“Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson
Chinookan art centered on the Lower Columbia River and was created by Chinookan-speaking people living along the river and its tributaries. The style is unique, focusing on geometric forms, numerical patterns, and anatomical representation. It is embedded in Chinookan mythology and differs considera...
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| Format: | Article |
| Language: | English |
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MDPI AG
2023-08-01
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| Series: | Arts |
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| Online Access: | https://www.mdpi.com/2076-0752/12/5/185 |
| _version_ | 1797574799381233664 |
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| author | Jon D. Daehnke Greg A. Robinson |
| author_facet | Jon D. Daehnke Greg A. Robinson |
| author_sort | Jon D. Daehnke |
| collection | DOAJ |
| description | Chinookan art centered on the Lower Columbia River and was created by Chinookan-speaking people living along the river and its tributaries. The style is unique, focusing on geometric forms, numerical patterns, and anatomical representation. It is embedded in Chinookan mythology and differs considerably from the more widely recognized Formline of Indigenous artists from the northern Pacific Northwest. It also receives less attention, both publicly and scholarly. Due to high rates of death along the Columbia from introduced diseases during colonial invasion, and high levels of looting that followed, Chinookan art nearly disappeared from the landscape. In the 21st century Chinookan art has had a resurgence, led by Chinookan practitioners. The resurgence occurs not only within individual households but also in public settings. This resurgence also includes an emphasis on teaching the style to youth, who learn that this is not just about making art but is integrally attached to culture more broadly, including connection to language, stories, protocols, and Indigenous identity itself. It is ultimately a source of pride, resilience, and resistance. As a result, where there were once generations who never saw a landscape with Chinookan art, there are now generations who will never know a landscape without it. |
| first_indexed | 2024-03-10T21:27:15Z |
| format | Article |
| id | doaj.art-3abbc65fbc6f4fbfa68f626158af1cd9 |
| institution | Directory Open Access Journal |
| issn | 2076-0752 |
| language | English |
| last_indexed | 2024-03-10T21:27:15Z |
| publishDate | 2023-08-01 |
| publisher | MDPI AG |
| record_format | Article |
| series | Arts |
| spelling | doaj.art-3abbc65fbc6f4fbfa68f626158af1cd92023-11-19T15:34:43ZengMDPI AGArts2076-07522023-08-0112518510.3390/arts12050185“Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. RobinsonJon D. Daehnke0Greg A. Robinson1Department of Anthropology, University of California, Santa Cruz, CA 95064, USAChinook Indian Nation, Bay Center, WA 98527, USAChinookan art centered on the Lower Columbia River and was created by Chinookan-speaking people living along the river and its tributaries. The style is unique, focusing on geometric forms, numerical patterns, and anatomical representation. It is embedded in Chinookan mythology and differs considerably from the more widely recognized Formline of Indigenous artists from the northern Pacific Northwest. It also receives less attention, both publicly and scholarly. Due to high rates of death along the Columbia from introduced diseases during colonial invasion, and high levels of looting that followed, Chinookan art nearly disappeared from the landscape. In the 21st century Chinookan art has had a resurgence, led by Chinookan practitioners. The resurgence occurs not only within individual households but also in public settings. This resurgence also includes an emphasis on teaching the style to youth, who learn that this is not just about making art but is integrally attached to culture more broadly, including connection to language, stories, protocols, and Indigenous identity itself. It is ultimately a source of pride, resilience, and resistance. As a result, where there were once generations who never saw a landscape with Chinookan art, there are now generations who will never know a landscape without it.https://www.mdpi.com/2076-0752/12/5/185Chinookart revitalizationindigenous artnorthwest coast formlinepublic artcolumbia river |
| spellingShingle | Jon D. Daehnke Greg A. Robinson “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson Arts Chinook art revitalization indigenous art northwest coast formline public art columbia river |
| title | “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson |
| title_full | “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson |
| title_fullStr | “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson |
| title_full_unstemmed | “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson |
| title_short | “Once the Fire Starts Then There Is No Stopping It”: The Revitalization of Chinookan Art in the 21st Century, Conversations with Greg A. Robinson |
| title_sort | once the fire starts then there is no stopping it the revitalization of chinookan art in the 21st century conversations with greg a robinson |
| topic | Chinook art revitalization indigenous art northwest coast formline public art columbia river |
| url | https://www.mdpi.com/2076-0752/12/5/185 |
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