A talking stick, also called a speaker's staff, [1] is an instrument of Indigenous democracy used by a number of Indigenous communities, especially those in the Pacific Northwest nations of North America. The talking stick may be passed around a group, as multiple people speak in turn, or used only by leaders as a symbol of their authority and right to speak in public. [2]
Akan chiefs in Western Africa have a tradition of speaker's staffs capped with gold-leafed finials. These emerged in the 19th century as a symbol of the holder's power. [2]
Among many of the Indigenous peoples of the Pacific Northwest, talking sticks are carved wooden staffs, which can either bear a single crest at the top or be fully carved with heraldic clan crests of the chief or hereditary political spokesman. [1] The staffs can include shell inlay. [2] The staffs resemble small totem poles and are still used ceremonially today. [3] At gatherings, especially potlatches, a chief or their designated speaker holds the talking stick and makes announcements. [3] [4] The speaker thumps the stick on the ground for emphasis. [3] In some situations, a feather has been used as a stand-in for the talking stick. [5]
Talking sticks are a contemporary Northwest Coast art form with great symbolic importance. Tsimshian woodcarver David A. Boxley was commissioned to sculpt a crown of a talking stick for the 1990 Goodwill Games, that incorporated symbolism of the United States and Russia. This staff was carried from Spokane, Washington to Oregon and on to Seattle, Washington by participating athletes. [6] Talking sticks are also incorporated into totem poles. In 1988 Kwakwaka'wakw Richard Hunt carved the world's largest totem pole featuring a Cedar Man wielding a 4.3 meter (14 foot) tall talking stick. [7] [8] Representations of chiefs are carved in totem poles carrying talking sticks as well as coppers. [9]
Totem poles are monumental carvings found in western Canada and the northwestern United States. They are a type of Northwest Coast art, consisting of poles, posts or pillars, carved with symbols or figures. They are usually made from large trees, mostly western red cedar, by First Nations and Indigenous peoples of the Pacific Northwest Coast including northern Northwest Coast Haida, Tlingit, and Tsimshian communities in Southeast Alaska and British Columbia, Kwakwaka'wakw and Nuu-chah-nulth communities in southern British Columbia, and the Coast Salish communities in Washington and British Columbia.
The Kwakwa̱ka̱ʼwakw, also known as the Kwakiutl, are one of the indigenous peoples of the Pacific Northwest Coast. Their current population, according to a 2016 census, is 3,665. Most live in their traditional territory on northern Vancouver Island, nearby smaller islands including the Discovery Islands, and the adjacent British Columbia mainland. Some also live outside their homelands in urban areas such as Victoria and Vancouver. They are politically organized into 13 band governments.
A council circle is a distinctive feature at the center of some tribal communities in North America. The historical function of the council circles is debated. Some suggest that the talking circles are ceremonial, and others support a hypothesis that they were places for political discussion that suggest aboriginal democracy.
Freda Diesing was a Haida woman of the Sadsugohilanes Clan, one of very few female carvers of Northwest Coast totem poles and a member of the Council of the Haida Nation of British Columbia, Canada. Her Haida name is Skil Kew Wat, meaning "magical little woman."
Walter Harris, also known as Simogyet Geel, was a Canadian artist and hereditary chief from the Gitxsan (Gitksan) First Nation in northwestern British Columbia.
Tony Hunt Sr. was a Canadian First Nations artist noted for his KwaGulth style paintings and totem poles, which he carved from single cedar logs.
Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
Chief Mungo Martin or Nakapenkem, Datsa, was an important figure in Northwest Coast style art, specifically that of the Kwakwaka'wakw Aboriginal people who live in the area of British Columbia and Vancouver Island. He was a major contributor to Kwakwaka'wakw art, especially in the realm of wood sculpture and painting. He was also known as a singer and songwriter.
David A. Boxley is an American artist from the Tsimshian tribe in Alaska, most known for his prolific creation of Totem Poles and other Tsimshian artworks.
Norman Tait was a Nisga'a First Nations sculptor and totem pole carver from northwestern British Columbia, Canada.
A button blanket is wool blanket embellished with mother-of-pearl buttons, created by Northwest Coastal tribes, that is worn for ceremonial purposes.
Ellen Neel (1916–1966) was a Kwakwakaʼwakw artist woodcarver and is the first woman known to have professionally carved totem poles. She came from Alert Bay, British Columbia, and her work is in public collections throughout the world.
Kwakwaka'wakw art describes the art of the Kwakwaka'wakw peoples of British Columbia. It encompasses a wide variety of woodcarving, sculpture, painting, weaving and dance. Kwakwaka'wakw arts are exemplified in totem poles, masks, wooden carvings, jewelry and woven blankets. Visual arts are defined by simplicity, realism, and artistic emphasis. Dances are observed in the many rituals and ceremonies in Kwakwaka'wakw culture. Much of what is known about Kwakwaka'wakw art comes from oral history, archeological finds in the 19th century, inherited objects, and devoted artists educated in Kwakwaka'wakw traditions.
The Salish peoples are indigenous peoples of the American and Canadian Pacific Northwest, identified by their use of the Salish languages which diversified out of Proto-Salish between 3,000 and 6,000 years ago.
Doug Cranmer (1927–2006), also known as Pal'nakwala Wakas and Kesu', was a Kwakwaka'wakw carver and artist as well as a 'Namgis chief. Cranmer was a significant figure in the Northwest Coast art movement, both in its traditional form and in a modern contemporary form that he created and developed.
The Nisga'a and Haida Crest Poles of the Royal Ontario Museum are a collection of four large totem poles, hand carved from western red cedar by the Nisga’a people and Haida people of British Columbia's coast. The poles are referred to as: Three Persons Along (Nisga'a); the Pole of Sag̱aw̓een (Nisga'a); the Shaking Pole of Kw’ax̱suu (Nisga'a); and House 16: Strong House Pole (Haida). Each of the crest poles tell a family story, as carved figures represent crests that commemorate family history by describing family origins, achievements and experiences. These memorial poles were typically placed in front of the owners' house along the beach.
Yellow cedar is a culturally, economically and environmentally significant species to the Pacific Northwest and was used extensively by Indigenous Peoples throughout the region.
Douglas Reynolds Gallery is an art gallery in Vancouver, British Columbia. It is located in the Business Improvement Area of South Granville. The gallery was founded in 1995 by Douglas Reynolds.
Plaza Canadá is a public square in the Retiro neighbourhood of Buenos Aires, Argentina located within the streets of Maipú, Antártida Argentina, San Martin, and Dr. José María Ramos Mejía.
Tim Paul is a member of the Hesquiaht tribe from the Nuu-Chah-Nulth first nation. He is a master carver from Esperanza Inlet British Columbia. He was the senior carver at the Royal British Columbia Museum until 1992 when he left to oversee an indigenous education program for the Port Alberni school board on Vancouver Island.