A potlatch involves giving away or destroying wealth or valuable items in order to demonstrate a leader's wealth and power. Potlatches are also focused on the reaffirmation of family, clan, and international connections, and the human connection with the supernatural world. Potlatch also serves as a strict resource management regime, where coastal peoples discuss, negotiate, and affirm rights to and uses of specific territories and resources. Potlatches often involve music, dancing, singing, storytelling, making speeches, and often joking and games. The honouring of the supernatural and the recitation of oral histories are a central part of many potlatches.

From 1885 to 1951, the Government of Canada criminalized potlatches. However, the practice persisted underground despite the risk of government reprisals including mandatory jail sentences of at least two months; the practice has also been studied by many anthropologists. Since the practice was decriminalized in 1951, the potlatch has re-emerged in some communities. In many it is still the bedrock of Indigenous governance, as in the Haida Nation, which has rooted its democracy in potlatch law.

The word comes from the Chinook Jargon, meaning "to give away" or "a gift"; originally from the Nuu-chah-nulth word pa?a?c, to make a ceremonial gift in a potlatch.

History

Prior to European colonization, gifts included storable food (oolichan, or candlefish, oil or dried food), canoes, slaves, and ornamental "coppers" among aristocrats, but not resource-generating assets such as hunting, fishing and berrying territories. Coppers were sheets of beaten copper, shield-like in appearance; they were about two feet long, wider on top, cruciform frame and schematic face on the top half. None of the copper used was ever of Indigenous metal. A copper was considered the equivalent of a slave. They were only ever owned by individual aristocrats, and never by numaym, hence could circulate between groups. Coppers began to be produced in large numbers after the colonization of Vancouver Island in 1849 when war and slavery were ended.

The arrival of Europeans resulted in the introduction of numerous diseases against which Indigenous peoples had no immunity, resulting in a massive population decline. Competition for the fixed number of potlatch titles grew as commoners began to seek titles from which they had previously been excluded by making their own remote or dubious claims validated by a potlatch. Aristocrats increased the size of their gifts in order to retain their titles and maintain social hierarchy. This resulted in massive inflation in gifting made possible by the introduction of mass-produced trade goods in the late 18th and earlier 19th centuries. Archaeological evidence for the potlatching ceremony is suggested from the ~1,000 year-old Pickupsticks site in interior Alaska.

The Alaska Steamship Company was formed on August 3, 1894. While it originally set out to ship passengers and fishing products, the Alaska Steamship Company began shipping mining equipment, dog sleds, and cattle at the outbreak of the Klondike Gold Rush of 1897. The company was purchased by the Alaska Syndicate and merged with the Northwestern Steamship Company in 1909, but retained its name, and the fleet was expanded to 18 ships. During World War II, the government took over the company's ships. When the war ended, the company struggled to compete with the new Alaska Highway for passengers and freight. It discontinued passenger service altogether in 1954 and shut down operations in 1971.

The Northern Pacific Railway (reporting mark NP) was a transcontinental railroad that operated across the northern tier of the western United States, from Minnesota to the Pacific Northwest. It was approved by Congress in 1864 and given nearly 40 million acres (62,000 sq mi; 160,000 km²) of land grants, which it used to raise money in Europe for construction.

Construction began in 1870 and the main line opened all the way from the Great Lakes to the Pacific when former President Ulysses S. Grant drove in the final "golden spike" in western Montana on September 8, 1883. The railroad had about 6,800 miles (10,900 km) of track and served a large area, including extensive trackage in the states of Idaho, Minnesota, Montana, North Dakota, Oregon, Washington, and Wisconsin. In addition, the NP had an international branch to Winnipeg, Manitoba, Canada. The main activities were shipping wheat and other farm products, cattle, timber, and minerals; bringing in consumer goods, transporting passengers; and selling land.

The Northern Pacific was headquartered in Minnesota, first in Brainerd, then in Saint Paul. It had a tumultuous financial history; the NP merged with other lines in 1970 to form the Burlington Northern Railroad, which in turn merged with the Santa Fe Railway to become the BNSF Railway in 1996.

ARTIST:  COPY OF PAINTING OF ALASKAN NATIVES IN DUGOUT CANOES OFF TO HUNT WHALE USING  SQUARE RIGGED SAILS. 

Sydney Mortimer Laurence (1865–1940) was an American Romantic landscape painter and is widely considered one of Alaska's most important historical artists.

Early life

Sydney Mortimer Laurence was born in Brooklyn, New York and studied at the Art Students League of New York. He married Alexandrina Fredricka Dupre in 1889.

He exhibited regularly by the late 1880s. He and his wife traveled to England, settling in 1889 in the English artists' colony of St. Ives, Cornwall from 1889 to 1898. over the next decade he exhibited at the Royal Society of British Artists and was included in the Paris Salon in 1890, 1894, and 1895, winning an award in 1894.

Laurence abandoned his family and came to Alaska in 1903 or 1904.

Alaska

Laurence was the first professionally trained artist to make Alaska his home. He moved to Alaska in 1904 for reasons still unknown. Records from 1907 show he lived in the village of Tyonek on the North Shore of Cook Inlet in Southcentral Alaska, about 60 miles from Ship Creek where Anchorage would begin years later Living the hard life of the pioneer prospector, he painted little in his first years in the then-District of Alaska, but between 1911 and 1914 he began to focus once again on his art. He moved from Valdez to the nascent town of Anchorage in 1915 and by 1920 was Alaska's most prominent painter.

Laurence painted a variety of Alaskan scenes in his long and prolific career, among them sailing ships and steamships in Alaskan waters, totem poles in Southeast Alaska, dramatic headlands and the quiet coves and streams of Cook Inlet, cabins and caches under the northern lights, and Alaska Natives, miners, and trappers engaged in their often solitary lives in the northern wilderness.

But the image of Denali from the hills above the rapids of the Tokositna River became his trademark. It is this image more than any other which personifies Laurence for his many admirers and collectors in Alaska and beyond.

Laurence forged a uniquely personal style by applying the tonalist techniques he had learned in New York and Europe to the wilderness of the North. He, more than any other artist, defined for Alaskans and others the image of Alaska as "The Last Frontier."

In May 1927, Laurence married Jeanne Kunath, a French-born artist who had emigrated to the United States in 1920. He died in Anchorage on December 10, 1940.

Several places were named for Laurence in his adopted hometown. Laurence Court is a short street in the Bootleggers Cove neighborhood of Anchorage. Perhaps the most significant was the Sydney Laurence Auditorium, which sat downtown at the northwest corner of West Sixth Avenue and F Street. This structure was replaced during the 1980s by the Alaska Center for the Performing Arts in what Anchorage called "Project 80s", a large-scale civic improvement program carried out under mayors George M. Sullivan and Tony Knowles; now the Sydney Laurence theater is smallest of three stages at the Performing Arts Center.