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Samantha Lichtenstein
Raul Zamudio
Objects as History
8 April 2015
Comparative Analysis Essay: Tlingit ‘s Dance Dress and Yoruba Egungun Society
Dancer
Throughout history, different cultures have given different meanings to the
clothing they wore. The Tlingit tribe from Alaska not only made their garments with
artistic style in mind, but they had to adapt to their cold climate. A weaved robe
made from mountain goat wool and cedar bark strips was often only worn by wellrespected leaders, as it would take years to make. These robes were worn during
potlatches, burials, and other traditional ceremonies. The Yoruba people in Nigeria
created costumes for Egungun masquerade dances that would cover the entire
body, including a mask for the face. These costumes were full of color, and were
made to help the wearer connect with ancestors during the dance.
The Tlingit dance dress on display at the Museum of Natural History is
weaved similarly to the blankets that the tribe would often make using a style called
Chilkat weaving. Other Northwest Coast Indian tribes such as the Haida and
Tsimshian tribes weave in this style. The Chilkat weaving style is one of the most
complex in the world, as the artist can create curvilinear and circular forms within
the weave itself. The dress is woven from mountain goat wool, which is what the
tribe had available due to their location in Alaska. Additionally, the material was
extremely thick and was able to keep the people warm during the winter. The
garment has blue and black tones, and several bear heads are depicted, along with a
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whale spirit. The Tlingit Indians are known for their elaborate ceremonies,
especially the potlatch. The potlatch ceremony was performed out of respect for the
dead, which is similar to the ceremonies the Yoruba people performed to get in
touch with their ancestors. The ceremonies lasted up to four days, and included
dance, song, performance, gifts, and a feast. The Egungun Society Dancer is an
elaborate, colorful outfit that would be worn by men during ceremonies, as women
were not allowed to be in costume. The ceremonies were meant to honor the tribe’s
descendants, specifically those who were part of the African Diaspora. The tribe
believed that their ancestors had the ability to compel living members to uphold
ethical standards, and these ceremonies were done in order to give their ancestors a
place among the living. The garments, like those of the Tlingit tribe, were woven.
However, the fabrics were not as thick as that of the Tlingit tribe, because different
materials were available in the Yoruba area in West Africa; instead, multiple layers
of cloth were used. The fabrics used in the garments worn by the Yoruba expressed
the wealth and status of the family wearing them, as well as the importance of the
ancestor they were honoring. Additionally, certain layers of the costume were
required to be made from specific textiles. For instance, the layer closest to the
wearer’s skin was to be made out of asooke which is a type of hand-loomed cloth,
and is the blue and white striped cloth seen on the garment at the museum.
Clothing is a significant part of Yoruba culture, as their myths equate nakedness
with infancy or a lack of social responsibility. The more elaborate the dress, the
more powerful the person. Another aspect of the Yoruba costumes that differs from
the Tlinglit garments would be the presence of amulets. Amulets were placed on the
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inside of Egungun costumes, and were used for protection. The ensembles were
repaired every year, and new amulets would be added to express honor.
Both the Tlinglit and the Yoruba tribes used clothing as an integral aspect of
ceremonies. The materials used for the garments differed, but both ceremonies
included ways for the tribe members to display their wealth. For the Tlingit tribe, a
potlatch ceremony would be more elaborate if the family was wealthy. For the
Yoruba, the fabrics used for the Egungun costumes would be more elaborate if the
family had the money to obtain those fabrics. Additionally, both tribes respected
their ancestors and their dead enough to hold ceremonies honoring them.
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Bibliography
Benson, Diane E. "Countries and Their Cultures." Tlingit. N.p., 2015. Web. 01 Apr.
2015. <http://www.everyculture.com/multi/Sr-Z/Tlingit.html>.
Dance Dress Woven of Mountain Goat Wool like a Chilkat Blanket. N.d. Hall of
Northwest Coast Indians at the Museum of Natural History, New York, NY.
American Museum of Natural History. Web. 1 Apr. 2015.
<http://www.amnh.org/exhibitions/permanent-exhibitions/human-originsand-cultural-halls/hall-of-northwest-coast-indians/tlingit/chilkat-textileclothing/dance-dress>.
Egungun Society Dancer. N.d. Hall of African Peoples at the Museum of Natural
History, New York, NY. American Museum of Natural History. Web. 1 Apr.
2015. <http://www.amnh.org/exhibitions/permanent-exhibitions/humanorigins-and-cultural-halls/hall-of-african-peoples/egungun-society-dancer>.
"Egungun Masquerade Dance Costume: Ekuu Egungun." Egungun Masquerade Dance
Costume: Ekuu Egungun. N.p., n.d. Web. 01 Apr. 2015.
<http://africa.si.edu/exhibits/resonance/44.html>.
Richardson, Geneviève. "Clothing." The Tlingit People. N.p., n.d. Web. 01 Apr. 2015.
http://thetlingitpeople.weebly.com/clothing.html
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"Tlingit Indians." History of the Tlingit Indians. Indians.org, n.d. Web. 01 Apr. 2015.
<http://www.indians.org/articles/tlingit-indians.html>.
Egungun costume:
Tlingit dress: