^'^No.'^74f^^' IROQUOIS MASKS AT ONONDAGA — HENDRY 389 



woodcarving. Lee in particular felt that he gained nothing from the 

 experience. "I didn't like it because the teacher made me draw the 

 way she wanted. I like to follow my own ideas." 



Since maskmaking is learned informally, and often by the method 

 of trial and error, it is not surprising that the carvers minimize this 

 phase of the art. Yet their refusal to recognize that there are certain 

 situations, such as the class at the community center where teaching 

 does take place, constitutes a negative reaction out of proportion to 

 the facts. 



It has been conjectured that maslonaking was originally regarded 

 by the Iroquois as a supernatural technique which was automatically 

 acquired with initiation into the medicine society. Granting the 

 validity of this assumption, the statement by one of my informants 

 that carving is a religous power indicates that some traces of this 

 belief have survived. Certainly if such a retention were widespread 

 it would account for the current opinion that instruction is unnec- 

 essary. There is, however, another factor in the attitude of the 

 Onondagas which is brought to light by their assertions that carv- 

 ing is instinctive, natural. Through reading the literature and 

 through contact with men like Hest, they have been impressed with 

 the fact that masks are an old Iroquois custom and an important 

 part of their cultural heritage. Therefore, in their effort to pre- 

 serve that heritage, it is natural that they should maintain, and 

 perhaps even believe, that carving is an inherent characteristic which 

 no "real Indian" has to be taught. 



The problem of motivation, like the problem of religious conviction, 

 is not easUy solved. The statements of the carvers are of little value 

 in this connection, since for the most part they seem to be reasons given 

 after the fact. *T got interested in carving and decided to try it"; 

 'T saw other people doing it"; "I had some free time." One man 

 said that everybody would carve if he had good tools and a good place 

 to work; another that he had taken up the art because he had nothing 

 else to do and had continued because people had praised his work, 

 calling it outstanding. No one mentioned the profit motive. Actu- 

 ally, the lack of a market for masks makes it improbable that anyone 

 engages in the occupation for economic reasons. 



It is possible that some do carve to gain recognition and prestige 

 among the small group which has an interest in masks. Among the 

 older men faith in the spiritual powers of the carvings may still be 

 the primary incentive. Nor must it be overlooked that maskmaking 

 affords a socially sanctioned outlet for creative impulses. Kenneth 

 Thomas is one of those who seem to derive satisfaction of an esthetic 

 nature from carving, as he lavishes much time and care on each mask 

 and turns out technically perfect work. Eddie Schenandoah is per- 



