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Traditions, Customs,
Stories, History and Cultural Background of the West Coast of Canada
|
Eagle Feathers by Ken Loo | Potlatch
by Gordon Miller | About the Killer
Whale and Thunderbird
Design by Mark Henderson | Canadian
First Nations Figures explained by R. Elsie John |
Legend of "Yakotlalaseme by David Bell
| Symbols and Rituals of the Canadian First
Nations
People by Michale Schumacher
Traditions, Customs, Stories, History and Cultural Background of the West Coast of Canada.
A look at the history and cultural background of the West Coast of Canada.
The Canadian First Nations People from the West Coast of Canada and their culture, dates back over 5000 years.
Nature provided the First Nations People of the West Coast with a remarkable wealth of natural foods, so the development of a sophisticated cultural life could establish itself.
The First Nations People's lives were orientated towards the sea. Their houses and villages,were built out of large cedar planks. These villages usually pointed in the direction of the ocean. The "Big Houses" were large cedar houses, that characterized the Northwest Coast; they were big enough to provide shelter, working space and storage space for many families under a single roof. As well they could accomodate large numbers of visitors that would come to celebrate feasts and "potlatches".
The First People's daily lives included sailing the West Coast waters in their wooden canoes, hunting, and fishing as well as working in their diffrent trades. Conserving food through smoking, air drying and salting, enabled the "First People" to enjoy free time in the winter months. It was the time for potlatches, celebrations and spending more time on the trades of the arts, cultural activities and events.
You can find various handmade art and cultural artifacts made out of different materials, which are being made until today and used as jewellery or in rituals, dances and while celebrating or having potlatches. The artists of the "Canadian First Nations People" were always open for and incorporated and included new materials, tools and techniques in their artworks, like steel tools for carving and ingraving.
Copper symbolized wealth and power, therefore it was also used as a trading commodity. Also used for trading was mother of pearl that came from California, silver and gold from Alaska; and trading beads from Russia or from as far as the Netherlands.
Part of the philosophie and cultural aspect of the "Canadian First Nations People" from the West Coast of Canada was and still is: "The Oneness Of All Live".
"Eagle feathers" by
Ken Loo:
Eagle feathers are gifts from the creator. The Eagle soars the highest
and has the greatest vision. Eagle feathers are used in ceremonies to
connect people to their own visions and their higher protective spirits.
Traditional dancers use Eagle feathers on their *regalia (costumes), to
show their connection to the above spirits.
To view Silver Jewellery by Ken Loo , *click here.
Traditions & Customs
The most northerly of the Northwest Coast Indians, the Tlingit occupy a wild and beautiful coastal area streching 480 miles along the Alaska panhandle. A proud people, they fiercely defended their villages against the Russians who were the first Europeans to venture into their territory.
The great ceremonial feasts of the Northwest Coast Indians occurred in winter, following the season of gathering and preserving the abundant food resources of the area. Hundreds of guests would be invited to witness the honoring of the dead, inheritance of names, privileges and the recording of other important events in family history. Often lasting many days and nights, the potlatch was highlighted by oratory and spectacular theatrical and dance performances. Vast amouts of material goods would ge given to guests according to their rank.
In this way social status was obtained, wealth shared and an elaborate economy stimulated. The potlatch, with all its magnificent trappings and artistic accomplishment is today in revival throughout the northwest coast, along with the tribal cultures and the spirit of the First Peoples. A Limited Edition Print, called "Potlatch" by Gordon Miller pictures the interior of the Whale House in Klukwan. The hosts, wearing Chilkat blankets and surrounded by the family treasures are seated before the large painting called the "Rain Screen".
To view the Limited Edition Print "Potlatch", by Gordon Miller, *click here.
About the Thunderbird - Killerwhale - Design
The Thunderbird was a large supernatural bird who created thunder by the flapping of his wings. Killerwhales were his main source of food. The Thunderbird would fly down to the water to capture the Killerwhale then fly into the mountains to eat his prey.
Both the Thunderbird and Killerwhale are crests that belong to my family. Dance screens such as this, would be displayed in the big house during native ceremonies. Often the designs on the screen represent the family who is hosting the ceremony.
Screens represent the thin veil that separates us from the mystical and supernatural world. I was born in 1953 and am a member of the Wewaikum Band in Campbell River. My father, the late Sam Henderson, was a well-known Kwakwaka'wakw carver. My mother, the late May Quocksister Henderson, was the eldest daughter of a high-ranking family of the Wewaikum Band. My parents were keen to pass on their cultural traditions to our family and they were a major influence in my work.
I have been involved in a great many potlatches from designing and painting masks and large dance screens, such as this one, to performing the dances that belong to my family. I began painting traditional designs at age 11 and received encouragement from my father. Under his guidance I learned the principles of Kwakwaka'wakw design. My work has been influenced by contemporary events as well by the older style artists.
Mark Henderson July 1999
To view the Dance-Screen, click here.
Canadian First Nation's Figures explained by R. Elsie John
Hidden among the figures are layers of intertwined meaning.
One figure may represent, more than one thing. Bear may be a family crest,
the telling of Bear's story, or a lesson to remind the Native people that
self-sacrifice is desirable. It may be a memorial to an honored elder
or serve as testimony that the carver has, for example, overcome an addictive
habit. Certain figures appear on Elsie's carvings as a symbol of the owner's
right to tell the stories or sing the songs associated with her family.
Today, stories are told freely without much regard to traditional rights
or remembrance of heroic events. In some cases the figures are meant to
recall a heroic exploit, the suffering of a brave person, or memorable
disaster such as a flood or volcanic eruptions. Since the events are primarily
important to Native people, they are not always familiar to outsiders.
Tribal styles are liberally interpreted; stories are given new twists;
family crests are included with or without rights. There are so many talented
artists out there and so many wonderful stories full of life and movement
that the natural progression of the art form is toward the expression
of the traditions as pride in one's heritage. There is less need to resort
to strict protocol. A carving can express various native concepts of transformation.
Today Native people display their heritage through the use of Native symbols.
However, strict traditions are no longer followed and most designs are
simply an expression of Native pride.
Sun
This symbol belongs to the shining Heavens, the town of the sky people.
The West Coast legends tell of the influence of the Sun upon their predecessors
who lived in a rich mountain valley abundant in game, fruits and rivers
which were full of salmon. In the sky land there were houses of the Sun,
Moon, Stars and the rainbow.
Sun controlled the destinies of the West Coast people and was looked upon
as the Creator of the Universe.
Bear
Like all other animals, Bears have the power to take their skins off and
appears as human beings do. Most of the time, however, they prefer their
own form. They are quite perceptive in knowing when human hunters are
after them and a few have had a precognition of their own death. Bear
children marry humans. It is these offspring who founded the first "human"
Bear clan family.
 "Bear Spirit Woman", by Jim Poitras |
 "Mother Bear & Cub" by Joe Wilson - "Salish"-Artist |
Beaver
Beaver can appear as an ordinary creature or it can remove its skin and
temporarily take on human form. Giant Beavers are a race of beings with
tails so large one slap can start an earthquake, or cause a large storm.
Sometimes they can slap their tails and become invisible. Beavers keep
their own supply of sharp arrows and spears on hand should they be attacked.
They use their teeth to sharpen these weapons.
Thunderbird
In the time before, a giant Whale the size of a mountain came to inhabit
the oceans. Its appetite was enormous, and each time it was hungry great
storms came up. The seas were swept clean of all life. The salmon didn't
return to the rivers and humans began to starve. One of the great chiefs
climbed a cliff overlooking the ocean and begged Whale to leave. Whale
ignored him. Still Whale fed and there was no food for humans. Finally,
rituals were performed to invoke a greater power. The Thunderbird said,
"what will you do for me" One of the chiefs had an idea, they
would adopt a crest, authorize rights, and build totem poles in honor
of Thunderbirds presence and help. The Thunderbird image should appear
above all others, on top of every pole in the land for all time. The Thunderbird
was pleased. The awesome form of Thunderbird materialized from out of
the storm clouds, lightening flashing from the its eyes, ear shattering
thunder rolling from under its wings. The Thunderbird flew over the inlet
and snatched up the Whale in a single swoop. Some say Thunderbird ate
Whale. Others say Thunderbird dropped Whale and it turned into a mountain
still visible on Vancouver Island.
 "Thunderbird & Killerwhale" by Joe Wilson - "Salish"-Artist |
 "Kwaguilth Thunderbird", by Jim Johnny |
To view more artworks by " Joe Wilson ",
"click
here."
Raven
A long time ago, a woman was crying because all her children were still
born. Heron came to her and advised her to go to the beach, find a smooth
stone and place it into a fire. When it was hot and blackened, she was
instructed to swallow it. She followed Heron's instructions and later
gave birth to Raven. That is why Raven is so black and tough. As Raven
was growing up, he had a difficult childhood, always attracting disasters.
A tree fell on him. A canoe snapped shut on him. He fell into a fire pit,
and he was boiled in a kettle. Using his supernatural powers, he survived
all of these incidents. The world at that time was without a sun. It was
only dimly lit by an unnamed light source, inhabited by a few semi-humans
and mostly devoid of life.
Raven is restless, curious, and to an intense degree, easily bored. He
is always looking for excitement and adventure. His voracious appetite
for both food and sexual delights are legendary and cause many of his
problems.
 "The Power of the Raven", by Sue Coleman |
 "Raven Shadow", by Sue Coleman |
To view more artworks by " Sue Coleman ", "click here.
Sea-Serpent
Long time ago, just as celebration began, the wife gave birth to their
fourth son. About the same time, husband caught a strange looking salmon
in his trap. In vain he tried to club it, but it became wilder and wilder.
Remembering the advice from his wife, he bit his tongue and spit blood
on it. As the fish calmed, he knew he had a transformed Sea-Serpent. Bringing
back the gift, he knew his wife would be pleased because Sea-Serpents
brought great powers to their warriors. Cutting the serpent in half, his
wife bathed their baby son in its blood. Instantly the child became twice
the size of a full grown man and appeared to be made of stone. His face
resembled Wild-Woman.
Sea-Monster
Sea-Monster is a snake representing "strength among warriors".
The Sea-Monster has a jolly, roundish face and a cylindrical body that
terminates at each end with Serpents' head. The Sea-Monster can exist
on the land or under the sea. At will it can increase to the enormous
size of a sea-serpent from the form of a small insect grub. When in a
helpful mood, it turns into a self-navigating, self- paddling canoe. In
this form, it can deliver a war party to the enemy shores. Other times,
however, it has been known to eat canoes, people and all. When living
on land as Woodworm, its appetite is too much for the villages, the people
take up arms against it. In another form of its shape shifting, it appears
as an ordinary salmon. To see, eat, or touch the Sea-Monster is said to
be unlucky and might cause death.
Whales
Whales are honored as strong and brave animals. They first materialized
or transformed out of three cedar sculptures carved in their likeness.
It was said that Whale came ashore after a long time at sea, came onto
the land, and changed into a Wolf. In that shape it enjoyed hunting land
animals and sometimes its own kind. In Wolf form, it revealed the secrets
of the Whale cult to all humans. Some say, it is not Wolf at all but a
powerful Grizzly-Bear-Of-The-Sea, *WASCO (In Wolf form) hunts whalers
and lives in a mountain lake, near Tofino.
Wolf
One time, long ago there was a famine upon the land. The people were starving.
Their discomfort was heightened night after night as they listened to
the beating drums and loud howling songs coming from across the river.
The people were afraid to go out, even in daylight. The Wolf can take
on the form of humans and speak in human tongues by using basic animal
powers. Certain humans not only become like Wolf, they become wolf. Wolf
packs host elaborate late-night dance celebrations noted for loud drumming,
howling songs, and beautiful women. Wolf will sometimes travel to the
ocean and change into Whale. This is why both Wolves and Killer-Whales
hunt in packs.
Frog
In native mythology the Frog is widely known as a Rain-Bringer and a fertility
symbol. Its skin being moist as opposed to the dryness of death also represents
renewal of life and bearer of water. The Frog was protector of the newborn.
Frog has several personalities and in those forms is associated with bringing
copper and wealth to the surface from under water cities.
Eagle
The Eagle is an attribute of all sky gods and it represents spiritual
power, majesty, and victory. It is also an attribute of war gods and of
the storm gods, who bring lightning and fertile rain. The Eagle feather
headdress represents the Thunderbird, the Great Spirit; it is the master
of height and its feathers carry the prayers of the people to the father
sun; as the Eagle was believed to be able to look directly into the sun
without blinking.
Salmon
According to Nootka legend, Salmon were people before they were transformed
into fish. As fish, they look forward to fulfilling their duty as food
for earth people, part of the sacred cycle of life. Many cultures shared
a dependence on Salmon for survival and a profound relationship with the
cycles of the natural world. All celebrated the sacred fish, many with
"First Fish" ceremonies to welcome the Salmon home each year
and give thanks for the life they provided.
Lightning Snake
Lightning Snake is a feathered serpent. A powerful Sea-Monster with a
Wolf like head and a long tongue.
Lightning Snakes are typically depicted in pairs. They are the renowned
companions and preferred weapons of Thunderbird, who often carries one
of them under each great wing. Thunderbird hunts Whales using his Lightning
Snakes like harpoons. A sting by a Lightning Snake renders a massive Whale
helpless to the subsequent attack of Thunderbird.
Moon
Moon controls the tides and illuminates the dark night. Because of the
powers of Moon, shamans sometimes call upon it as a spirit guide. Most
northern tribes thank Raven for the gift of the Moon. Sometimes stories
describe Moon as a chip off of the Sun, which Raven clumsily dropped.
The Nuu-Chah-Nulth, whose year features thirteen moons, honor Moon, and
his wife Sun, as the most powerful of beings, the bestowers of good luck
and plentiful food. This is one of the instances in which Moon is male
and Sun is female.
Mortal World
The Mortal World is home to human beings and to familiar creatures such
as Bears, Wolves, and Birds. There are also some supernatural beings such
as PZUNUKVA, The Wild Woman of the Woods.
Sea Otter
The Sea Otter is intelligent, resourceful and agile, using its forepaws
like hands. It is also the most playful of all creatures and Sea Otter
images often serve a a symbol of laughter and lightheartedness.
Sea Lion
According to West Coast legend, Sea Lions function as house posts and
hold the prestigious position of head guards at the Chiefs house, Chief
of the underworld.
Seal
The common Northwest Coast species are the harbor or hair Seal. Seals
represent wealth and plenty.
Chief of the under sea world, is also known as protector of the Seals.
Mischief Man
In most Northwest Coast mythologies Mischief Man is the being responsible
for numerous acts of creation, and the cycles of transforming and reincarnation.
The Mischief Man is not called the Supreme Being.
The Mischief Man's nature is intelligent and adventurous, but sometimes
self indulgent, mischievous, and contradictory. Apparently he can transform
into other creatures at will and play tricks on others, as circumstances
or opportunities arise at the time.
To view " R. Elsie John's " Art Works and Biography, please "click here."
The Legend of "Yakotlalaseme" by David Bell
This is legend belonging to my Great Grandmother, Ruth Nowell. It tells the story of an ancestor named Yakotlalaseme, who was Gixsam, one of the tribes of Tsaxis (Fort Rupert). It tells of how, one day while travelling along the beach, he encounters a great living Totem Pole that rises up from the ocean, through the fog. Originally scared, he becomes curious and paddles out to the great pole. The pole in the legend was a Hok-Hok on top, a Grizzly Bear underneath, then a Killer Whale, a Sea Wolf and on the bottom was the Sea Serpent. Because of the size of this pole, I have had to use artistic license. The top of the pole is a Hok-Hok, with a Sea Wolf underneath, a Killer Whale transforming into a Sisiutl on the bottom with a Grissly Bear Head in the tail of the Whale. When Yakotlalaseme gets out to the great pole, the Sisiutl's mouth was opening and closing like a Cod Fish. He timed it, and when it opened he paddled in. Inside, he came upon the Great House of Komokwa. The Komokwa threw a great feast for Yakotlalaseme. There were songs, dances with masks and stories. The Komokwa told Yakollalaseme he could have any of these that he wanted. Once he picked all of his treasures, he packed them on the back of a Great Killer Whale, climbed onto it's back, and headed back to his village. All of those songs, dances and masks became the property of my ancestors.
To view a Totem Pole by "David Bell", "click here."
The
following text is written by a german student, in form of a school paper
for his english class on the subject of:
Symbols and Rituals of the Canadian First Nations‘ People
by Michael Schumacher
Subject: English
Teacher: Herr Prauss
Class: E-LK 2 Year 12
School Year: 2002/2003
1 Introduction
Culture in North America is not equal to our culture. Isn’t that
what nearly everyone of us thinks? Don’t we all think that the Greek
and Roman culture and all the ones that came after them are something
North America never experienced? With this paper I’m going to show
that even on the west coast of Americas north, in Canada’s British
Columbia, there has been a great culture and art for thousands of years
existing up to now. With impressive works of art, a unique philosophy
of life even a mythology partly comparable to the Greek one can be found
there. People there are involved in creating all kinds of art, dances,
songs, plays, great rituals and ceremonies and in contrast to our antique
cultures this one is still alive, acquiring and using all the new techniques
developed but at the same time staying with the rules and traditions of
their ancestors.
By my uncle Johannes Löhnenbach and his wife Lisa I got to know the
First Nations’ culture and their philosophy and I regard these as
very impressive and unique. Therefore I decided to introduce the culture
of the Canadian First Nations’ People in this paper. I would like
to thank Johannes Löhnenbach and Lisa K. McDonald for helping me
to collect as much information as possible about this topic and I hope
to join them in trying to give this culture as much attention as it deserves.
2 The Canadian First Nations‘
People
The tribes who left Siberia 10.000 to 30.000 years ago to come to the
Canadian West Coast are altogether called Canadian First Nations‘
People. They can be divided into tribes and clans and still live at the
west coast of today‘s British-Columbia, Canada. Today the First
Nations include 608 tribes and roughly 500.000 members.
2.1 Historical Background
Life and culture of the Canadian First Nations‘ People can be traced
back 5000 years and villages of an age of approximately 9000 years have
been discovered. The Totem Poles which were found are up to 2500 years
old , these poles are put up to honor great chiefs up to now.
In all those centuries the First Nations‘ People developed many
different languages and up to now they share one culture but speak different
languages. Comparable to Europe their society was divided into “nobles“,
“common people“ and “slaves“ centuries ago and
there were even aristocratic families ruling, that gave their privileges
and rights to their children as we also know from European history.
2.2 Tribes and Clans
The Indian cultures of British-Columbias‘ west coast can altogether
be divided into the Plains Indians, the Woodland Indians, the Plateau
Indians, the Iroquian Indians, the Pacific Coast Indians and the Indians
who live at the Mackenzie- and Yukon River Basins.
This is just a geographical subdivision, much more helpful to understand
the different cultures and symbols is a subdivision into tribes. As I
mentioned before the Canadian First Nations‘ People consist of 608
tribes, here I had to reduce these to the major ones. Some of these are
famous for their culture even today and especially the Haida culture is
becoming more and more respected all over the world.
Now some information about the six major First Nations tribes:
Haida
The Haida live on the Queen Charlotte Islands and are the most famous
tribe of the Canadian west coast. They became well known because of their
powerful art. Their designs and works are uncluttered, bold and altogether
impressive with a monumental weight. They are full of symmetry and colourful
power and find respect in many museums.
Coast Salish
The Coast Salish were and are famous for their exceptional craftmanship,
they even organized races with their canoes in Fraser Valley for many
centuries.
They are specialized in woodworking, and in contrast to most of the other
tribes they have just one kind of mask for dances, potlatches ( explained
in 4.2 ) and ceremonies. Their carved figures, mostly animals, are stylized
but realistic at the same time, which makes them a very unique part of
Indian culture.
Nootka ( West Coast )
The Nootka have a harmonious way of expressing their mythology in art.
They use fluid lines, and often leave open blank areas. In their works
they mostly concentrate on the world of transformation ( more about transformation
in 3.2 ).
Kwakiutl
The Kwakiutl stand for very realistic designs and unique masks and totem
poles. They seem to have a very modern culture, giving their designs a
three-dimensional look and using European colours since the Europeans
have given them the chance to do so. The Kwakiutl home is in Alert Bay.
Tlingit
The Tlingit live in the North of British-Columbia and there are even Tlingit
clans up in Alaska. Their culture is comparable to the Haida one and together
these cultures are called the -Northern Style-. They were the first to
combine building huge community houses ( more about these in 4.1.1 ) and
producing a work of art.
Tsimishian
The Tsimishian art is thriving today near Hazelton in K’san Village.
This village is a place where the old rules and traditions of the Canadian
First Nations‘ People are given to the younger generations of Gitksan
an Nisga people ( Gitksan and Nisga are the two major tribes which are
together called Tsimishian ). Costumes and masks are made, art is full
of emotion and positive energy and every work of art seems to be very
personal here.
2.3 British-Columbia, the Canadian West Coast
It is no coincidence that the First Nations‘ People were able to
develop a culture as strong and impressive as it was and to keep up this
culture for thousands of years.
The Canadian West Coast offers a rich supply of everything these people
needed. As we can imagine their life and culture was and is dominated
by the Pacific Ocean, which they
tried to explore with canoes. That even today the great ceremonies of
the First Nations’ People are mostly seen in the winter is because
they had techniques to preserve food even thousands of years ago. They
went hunting and fishing in spring and summer, smoked or
salted meat and fish and then had enough time for their art and their
traditions in the colder months.
3 The First Nations‘ People Philosophy
of Life
For the First Nations‘ People the world is not just what we see,
hear or smell, for them it is divided into one real part which means the
world itself, the sea, forests, nature altogether and another part, a
mystical world where animals and humans can communicate and where they
can even switch between animal and human transforming from one to another.
Their attitude to nature is not even comparable to our one, comparde to
us they know how weak and minor they are regarding the whole creation.
These natives realize a connection between all the parts of nature that
assemble in a “Oneness of all Life“.
3.1 Attitude to Nature
Thousands of years ago no person living at the west coast of British Columbia
would have called himself an artist by profession. The First Nations‘
People were hunters and went fishing but their lifelong intimacy with
animals helped them reach a unique attitude to nature. They admired all
the different skills of animals and were grateful when they were allowed
to take one of those away from nature to use it for themselves. Speaking
about nature does not really exclude things we would call supernatural
because the First Nations‘
People believed in something like a thin vail seprating the mystical
world from the real world, even today this veil is symbolized by a “Dance-Screen“
( comparable to a tapestry ) in ceremonies and rituals of the First Nations.
Thunderbird-Killerwhale-Design Dance-Screen by Mark Henderson
So in the end nature is something everyone belongs to and everyone has to respect in their philosphy. The First Nations‘ People are grateful to the earth allowing them to live on it and use it and they try to return what they take away from nature, by giving the animals and the parts of nature they need immortality, by using them and their symbols in their art.
3.2 Mythology and Beliefs
The First Nations‘ People believe in “father-sun“ as
the creating element of the world, they even believe in something like
a nation in the sky, the “Sky People“, which could be compared
to our belief in heaven with its angels. They believe in a lot of mystical
figures like “Pzunuka“ (“The Wild Woman of the Woods“)
or “Mischief Man“ . These figures are not just supernatural
persons of fairy tales, they remind people of their role in nature, of
their weakness in relation to it but also of the abilities humans have.
Sisiutl, a double-headed sea-serpent for example should mirror us as individuals,
that we can reach great knowledge about nature and can help others, but
that we can also be atrocious and rude.
“Sisiutl and the Box of Treasures“
by Peter Dawson
This Design symbolizes the double-headed sea-serpent Sisiutl.
Some figures also show how to behave in special situations. All these
myths combine a moral for life with showing servility and love to nature
altogether and particularly to special animals or parts of nature.
One more explanation for their impressive culture could be that the First
Nations‘ believe in the power of their work. Power does not mean
something political here, they see their chance to reach immortality in
designing, dancing, singing and just creating any kind of art. In Europe
thousands of years ago the Romans also believed in something comparable
to that, their most famous writers like Horaz hoped to become immortal
through their literature, for example.
To understand their rituals, their symbols and their art we have to see
all these myths and the Canadian First Nations‘ People beliefs altogether
as an independent world which is not even partly comparable to reality.
This entire mythology has never been written down, it is verbally handed
over from generation to generation and in contrast to our myths these
are changed and developed until today. This happens without disregarding
the rules and
traditions of the ancestors and so we get a mythology that is timeless
but also with the spirit of the first generations of Indians at the west
coast of British Columbia.
4 The First Nations‘ Peoples Culture
To understand and to be able to really enjoy the First Nations‘
Peoples culture one should have seen all the parts of it in real life.
Here I can just give an insight into their impressive symbols and designs,
their way to transform normal architecture into pieces of art by using
Totem Poles to construct their longhouses and their rituals such as the
huge Potlatch ceremonies that people prepared for months and even years
in advance. It is also quite interesting to look at traditional tools
and techniques on one hand and the will to learn about new ones on the
other hand and we willl see that especially the ceremonies but also every
piece of art is not made reasonless, everything has to do with relationships
inside the clans or privileges between them, for example, so culture and
society are also deeply connected in the First Nations Peoples‘
lifes.
4.1 Symbols and Crests
In the Canadian First Nations Peoples‘ culture families have their
own coats of arms, called crests. These crests are full of symbols, mostly
animal symbols that can have two different meanings:
They can show the families connection to clans, like the eagle-clan, the
raven-clan or the clan of the orcas, or they symbolize qualities or skills
of the family that are linked with these animals. Especially the second
variant often has a historical background, it would for example be a way
of honouring a great chief of the families history to use the symbol of
a Thunderbird ( a huge supernatural bird, which rules thunder according
to myths ) in the family crest. The Thunderbird personifies -chief-. In
addition to these symbols of animals and supernatural figures these crests
also show how far back one can trace his family but this kind of family
tree is not comparable to a European one. There are family trees that
go back thousands of years. A crest can have even more elements than symbols
and
information about the family history, great ceremonies like Potlatches
are also shown in these crests by using, for example, rings to symbolize
great events like these.
4.1.1 Totem Poles
We all know Totem Poles from Westerns as big wooden poles that are used
to torture white men tied up to them. The Canadian First Nations‘
People used and use them to honour their ancestors by giving them a kind
of immortality carving these posts to save knowledge about them. They
are carved for Potlatches or any other rituals and are later on
used as house posts for the huge longhouses that can be up to 170 meters
long and up to 20 meters wide. Totem Poles can also remind us of privileges
families had in fishing or trading. Often these Poles also have symbols
of animals on them to show their respect to nature or to chase away evil
or death from this house. Wishes for the future or memories can also be
shown by certain symbols, copper, for example, symbolizes wealth. Totem
Poles can also remind people of myths or tell whole stories.
4.2 Potlatches and other Ritual Ceremonies
Potlatch by Gordon Miller
This print by Gordon Miller tries to capture a dance, which is part of
a Potlatch ceremony.
Potlatches are huge ceremonies with hundreds of guests watching the artists
perform dances, plays and songs. These festivals mean years of preparation
for the families or clans that hold them. Ceremonial masks, drums, rattles,
dance ropes, aprons and whole costumes are designed by the Canadian First
Nations‘ People and even Totem Poles are carved for Potlatches.
Dances and songs are created, memorized and trained and invitations are
distributed in the months and years before. In the ceremony itself every
dance, every costume and every mask has its own social and spiritual statement
and is much more than just entertainment.
Dances, for example, are divided into the ones that are spiritual and
ceremonial on one hand and dances that are presented as plays in public
on the other hand. In Potlatches mainly the first kind of dances are found,
these dances are bound to holy and traditional rules and are just performed
for the Indian society, that is why these are also called Clan-Dancing.
Dances, songs and plays without a strict link to these rules are performed
in public and are even reconstructed or designed completely new with agreement
of the elders. Changing them also means learning from the elders about
the past of one‘s clan or family. The actors and singers are also
the artists that have made the costumes, masks etc. and this gives them
the opportunity to experience the power of their works of art by really
using them. During and after the dances and plays gifts are given to the
guests and guests also bring gifts to the family holding the Potlatch.
The atmosphere of the dances with drums in the background and the dancers
continuing a tradition of thousands of years gives the audience the chance
to forget reality and get a “magical feeling of weightlessness“
as chief Michael Dangeli describes it. He is a Canadian First Nations
artist of our time.
4.3 Social Role of Culture and Art
Every part of the Candian First Nations‘ Peoples‘ culture
but especially Potlatches have elements of social business integrated
as a very important part.
Totem Poles remind of privileges for families or clans, for example in
fishing or trading, the order of dancers and dances during a Potlatch
shows the connection between clans and if the guests of a Potlatch accept
the gifts of their host they also accept his status and his privileges.
Even these gifts are distributed according to the status one has in society.
In this way not only old privileges can be strengthened but new rights
can also be accomplished.
Potlatches are also the place to find a partner and names and titles are
given to people
during these festivals, too. So cultural events and art in general were
and are a way of taking care of social business for the Canadian First
Nations‘ People.
4.4 Tools and Techniques
The Canadian First Nations‘ People were always open to new tools
and techniques to improve as artists, so today they use quite modern ones
to work with wood, stone and even with bones for their sculptures. But
even before Europeans came to North America the Canadian natives tried
to improve their tools and techniques. In 1778, for example, the famous
Captain James Cook was quite surprised to find iron tools and weapons
used by the First Nations People. He didn’t only praise their “great
dexterity in works of wood“ but he also noticed that they had iron
blades that are surely not of European make as he figured seeing their
mould. In fact archaeologists have evidence that Canada‘s natives
used copper nuggets 2000 years ago to cold hammer them into artifacts.
Boulder bowls from about 3000 years ago were found and even have designs
on them. The Indians had paint made from hematite mixed with animal- or
fish-oil thousands of years ago and used it for rituals and as decoration.
So even the tools and techniques at the Canadian west coast were and are
sophisticated and unique.
5 Development of the Canadian First Nations‘
People Culture
Perhaps the most striking thing about the First Nations‘ culture
is that it hasn’t changed major parts of its spirit and its style
in those thousands of years. Although the younger artists are allowed
to reconstruct the old dances and plays they keep to the old traditions
and this kind of developing and not breaking with the ancestors at the
same time is very special about their culture. Not many other cultures,
like the ones of the ancient world for example, managed to do well for
thousands of years until today.
5.1 Faith to Rules of Ancestors
As I pointed out above the younger artists are in fact allowed to change
works of art like dances and plays but they feel honoured to have the
chance to do this with the agreement of the elders. In this way creating
art becomes a way of learning about a clan‘s past, its traditions
and rules and even about the history of one‘s family. The younger
artists are made sensitive for all this in that way and elders and new
generations are brought together, too. One more important element of the
faith to the ancestors‘ traditions is the use of the old designs,
symbols and even whole myths. These have been passed from generation to
generation for thousands of years and have not changed in their spirit
and meaning. Their statements are indisputable and even kind of eternal,
as we easily understand taking the respect for nature as a major statement.
5.2 Modern Culture and Art of the Canadian First
Nations‘ People
In chapter 2.2 I listed up some places where even today First Nations‘
art is created, these villages and little towns are not just places for
tourists to buy First Nations‘ art. These are spiritual places,
where the next generations of artists can reflect the roots of their culture.
Today the new generations of First Nation artists like Michael Dangeli
and Elsie John
( who provided interviews and notes to Johannes Löhnenbach ). Even
today Potlatches are held and new works of art by Canadian First Nation
artists find their home in museums all over the world as older ones have
done before.
Michael Dangeli himself phrased his goal to help to teach and represent
his nation and to tell the world that they are not just objects in museums
and I think this is the spirit that helps not only to keep alive this
great culture but also helps it to grow to full strength and beyond.
Table of contents
1 Introduction
2 The Canadian First Nations‘
2.1 Historical Background
2.2 Tribes and Clans
2.3 British-Columbia, the Canadian West Coast
3 The First Nations‘ People Philosophy of Life
3.1 Attitude to Nature
3.2 Mythology and Beliefs
4 The First Nations‘ People Culture
4.1 Symbols and Crests
4.1.1 Totem Poles
4.2 Potlatches and other Ritual Ceremonies
4.3 Social Role of Culture and Art
4.4 Tools and Techniques
5 Development of the Canadian First Nations‘ People Culture
5.1 Faith to Rules of Ancestors
5.2 Modern Culture and Art of the Canadian First Nations’ People
6 List of Literature
1. Löhnenbach, Johannes „Zur Geschichte, Kultur und Kunst der
Canadian First Nations“, in: Kanada Aktuell 1/2002, Seite 19-20
2. Löhnenbach, J. “Die großen Feste der Potlatches in
der Jahreszeit der Feierlichkeiten“, in: Kanada Aktuell 2/2002 Seite
23-24
3. Löhnenbach, J. „Legenden, Sagen und Totems der Ersten Völker
der Westküste Kanadas, Teil 1, in: Kanada Aktuell 3/2002, Seite 28-30
4. Löhnenbach, J. „Legenden, Sagen und Totems der Ersten Völker
der Westküste Kanadas, Teil 2, in: Kanada Aktuell 4/2002,
5. Löhnenbach, J. „Einblicke in den kulturellen Hintergrund
der Tänze, Tanzbekleidung und Theaterstücke der First Nations
der Nordwestküste Kanadas (Erster Teil)“, in: Kanada Aktuell
1/2003, Seite 29-31
6. Löhnenbach, J. Interviews, Notes, Audio Tapes,Video Tapes and
Slides ( provided to Johannes Löhnenbach by Elsie John and Michael
Dangeli )
Literature from the Internet
1. Keddie, G., “Kwah’s Dagger“ Part 1: The Early Use
of Iron by First Nations“, www.royalbcmuseum.bc.ca
2. Romaine, N. “Stone Scultptures From BC’s Distant Past“,
www.royalbcmuseum.bc.ca
3. *, “Northwest Coast Native Arts Online“, www.royalbcmuseum.bc.ca
4. *, “Totem Poles“, www.royalbcmuseum.bc.ca
Artists
Miller, G., “Potlatch“-,
Dawson, P., “Sisiutl & Box of Treasures“-,
Henderson, M., “Thunderbird-Killerwhale-Design Dance-Screen“.
"All images copyright Island Art Publishers, Euroconnect Corporation and the Artist - All Rights Reserved Worldwide"