artists and tradition
Heritage 2021,44255
bearers to pursue their work provides awareness of Alaska Native culture, reversing the
negative impacts of colonization by reinforcing Indigenous traditions and encouraging
pride in a culture that has been previously controlled by dominant globalising cultures [
9
].
Table 1. Description of the diverse roles and skills of the participants in the Alutiiq fish skin workshop in isolation.
Participants Expertise Provenance
Researcher
Lecturer in fashion, textiles and sustainability with experience as a fashion
designer in the luxury industry, enabling a process of embedding
sustainability within educational programmes.
UAL, UK
Craftsperson
Carrier of Indigenous fish skin heritage, expert in fish skin tanning technology.
AK, USA
Students
Students with knowledge on tanning technology and environmental activism.
Worldwide
Leather tanners with knowledge on tanning technology. Worldwide
Members of the Alaskan Indigenous community. AK, USA
Museum curators, experts in fish skin artefacts with experience in working
with craft communities. UK; AK, USA
The online workshops for remote communities around Alaska were taken both by
artists and young students. Families and parents participated with their younger genera-
tions during the live classes, reinforcing the strong connections amongst Arctic commu-
nities. One of the Alaska Native Corporations’ Educational Programs paid for an Elder
to take June’s class so that she could learn the ancient skill to begin her fish skin tanning
industry. Ellen Carlee, curator at Juneau’s Alaska State Museum who participated in one
of the workshops, shared photographs on her Facebook page (the most common social
media for Alaska Native artists) of fish skin artefacts stored at Alaska State Museum so
the rest of June’s students could benefit from them (Figure 5). Following the workshop,
Ellen processed fish skin with several friends in Juneau and gave a lecture to some conser-
vation students at from New York University on Alaskan proteins used in material culture,
encouraging them to try experimenting with fish leftovers from dinner.
Heritage 2021, 4 8
Figure 5. Juneau Alaska State Museum curator Ellen Carrlee's Facebook page after her fish skin
workshop with June Pardue.
Table 1. Description of the diverse roles and skills of the participants in the Alutiiq fish skin work-
shop in isolation.
Participants
Expertise
Provenance
Researcher
Lecturer in fashion, textiles and sustainability with ex-
perience as a fashion designer in the luxury industry,
enabling a process of embedding sustainability within
educational programmes.
UAL, UK
Craftsperson
Carrier of Indigenous fish skin heritage, expert in fish
skin tanning technology.
AK, USA
Students
Students with knowledge on tanning technology and
environmental activism.
Worldwide
Leather tanners with knowledge on tanning technol-
ogy.
Worldwide
Members of the Alaskan Indigenous community.
AK, USA
Museum curators, experts in fish skin artefacts with ex-
perience in working with craft communities.
UK; AK, USA
3. Workshop Content
3.1. A Lecture on Historical Fish Skin Artefacts in International Museums
During the workshop, Elisa introduced a series of fish skin artefacts from archives
and museum collections around the Arctic that she has studied during her previous field-
work (Figure 6). These objects, created by artisans throughout the nineteenth and early
twentieth centuries, reveal Arctic peoples’ intimate relationship with their environment
through fishing and skilfully processing the fish skins. Fish skin objects from the Arctic
and Subarctic regions reflect everyday items of clothing, bags, boots, mittens and skin
scrapers for preparing hides. Today, these artefacts are highly valued and sought after by
the native descendants of those who created them for their artistic value, craft and repre-
sentation of cultural development and humanity adapting to a wide range of environmen-
tal conditions [14].
Figure 5.
Juneau Alaska State Museum curator Ellen Carrlee’s Facebook page after her fish skin
workshop with June Pardue.
Heritage 2021,44256
3. Workshop Content
3.1. A Lecture on Historical Fish Skin Artefacts in International Museums
During the workshop, Elisa introduced a series of fish skin artefacts from archives
and museum collections around the Arctic that she has studied during her previous field-
work (Figure 6). These objects, created by artisans throughout the nineteenth and early
twentieth centuries, reveal Arctic peoples’ intimate relationship with their environment
through fishing and skilfully processing the fish skins. Fish skin objects from the Arctic
and Subarctic regions reflect everyday items of clothing, bags, boots, mittens and skin
scrapers for preparing hides. Today, these artefacts are highly valued and sought after by
the native descendants of those who created them for their artistic value, craft and represen-
tation of cultural development and humanity adapting to a wide range of environmental
conditions [14].
Heritage 2021, 4 9
Figure 6. Images from the lecture on historical fish skin artefacts in international museums.
3.2. Storytelling
June and her husband Charlie share a childhood spent travelling between ancestral
fishing camps. During the workshop and while engaged in the mechanical processes of
tanning the fish skins, June often passed on elders' stories, sharing environmental, ances-
tral and spiritual knowledge. These narratives brought teacher and students together, in-
spiring warmth and intimacy, further emphasizing the need to keep the fish skin tradition
alive within younger generations.
“Oral history does more than provide information about the past, it brings the past into
correspondence with the present, providing scope for imagining new” [15].
June uses personal anecdotes about living in the Arctic, often weaving traditional
stories passed down from her elders with her own life stories, including tales of long harsh
winters where people gathered at home around the fire. Listening to elders' stories rein-
forces the importance of storytelling in terms of cultural survival of oral culture.
3.3. Subsistence Partnership
June Pardue and her husband Charlie harvest salmon during autumn. Using fish skin
to make traditional Indigenous artefacts is an extension of the subsistence activities that
she takes part in with her family. June stressed the importance of the combined efforts of
husband and wife in their subsistence partnership with the raw materials and tools for
processing the skins provided by Charlie, as hunter/fisherman and husband, and the ex-
pertise and labour of tanning the skins provided by June as the seamstress/wife. This part-
nership has long sustained the social structure of Arctic Indigenous societies. Arctic fish
skin clothing is, therefore, produced through the combined efforts of fisherman and seam-
stress.
Tanning skins, which consists of scraping, soaking skins in rotten brains or urine and
hanging them outside, is considered women’s work. In the past, Alutiiq women tanned
skins with urine collected in large wooden tubs stationed outside their houses, relying on
the ammonia in the urine for one or two days to remove excess oils and break down any
remaining fat. Then, they rolled and left them in a warm place to sit until the flesh and
scales could be easily scraped away [3]. Today, tanners have modified the technique, us-
ing lye or another soap or detergent. Once the skins are clean, they are worked for hours
by manual manipulation, massaging and stretching the skins until the fibres break down,
becoming soft and pliable.
4. Fish Skin Tanning and Dyeing
Figure 6. Images from the lecture on historical fish skin artefacts in international museums.
3.2. Storytelling
June and her husband Charlie share a childhood spent travelling between ancestral
fishing camps. During the workshop and while engaged in the mechanical processes of
tanning the fish skins, June often passed on elders’ stories, sharing environmental, ancestral
and spiritual knowledge. These narratives brought teacher and students together, inspiring
warmth and intimacy, further emphasizing the need to keep the fish skin tradition alive
within younger generations.
“Oral history does more than provide information about the past, it brings the past into
correspondence with the present, providing scope for imagining new.” [15]
June uses personal anecdotes about living in the Arctic, often weaving traditional
stories passed down from her elders with her own life stories, including tales of long
harsh winters where people gathered at home around the fire. Listening to elders’ stories
reinforces the importance of storytelling in terms of cultural survival of oral culture.
3.3. Subsistence Partnership
June Pardue and her husband Charlie harvest salmon during autumn. Using fish skin
to make traditional Indigenous artefacts is an extension of the subsistence activities that
she takes part in with her family. June stressed the importance of the combined efforts
of husband and wife in their subsistence partnership with the raw materials and tools
for processing the skins provided by Charlie, as hunter/fisherman and husband, and
the expertise and labour of tanning the skins provided by June as the seamstress/wife.
This partnership has long sustained the social structure of Arctic Indigenous societies.
Heritage 2021,44257
Arctic fish skin clothing is, therefore, produced through the combined efforts of fisherman
and seamstress.
Tanning skins, which consists of scraping, soaking skins in rotten brains or urine and
hanging them outside, is considered women’s work. In the past, Alutiiq women tanned
skins with urine collected in large wooden tubs stationed outside their houses, relying
on the ammonia in the urine for one or two days to remove excess oils and break down
any remaining fat. Then, they rolled and left them in a warm place to sit until the flesh
and scales could be easily scraped away [
3
]. Today, tanners have modified the technique,
using lye or another soap or detergent. Once the skins are clean, they are worked for hours
by manual manipulation, massaging and stretching the skins until the fibres break down,
becoming soft and pliable.
4. Fish Skin Tanning and Dyeing
4.1. Materials
June and Elisa agreed to use materials not too difficult to access during lockdown.
Students were asked to go to parks and woods to gather bark from willow, alder or oak
trees for tanning and obtain fresh beets from stores (Figures 7and 8). Students used fish
skins locally available to them. For example, Charlotte Ridley, a conservator from the
Horniman Museum in London, used sea bass fillets from Waitrose supermarket (Figure 9)
while Joe, an amateur tanner from Minnesota, used trout skins he had caught himself
Heritage 2021, 4 10
4.1. Materials
June and Elisa agreed to use materials not too difficult to access during lockdown.
Students were asked to go to parks and woods to gather bark from willow, alder or oak
trees for tanning and obtain fresh beets from stores (Figures 7 and 8). Students used fish
skins locally available to them. For example, Charlotte Ridley, a conservator from the
Horniman Museum in London, used sea bass fillets from Waitrose supermarket (Figure
9) while Joe, an amateur tanner from Minnesota, used trout skins he had caught himself
Figure 7. June's willow, alder bark and beet root tanned skins with handmade scraping tools and
Ulu knife (bottom)
Figure 8. Skins tanned with alder bark left to dry.
Figure 7.
June’s willow, alder bark and beet root tanned skins with handmade scraping tools and
Ulu knife (bottom).
Heritage 2021, 4 10
4.1. Materials
June and Elisa agreed to use materials not too difficult to access during lockdown.
Students were asked to go to parks and woods to gather bark from willow, alder or oak
trees for tanning and obtain fresh beets from stores (Figures 7 and 8). Students used fish
skins locally available to them. For example, Charlotte Ridley, a conservator from the
Horniman Museum in London, used sea bass fillets from Waitrose supermarket (Figure
9) while Joe, an amateur tanner from Minnesota, used trout skins he had caught himself
Figure 7. June's willow, alder bark and beet root tanned skins with handmade scraping tools and
Ulu knife (bottom)
Figure 8. Skins tanned with alder bark left to dry.
Figure 8. Skins tanned with alder bark left to dry.
Heritage 2021,44258
Heritage 2021, 4 11
Figure 9. Two sea bass fillets from Waitrose tanned by Charlotte Ridley, a conservator from the
Horniman museum in London.
We cut off the skins from the fish as close to the skin as possible without cutting
through it. We scraped the flesh off the skin with a metal spoon or butter knife (Figure
10). June used the traditional Ulu (Figure 7), a knife with a semi-circular blade used by
Figure 9.
Two sea bass fillets from Waitrose tanned by Charlotte Ridley, a conservator from the
Horniman museum in London.
We cut off the skins from the fish as close to the skin as possible without cutting
through it. We scraped the flesh off the skin with a metal spoon or butter knife (Figure 10).
June used the traditional Ulu (Figure 7), a knife with a semi-circular blade used by Native
Heritage 2021,44259
women across the Arctic for over three thousand years. After rinsing the fish skins in cold
water, we soaked them in soapy water, leaving them to sit for a whole day.
Heritage 2021, 4 12
Native women across the Arctic for over three thousand years. After rinsing the fish
skins in cold water, we soaked them in soapy water, leaving them to sit for a whole day.
Figure 10. From left: Seth Hobson, Sea Hobson and Renae Zackar scraping fish skins. Photo by Ida
Nelson.
4.2. Tanning Solution
During the initial workshop, June instructed the participants in using a bark solution
to tan the skins. We peeled the outer part of the tree branches with a potato peeler (Figure
11). As June noted, the middle part is not used since it is full of sugar and it will ferment
the tanning solution. Peeling four organic beets, we added them to the tanning solution
to soften the fish skin. This provided a beautiful red tone (Figure 8). We placed the bark
and beet peels into a pot and poured water to fill the pot, bringing the tanning solution to
a boil. After adding a spoonful of non-iodine salt to the tanning solution, the mixture of
bark and beets was simmered for 5 h and then left to cool overnight.
Figure 11. Linda Hobson (left) and Seth Hobson preparing willow bark. Photo by Renae Zackar.
The tanning solution was generously applied to the skins in the evening, and they
were left to soak overnight, stirring them to make sure they were completely immersed.
Skins were removed from the bark solution in the morning, then we rubbed coconut but-
ter on the skins and pulled them with our hands in all directions. Fish skins were stretched
as they dried and we rubbed them again to soften them. Afterwards, they were set aside
to dry for an hour, making sure that they will not harden. Skins were then rubbed and
pulled until dry and soft.
Figure 10.
From left: Seth Hobson, Sea Hobson and Renae Zackar scraping fish skins. Photo by
Ida Nelson.
4.2. Tanning Solution
During the initial workshop, June instructed the participants in using a bark solution to
tan the skins. We peeled the outer part of the tree branches with a potato peeler (
Figure 11
).
As June noted, the middle part is not used since it is full of sugar and it will ferment the
tanning solution. Peeling four organic beets, we added them to the tanning solution to
soften the fish skin. This provided a beautiful red tone (Figure 8). We placed the bark and
beet peels into a pot and poured water to fill the pot, bringing the tanning solution to a
boil. After adding a spoonful of non-iodine salt to the tanning solution, the mixture of bark
and beets was simmered for 5 h and then left to cool overnight.
Heritage 2021, 4 12
Native women across the Arctic for over three thousand years. After rinsing the fish
skins in cold water, we soaked them in soapy water, leaving them to sit for a whole day.
Figure 10. From left: Seth Hobson, Sea Hobson and Renae Zackar scraping fish skins. Photo by Ida
Nelson.
4.2. Tanning Solution
During the initial workshop, June instructed the participants in using a bark solution
to tan the skins. We peeled the outer part of the tree branches with a potato peeler (Figure
11). As June noted, the middle part is not used since it is full of sugar and it will ferment
the tanning solution. Peeling four organic beets, we added them to the tanning solution
to soften the fish skin. This provided a beautiful red tone (Figure 8). We placed the bark
and beet peels into a pot and poured water to fill the pot, bringing the tanning solution to
a boil. After adding a spoonful of non-iodine salt to the tanning solution, the mixture of
bark and beets was simmered for 5 h and then left to cool overnight.
Figure 11. Linda Hobson (left) and Seth Hobson preparing willow bark. Photo by Renae Zackar.
The tanning solution was generously applied to the skins in the evening, and they
were left to soak overnight, stirring them to make sure they were completely immersed.
Skins were removed from the bark solution in the morning, then we rubbed coconut but-
ter on the skins and pulled them with our hands in all directions. Fish skins were stretched
as they dried and we rubbed them again to soften them. Afterwards, they were set aside
to dry for an hour, making sure that they will not harden. Skins were then rubbed and
pulled until dry and soft.
Figure 11. Linda Hobson (left) and Seth Hobson preparing willow bark. Photo by Renae Zackar.
The tanning solution was generously applied to the skins in the evening, and they
were left to soak overnight, stirring them to make sure they were completely immersed.
Skins were removed from the bark solution in the morning, then we rubbed coconut butter
on the skins and pulled them with our hands in all directions. Fish skins were stretched as
they dried and we rubbed them again to soften them. Afterwards, they were set aside to
dry for an hour, making sure that they will not harden. Skins were then rubbed and pulled
until dry and soft.
Heritage 2021,44260
5. Fish Skin Indigenous Practices Aligned with the United Nations Sustainable
Development Goals
The 2030 Agenda for Sustainable Development released by the United Nations con-
sists of 17 goals and 169 targets, of which 73 have significant links to the UN Declaration
on Rights of Indigenous Peoples [
16
]. In this section of the paper, we explore how tradi-
tional knowledge-based practices related to Indigenous fish skin production and use are
interconnected with the Sustainable Development Goals (SDGs).
Indigenous communities throughout the world have developed valuable traditional
knowledge about nature and sustainable practices, which can contribute to achieving
the SDGs related to environmental sustainability. The goals on climate change adaption,
sustainable management of oceans and use of water resources reflect priorities that Indige-
nous Peoples have always embraced to protect the ecosystems and biodiversity of their
mountains, rivers and forests. Indigenous Peoples have constantly contributed towards
the SDG targets on increasing awareness on lifestyles in harmony with nature [16].
5.1. SDG 1: No Poverty
SDG 1 is linked to end poverty everywhere, in all its forms. Alaska Native Heritage
educational programming aims to connect Indigenous artisans with marginalised com-
munities. Thanks to their funding, artist June Pardue was able to teach several fish skin
workshops across Alaska during the COVID-19 pandemic. By learning from Alaska Native
Elders, younger artisans are able to improve their lives through work that values their craft
and heritage, becoming agents of change in their respective communities.
5.2. SDG 3: Good Health and Well-Being
The health impacts of industrial chemicals used in the leather production process
has detrimental effects on the health of workers, as well as communities affected by
environmental pollution, is explicitly linked to SDG 3. Contemporary industrial methods
used to process fish leather employ mineral tanning agents, chrome being the most popular
(a solution of chemicals, acids and salts including chromium sulphate). If not properly
managed, these can impact workers’ and consumers’ health and will have a negative
environmental impact. The traditional methods used in tanning fish skin provide an
environmentally friendly process without relying on harmful industrial chemicals. This is
an opportunity to revive old technologies for processing non-conventional raw materials
such as fish skin.
5.3. SDG 4: Quality Education
SDG4 aims to ensure that all learners acquire the knowledge and skills needed to
promote sustainable lifestyles and cultural contributions to sustainable development. The
SDG target makes specific reference to ensuring equal access to education for Indigenous
children. Through Alaska Native Heritage programmes, June supports the development
of young Native talents, integrating Indigenous knowledge into formal education. By
educating future generations of young Native Alaskans in sustainable traditional practices,
Native communities are able to grow and develop, building on this ancient knowledge.
5.4. SDG5: Gender Equality
The contribution of Indigenous female artists across the Arctic testifies to the vital role
Indigenous women have held, and continue to hold, in Northern communities. Women’s
labour, often unseen and underpaid, is a vital means of support for families, communities
and economies throughout Alaska [17].
5.5. SDG 6: Clean Water and Sanitation
SDG6 relates to water pollution, the release of hazardous chemicals and materials,
treatment of wastewater and water-use efficiency. There is a potential pollution during the
dyeing and finishing process of materials such as fish leather. Sustainable innovations such
Heritage 2021,44261
as vegetable tanned fish leather developed by June Pardue are reducing this, and these
sustainable alternatives should be favoured [18].
5.6. SDG 8: Decent Work and Economic Growth
SDG 8 seeks to promote sustained, inclusive and sustainable economic growth.
Through the fish skin workshops, June has been increasing and disseminating traditional
knowledge. Thanks to this training, micro-entrepreneurs are encouraged to grow small
enterprises such as local fish leather tanneries, creating new jobs and, ultimately, building
social capital. Through the Alaska Native Heritage programmes, June mentors the devel-
opment of Native artisans, thereby supporting and developing their business capacities.
5.7. SDG 10: Reduced Inequalities
A key entry point for Indigenous Peoples in the 2030 Agenda is the strong commitment
to “leave no one behind” and “reach the furthest behind first”. The fish skin workshops
have promoted an inclusive philosophy sharing traditional knowledge and expanding
international and professional contacts in a manner that has the potential to contribute in a
significant way to reducing social and economic inequalities.
5.8. SDG 12: Responsible Consumption and Production
SDG 12 commits to ensuring sustainable consumption and production patterns ad-
dressing the use of natural resources, chemical waste, fossil fuels and the integration of
sustainable practices into the production cycles. The use of alternative materials such
as fish leather has the potential not only to serve our material needs but also to reduce
the over-consumption of certain materials threatening biodiversity. The use of alterna-
tive materials could lead to more regional sourcing of materials and more local jobs in
coastal areas [
19
]. The key to social innovation is collaborative networks based on a new
relationship with local resources and local communities [20].
5.9. SDG 13: Climate Action
SDG 13 commits member nations to combat and curb human-induced climate change,
with modern industrialised societies recognised as the greatest source of climate instability.
Living sustainably with the environment for millennia, Arctic Indigenous Peoples are now
experiencing the most dramatic impacts of global climate change caused by unsustainable
practices elsewhere in the world [
21
]. Ignoring sustainable practices in salmon fishing used
by Arctic Indigenous Peoples for thousands of years has led to the excessive depletion
and near extinction of this species. Indigenous traditional knowledge about nature and
sustainable practices can make a significant contribution to achieving the SDG 13 related to
environmental sustainability.
5.10. SDG 14: Life Below Water
This fish skin traditional workshop has shared new ocean-based value chains by rais-
ing awareness and partnering with Native locals to share material innovation. The capture
fisheries and fish farming sectors generate enormous amounts of fish skin, typically dis-
carded as waste. Turning fish skins into fish leather adds value to locally caught or farmed
fish, creating additional employment opportunities for local coastal communities [
22
]. The
innovative use of aquatic resources serves as a critical means of increasing sustainability in
both the fashion and fisheries sectors.
6. Conclusions
Ancient shamans drew inspiration from nature, harmonising the fire, water, earth and
air elements to navigate perilous times. In times of disorientation, distress and challenge,
such as the COVID-19 pandemic, it is crucial to reinstitute balance by reconnecting with
nature. The fish skin tanning workshops provided a creative practice to help participants
through these challenging times, strengthening their intimate connection with nature while
Heritage 2021,44262
also benefiting the greater community. The increase in communication and involvement
of individuals from different backgrounds and areas of expertise across the planet during
the COVID-19 lockdown enabled a closer connection with each other and with nature.
Along with climate change, the pandemic crisis has brought a shift in perception of nature
and the role of humanity as a responsible keeper. Arctic Indigenous Peoples have a
lot to teach in this respect. In recent years, governments have tapped into traditional
Indigenous knowledge preparing for and responding to nature disasters and health crises.
As Clement [
23
] points out, the idea of traditional Indigenous knowledge and resilience
comes from paying attention and being a part of one’s environment, thereby gaining
experience and learning from it collectively.
The Alutiiq Indigenous fish skin tanning workshops provided a platform for novel
interventions across the disciplines of fashion, craft production and museum curation,
challenging and merging the digital environment with that of crafts in this period of the
pandemic. Reintroducing the knowledge of ancestral tanning practices has involved the
participation of multigenerational community members. Activities around the tanning
workshop, including storytelling and people gathering together, have created opportunities
for young people to learn from elders, who are considered to be the backbone of Native
communities. The engagement with fish skin material and objects connects the object
to the place where the materials were collected and the people who inhabit that region,
strengthening a distinct cultural identity [9].
Throughout centuries of colonization, Alaska Native people experienced profound
sense cultural loss. Denied opportunities to learn about their cultural practices, many were
made to feel ashamed of their Native heritage. Today, the resurgence in cultural pride,
ethnic identity and control of resources is reshaping the future for Alaska Native people
and their communities [
5
]. The Native-led fish skin workshop contributes to this effort,
increasing access to skill development opportunities for Native youth and supporting
cultural revitalization in Native education.
Author Contributions:
Conceptualization, E.P. and J.P.; methodology, E.P. and J.P.; validation, E.P.
and J.P.; investigation, E.P.; resources, E.P. and J.P.; data curation, E.P.; writing—original draft
preparation E.P. and J.P.; writing—review and editing, E.P. and J.P.; visualization, E.P. and J.P.;
supervision, E.P. and J.P.; funding acquisition, E.P. and J.P. All authors have read and agreed to the
published version of the manuscript.
Funding:
This research for this project has been partially funded by the AHRC LDoc London Doctoral
Design Centre Award and the Fulbright UK–US scholar award.
Institutional Review Board Statement: Not applicable.
Informed Consent Statement: Not applicable.
Acknowledgments:
We are deeply indebted to the Alaska Native Heritage Programs and all the
student participants in the workshops, the museum curators, fish skin tanners and elder and youth
members of Alaska Native communities. We are especially grateful to Aron Crowell and Dawn
Biddison at the Smithsonian Arctic Studies Center, Anchorage Museum, as well as William Fitzhugh,
Director, Igor Krupnik, Stephen Loring, John Cloud, Bernadette Driscoll Engelstad and Nancy Shorey
of the Arctic Studies Center at the National Museum of Natural History, Smithsonian Institution.
Conflicts of Interest: The authors declare no conflict of interest.
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