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.
This article is about the spiritual beliefs, histories and practices in Kwakwaka'wakw mythology. The Kwakwaka'wakw are a group of Indigenous nations, numbering about 5,500, who live in the central coast of British Columbia on northern Vancouver Island and the mainland. Kwakwaka'wakw translates into "Kwak'wala-speaking tribes." However, the individual tribes are single autonomous nations and do not view themselves collectively as one group.
A potlatch is a gift-giving feast practiced by Indigenous peoples of the Pacific Northwest Coast of Canada and the United States, among whom it is traditionally the primary governmental institution, legislative body, and economic system. This includes the Heiltsuk, Haida, Nuxalk, Tlingit, Makah, Tsimshian, Nuu-chah-nulth, Kwakwaka'wakw, and Coast Salish cultures. Potlatches are also a common feature of the peoples of the Interior and of the Subarctic adjoining the Northwest Coast, although mostly without the elaborate ritual and gift-giving economy of the coastal peoples.
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.
The Heiltsuk or Haíɫzaqv, sometimes historically referred to as Bella Bella, are an Indigenous people of the Central Coast region in British Columbia, centred on the island community of Bella Bella. The government of the Heiltsuk people is the Heiltsuk Nation, though the term is also used to describe the community. Its largest community is Bella Bella.
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.
Dzunuḵ̓wa, also Tsonoqua, Tsonokwa, Basket Ogress, is a figure in Kwakwakaʼwakw mythology and Nuu-chah-nulth mythology.
Joe David is a Nuu-chah-nulth artist, a member of the Tla-o-qui-aht Band of the Nuu-chah-nulth people, also formally "adopted" into the Haida people, whose work is identified with the contemporary Northwest Coast art movement; among his close associates are teacher and art historian Bill Holm, Duane Pasco, and his cousin Ron Hamilton. He is also a singer of traditional Nuu-chah-nulth songs, and has a strong interest in shamanic traditions, both those from his own culture and from others.
Willie Seaweed was a Kwakwaka'wakw chief and wood carver from Canada. He was considered a master Northwest Coast Indian artist who is remembered for his technical artistic style and protection of traditional native ceremonies during the Canadian potlatch ceremony ban. Today, Seaweed's work can be found in cultural centers and corporations, art museums, natural history museums, and private collections. Some pieces are still in use by the Nak'waxda'xw tribe.
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 potlatch ban was legislation forbidding the practice of the potlatch passed by the Government of Canada, begun in 1885 and lasting until 1951.
Formline art is a feature in the Indigenous art of the Northwest Coast of North America, distinguished by the use of characteristic shapes referred to as ovoids, U forms and S forms. Coined by Bill Holm in his 1965 book Northwest Coast Indian Art: An Analysis of Form, the "formline is the primary design element on which Northwest Coast art depends, and by the turn of the 20th century, its use spread to the southern regions as well. It is the positive delineating force of the painting, relief and engraving. Formlines are continuous, flowing, curvilinear lines that turn, swell and diminish in a prescribed manner. They are used for figure outlines, internal design elements, and abstract compositions."
Beau Dick was a Kwakwaka'wakw Northwest Coast artist and Chief who lived and worked in Alert Bay, British Columbia, Canada. He was a contemporary artist, activist and hereditary Chief from the Namgis First Nation. Dick was an artist with an extensive national and international exhibition history.
Sonny Assu is a Ligwilda'xw Kwakwaka'wakw contemporary artist. Assu's paintings, sculptures, prints, installations, and interventions are all infused with his wry humour which is a tool to open the conversation around his themes of predilections: consumerism, colonization and imperialism.
St. Michael's Indian Residential School was a Canadian residential school in Alert Bay, British Columbia, operated by the Anglican Church for First Nations children.
Robert Bruce Inverarity was an American artist, art educator, museum director, author, and anthropologist. He was the Washington State Director of the Federal Arts Project from 1936 to 1939 and the Washington Arts Project from 1939 to 1941, working with many noted Pacific Northwest artists. Fascinated with the Indian tribes of the Northwest from early youth, he amassed a major collection of North Pacific Coast Native art and authored several works on the subject.
Phil Gray is a Canadian artist who specializes in wood carvings from the Tsimshian and Mikisew Cree communities. His work uses traditional technique and features imagery from legends. In 2014, Gray was awarded a British Columbia Creative Achievement Award in Aboriginal Art from the Government of British Columbia.
Marvin Oliver (1946–2019) was an Indigenous American artist and professor. He mainly focused on contemporary sculpture and printmaking. Oliver used his Quinault and Isleta-Pueblo heritage as an influence for his art, but he also took inspiration from Coast Salish traditions.
