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Birdskin parka

  • Map showing origin of objects

    Map showing origin of objects

  • In Igloolik, birdskin parkas were sometimes worn as well. Engraving An Eskimaux of Igloolik, In a bird-skin jacket Carrying his canoe down to the water, after a drawing by G.F. Lyon (Parry 1824)

    In Igloolik, birdskin parkas were sometimes worn as well. Engraving An Eskimaux of Igloolik, In a bird-skin jacket Carrying his canoe down to the water, after a drawing by G.F. Lyon (Parry 1824)

 

AOA 1899-419

Africa, Oceania, Americas

    Birdskin parka

    Inughuit, late 19th century AD
    Collected in the Smith Sound area, northern Greenland

    This birdskin parka was made by the Inughuit of the Smith Sound area in northern Greenland. It was collected by the American explorer Robert Peary (1856-1920), who visited the area several times between 1891 and 1909 in preparation for his expeditions to the North Pole.

    The Inughuit often used the skins of auks or little auks to make parkas. The skins are sewn together into belts, and the belts are then sewn into poncho-like garments. The feather-side of the skin would have been turned to the inside. Birdskin parkas were worn directly on the body as inner parkas by men, women and children, usually under an outer parka of sealskin. After 1910, when Knud Rasmussen opened his trading-post in Thule, birdskin parkas were quickly replaced by European underwear bought in the store.

    Conserving the birdskin parka
    Department of Conservation, The British Museum

    Birdskin clothes are light, warm and waterproof, but they tear easily. On arrival in the Department of Conservation, the skin of the parka was torn in several places. With ageing, the feathers had become less securely attached to the skin and were easily dislodged.

    The tears were repaired by adhering patches of a Japanese tissue paper coloured to match, or where possible with goldbeaters' skin, a transparent membrane prepared from ox intestine, which more closely matches the appearance of the skin. The parka was then gently padded with acid-free tissue paper. However, the parka remains fragile, and cannot be exhibited, because this might lead to further damage and loss of feathers.

    J.C.H. King, First peoples, first contacts: (London, The British Museum Press, 1999)

    B.K. Issenman, Sinew of survival: the living (Vancouver, UBC Press, 1997)

    J.E. Oakes and R. Riewe, Our boots: an Inuit womans art (New York, Thames and Hudson, 1996)

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