BRAVO Native BC2 Magazine

BRAVO NATIVE BRITISH COLUMBIA

MAGAZINE

Skeena Valley, Haida Gwaii, Vancouver Island

MOA’s Multiversity Galleries house thousands of objects from around the world, while magnificent Northwest Coast carvings, weavings, and contemporary artworks are displayed in the Great Hall.

www.moa.ubc.ca

1, 2 & 3-Bedroom Villas & Suites – perfect for weeklong stays

Located at the NK’MIP resort, Spirit Ridge Resort & Spa offers activities for the entire family! Within walking distance from your suite is the beach for Lake Osooyoos, Desert Cultural Centre, Indian Grove Riding Stables, Sonora Dunes Golf Course and the NK’MIP Wine Cellars. Your condo-hotel suite offers you all the luxuries of home with well equipped-kitchen, spacious living and dining rooms.

Explore the South Okanagan spectacular backcountry with old mining settlements, local attractions, fruit and vegetables orchards and vineyards. Plenty of opportunities to hike, bike, canoe or ski.

CONTENTS

Top Eight First Nation’s Destinations

Skeena Valley

Hazelton 119

Terrace 131

Kitsumkalum 145

Haida Gwaii

Masset 163

Old Masset 169

Vancouver Island

Port Hardy 211

Port McNeill 215

Alert Bay 217

Campbell River 223

Gold River 225

Courtney 227

Quadra Island 229

Port Alberni 231

Chase 111

Greenville 147

Kitimat 151

Prince Rupert 153

Charlotte City 179

Skidegate 189

Ucluelet 233

Tofino 235

Coombs 239

Duncan 240

Cowichan Bay 245

Sooke 246

Victoria 249

Esquimalt 255

Sidney 256

BRITISH COLUMBIA NATIVE

MAGAZINE

SPRING 2024

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All efforts have been made to provide updated information regarding businesses included in this publication.

Front Cover Photo: Heiltsuk open first Big House in 120 years . Best, Christopher

ISBN 978-0-9812574-1-9

Printed and bound in China

chris@metro-online.ca

Warfleet Press 1038 East 63rd Ave. Vancouver BC, V5X2L1

www.adventure-guides.ca

Anchorage

Vancouver

San

Dear Readers!

This guide remembers native artists who lived and worked in Northern BC from 2009 to the present. It is compiled from past issues so some may no longer be with us.

www.adventure-guides.ca

Visit the eight areas of British Columbia where First Nations tourism is thriving. Each of these areas offers the finest cultural centres, artists, galleries and museums for a true First Nations experience.

In Metro Vancouver visit: the Vancouver International Airport, Granville Island, Gastown, Downtown, the Museum of Anthropology at the University of BC, North Vancouver and West Vancouver.

In Sea to Sky Country visit Horseshoe Bay, galleries on the way to Whistler Resort and the Squamish Lil’wat Cultural Centre in Whistler.

On the Sunshine Coast visit galleries, artists and a museum from Gibsons to Lund.

In the Fraser Valley experience galleries and museums, outdoor tours, tours and historic sites.

The Okanagan offers Pow Wows, cultural centres, museums, a winery and resorts.

The Skeena Valley has historic sites and tours, galleries and totems.

Haida Gwaii is the ‘land of artists.’ Mist shrowded islands full of: totems, an award-winning Aboriginal cultural tourism attraction, salmon, galleries.

Vancouver Island has a gallery in every town from Port Hardy to Victoria.

Nk’Mip Desert Cultural Centre in Osoyoos, Okanagan

Where They Are!

British Columbia’s First Nations tourism areas can be explored on a circle route starting in Metro Vancouver. From Metro Vancouver travel to the Sunshine Coast and then into the Fraser Valley and on to the scenic Fraser Canyon. Head east to explore the sunny Okanagan. Carry on north and head west to the beautiful Skeena Valley. Continue west with a

to Haida Gwaii and another down to

Gitanmaax,Hagwilget,GlenVowellandKispiox

For centuries, the Hazelton area has been home to the Gitxsan and Wet’suwet’en people. Since the 1860’s bustling pioneer communities have also arisen around the confluence of the Skeena and Bulkley Rivers. Named after the hazel bushes that paint river-carved terraces, the Hazeltons are situated in a majestic setting dominated by the 3000’ walls of the rugged Roche de Boule Range. A ‘must see’ for those traveling Highway 16 between Prince George and Prince Rupert. The Hazelton area is comprised of two municipalities (the Village of Hazelton and District of New Hazelton), three unincorporated settlements (South Hazelton, Two Mile and the Kispiox Valley), and four First Nations’ Villages (Gitanmaax, Hagwilget, Glen Vowell and Kispiox). The drive from Prince Rupert to Hazelton is magnificent. You can also take the train but check the times.

Skeena Valley

Earl Muldon

Earl Muldon has been an internationally renowned artist for more than 40 years, beginning with the Parks Board during the creation of the world famous ‘Ksan Village’ near Gitanmaax and Hazelton BC. He went on to teach at the Kitanmaax School of Northwest Coast Indian Art for thirteen years from 1971 to 1984. In the process of teaching he worked with many of today’s leading aboriginal artists, such as Dempsey Bob and Glen Wood. During this time he led or participated in carving more than 15 totem poles including five poles commissioned for the Highfield Corporation of Alberta, for their then office in Richmond BC. These poles were later taken down from that site and three have now been raised at the Vancouver International Airport and two stand at the Vancouver Convention Center.

With the help of training that he took from Peter Paige of London’s Goldsmith’s Hall in 1982, Earl has become one of the most sought after gold jewellers working today. He continues to produce exquisite pieces of jewellery and art for clients all over the world. Many people living in the region have or are aware of his work for its uniquely Gitxsan style, demonstrating Earls’ thorough knowledge of the history and the art form. (Continued on page 130)

‘Ksan

‘Ksan Historical Village and Museum is located near the ancient village of Gitanmaax at the confluence of the Bulkley and Skeena Rivers in the community of Hazelton, British Columbia.

Gitxsan have maintained villages at important canyons and junctions on the Skeena River for centuries. This location was an important fishing site and transportation hub.

‘Ksan features a replicated ancient village which illustrates many features of a traditional ancient village. The ‘Ksan cedar longhouses form a single line with each of the seven structures facing the river. From this position, the large cedar longhouses and the many totems at the ‘Ksan site are visible from the water. In conjunction with other features such as the traditional smoke house and food cache, ‘Ksan illustrates characteristics typical of past Gitxsan villages.

The

Museum

The museum showcases a sizeable ethnographic collection of Gitxsan cultural pieces. Some 600 cultural objects have been collected from the surrounding area, including both ceremonial and utilitarian objects. Traditional bent boxes,

Skeena Valley

Photo: Interior Frog House courtesy Ksan

ceremonial masks, button robes, shaman regalia, fishing gear, hunting utensils and assorted lithic materials demonstrate the splendour of treasured cultural objects.

Tours

Wilp Lax See’l or Frog House represents 12,000 years of history on this land and life prior to European contact. The narrative and exhibit in the Frog House portrays the many different scenes common in Gitxsan village life before European contact in the mid-1800’s.

Wilp Lax Gibuu or Wolf House presents the traditional governing system of the Gitxsan, commonly referred to as the potlatch. Gitxsan call this ancient gathering of the clans, ‘‘Yukw” or feast. The Wolf House illustrates this form of governance and its many traditional inheritance laws.

Wilp Gisk’aast or Fireweed House exhibits the traditional dance regalia used by the ‘Ksan Performing Arts. Displays of ceremonial clothing, chiefly blankets, masks, headdresses, aprons, drums, rattles are used to present Gitxsan ancient song and dance.

Guided tours through the traditional cedar longhouses are available to the public during the months May through September. The conventional museum exhibit and gift shop are open year-round.

The ‘Ksan experience embodies the richness and beauty of Northwest Coast culture.

The multi-dimensional, multi- layered thoughtfulness in our cultural presentation highlights the creative spirit of ‘Ksan.

Photo: Wolf House courtesy Ksan

Skeena Valley

Khutzeymateen Provincial Park

Lands

Gitnadoiks River Provincial Park

Memorial Provincial Park

Kinkolith

Kispiox

Kispiox Village Walking Tours

The much-admired Kispiox totem poles stand near the junction of the Kispiox and Skeena rivers. Our beautiful hand carved totem poles include the killer whale, wolf, frog, eagle, raven and human figures. They are privately owned by different House Groups/Families. Each pole signifies the adaawk or crest of each House Group.

Visit the Kispiox Fish Hatchery. Take a tour and learn about the different species of fish and watershed restoration projects such as rehabilitating fish habitat.

See the new Kispiox Elementary Junior Secondary School, owned and operated by the Anspayaxw School Board. A school with the Gitxsan language and culture in the curriculum.

Our Cultural/Information Centre has souvenirs and gifts for sale. The Cultural/ Information Centre is open year around.

Walking tours take 3-4 hours to complete. Detailed maps of the area are FREE & available at the Kispiox Cultural Centre. Tours available year around.

Kispiox Village is a beautiful twenty minute scenic drive north of Hazelton, BC. When you arrive in the village you begin to see totem poles in the distance and then along side a couple of buildings. Soon, in an open field, you see Totem Park (as seen in the photo on the previous page.) Some of the totems are older and weather-worn, others are newer but they all tell a story. The totems are all privately owned by a different clan house and tell a story about that particular house. It could be a historical story or relating events in the family history such as births or deaths or

The Gitxsan and their Villages

Known as “People of the Hiding Place,” the community of Kispiox is one of six ancient Gitxsan communities which exist today in the area. Kispiox is estimated to be about 3000 years old, having existed, like several other villages, since the time the population was dispersed from the ancient city of Txemlax’amid by a disaster. Archaeological and oral history evidence indicate that the Gitxsan occupied the valley of the Ksan or Skeena River following the last ice age about 10,000 years ago. Villages have been found and abandoned throughout Gitxsan history. Two, Kuldo’o and Gisga’g’as, have been left recently (since European contact); the residents moved to Kispiox and Gitanmaax. Today there are 7 First Nation communities in Gitxsan territory, 5 ancient villages, 1 mission village and 1 mainly inhabited by Wet’suwet’en people.

Skeena Valley

At the end of the last century, during an eleven-year period, 13 monumental sculptures were re-carved in the Gitanyow and the Gitxsan Territories by Earl Muldon and a number of apprentices. From 1986 – 1996, the Hereditary Chiefs of Gitanyow, Gitsegukla and Kispiox, re-commissioned sculptures to proclaim their rights, ownership, and territorial holdings, to the Gitanyow and Gitxsan lands.

Today you can visit Gitanyow (fomerly Kitwancool) located just north of Kitwanga off Highway 16 between Terrace and Hazelton. You can see the totems as well as the Gitanyow Interpretive Centre, which is a small museum/gift shop located near the totems. Be sure to call for hours. 250 849 5222

Gitanyow

The Cane Pole, erected in commemoration of “Kawagyaenee,” a member of Gwinu’s house at Gitwinkul (1884). The Raven-Soaring Pole, that is, on-itthe-raven-soars, the tallest of the eight poles owned by Gwinu was erected in commemoration of Gwinu by his successor (1884).

The Flying Frogs Pole - Wudaxhayetsxw pole erected in commemoration of his sister (1880).

Photo Left: c1984 Earl Muldon working on the Kitwancool/Gitanyow Totem Pole Restoration project at Gitanyow. Photo Credits: Harold J.T. Demetzer

Skeena Eco-Expeditions

Get a taste of the wilderness and community life in northwestern British Columbia, Canada.

We are a tourism company with Gitksan guides. We invite you to explore our traditional territory and observe our culture. Our trips are geared towards the average visitor and our excuraccording to your adventure level.

Keeping the traditional ways of the past, the First Nation residents of Kispiox are working towards a dynamic future. Adventures with us are as much about people and culture-sharing as they are about sightseeing. So come for a wilderness adventure! River rafting and fishing tours with Gitksan guides in Kispiox, near Hazelton and Smithers, in northwestern British Columbia.

We are a tourism company with aboriginal Gitxsan guides, situated in northwest British Columbia, inviting you to explore our traditional territory and observe our culture. Our trips are geared towards the average visitor and our excursions are paced according to your adventure level.

RIVER DRIFTING TRIPS - Full day and Half day, on the Skeena & Kispiox Rivers of Northern BC.

HIKING TRIPS - Guided Full day and Half day.

FISHING - Guided Fly Fishing for Spring Salmon & Steelhead on the world famous Kispiox River.

www.kispioxband.com/businesses/ skeena-eco-expeditions/ also see FACEBOOK

Skeena Valley

( Con’t. from page 118)

Earl designed and along with Walter Harris, completed a stone carving which sits in the stairwell at the Parliament of Canada. This sculpture measures twentytwo feet in length and is four feet high. In 1990, Earl was named Simoogit Delgamuukw, herditary chief of the Gitxsan Nation, upon the death of his brother. His most important work came during the Delgamuukw Court Case from 1985 to 1996. Earl, not only participated as a plaintiff in the proceedings, but as an artist and took on the responsibility to carve eight Totem Poles that were raised in Gitanyow and Gitsgukla. These poles symbolize the rights and ownership claimed by the Gitxsan and Gitanyow Nat yow Nations to their traditional territories. In Kispiox, the House of Delgamuukw raised their own totem pole. He co-authored a book of this project called ‘The Tradition Continues: Monumental Sculpture in the Gitanyow and Gitxsan territories 1986-1996.’

Delgamuukw’s contribution to the Gitxsan culture comes from the traditional teaching he received from his parents Peter and Lottie Muldon, as well as from his uncle Albert Tait. He has passed his knowledge on to many young apprentices like he himself was, so they will be able to teach the next generation of carvers and community leaders. (Interior News October 28, 2009)

Gitwangak Battle Hill

National Historic Site

Gitwangak Battle Hill National Historic Site (formerly known as Kitwanga Fort) was a fortified village occupied during the late 1700s and early 1800s by the Gitwangak First Nation. Strategically located on a small hill above the riverbank, the site afforded excellent vantages up and down the Kitwanga River valley and the adjacent Kitwankul Grease Trail. A famous occupant of the site was warrior ‘Nekt who fought to establish control of the network of lucrative trading trails in the Skeena, Kitimat and Nass region of northern British Columbia. www.pc.gc.ca/gitwangak

TERRACE

Hub of First Nations Tourism in the Skeena Valley

There is lots to see in and around Terrace regarding the First Nations people. The House of Carvers is located downtown and the gallery at the George Little House is at the train terminal. In the basement of George Little House is the Wilp Simgan Carving Studio. Take a trip out to the Freda Diesing School and watch young student artists. A little north on the Hwy is the House of Simoi- Ghets. Be sure to visit Kitselas Canyon Historic Park and see the longhouses and totem poles. Take a walk down to the river as well. Half way between Terrace and Hazelton is the Gitwangak National Historic Battlefield Park and alittle further is Gitanyou, where you will find the oldest standing totems in BC.

Waap Galts’ap Community House

Skeena Valley

Geo McKay Nisga’a Artist (250) 631-8095

Titus Auckland

Tsimshian, Haisla

Jacqueline McNeil

Tsimshian, Nisga’a Artist

Skeena Valley

Henry Kelly (Nisga’a/Tsimshian) was born in Prince Rupert, B.C and raised in the village of Gitlakdamix (New Aiyansh) in the Nass Valley, where he learned the strong culture and traditional values of his people. His mother is Nisga’a and his father is T’simshian, from the village of LaxKw’alaams (Port Simpson).

In 1989 Henry was introduced to toolmaking and carving in alder by world renowned carver Mr. Dempsey Bob. “I attribute my success as an artist to my upbringing in accordance with strong traditional values and teaching of my elders. I continue to work in traditional manner with pride in myself and my people.”K’gyoolim Gibuu (Henry Kelly)

Dean Heron, a member of the Wolf Clan in the Kaska/Tlingit First Nations, was born in Watson Lake Yukon in 1970. His father was a teacher and superintendent of public schools which allowed Dean to see many parts of the country while growing up. Before settling in Victoria BC, in 1990, he and his family lived in Whitehorse, Ottawa, Kitimat, and Powell River. It was growing up in northern British Columbia that had an impact on his sense of environment, community, and self-identity. His parents encouraged him to search out his heritage from a young age. www.deanheron.com

Todd Stephens My Nisga’a name is Hlgu Sk’an Milksim Ts’im Aks. I was born in Gitlaxdax, B.C. (Terrace) but I grew up in Prince Rupert, BC. I was taught my family stories by my maternal great grandmother and grandaunt. In high school I was top of my class in First Nations Art. I am a graduate of the Freda Diesing School of Northwest Coast Art, in which I received a Diploma. I received a Scholarship through the YVR Art Foundation and recently I had another art show at the Terrace Art Gallery on Feb. 6, 2009. todd.stephens@hotmail.com

A Nisga’a artist, Geo McKay was born in Prince Rupert and raised in Greenville on the mighty Nass River. The son of influential artist Patterson McKay, Geo learned from his father at a young age. His father stressed education as well as art, which in time helped Geo broaden his talent. He has worked with several influential artists such as Murphy Stanley Sr., Robert Murphy Jr. and Master Carver Henry Green.

Geo’s work can be found in collections all over the world, as well as in many museums.

(250) 631-8095

Wilp Simgan Carving Shed

3100 Kalum Street (downstairs) 250 635 8668

Skeena Valley

Dempsey Bob is a celebrated artist and dedicated teacher who began carving in 1969. He was directed to the Kitanmaax School of Northwest coast Indian Art by Freda Diesing, who was his earliest mentor and teacher. Dempsey went on to become a close friend of Freda’s and frequently worked with her. His work is in the collections of such institutions as the Canadian Museum of Civilization, UBC Museum of Anthropology, the Columbia Museum of Ethnology, the Smithsonian Institution, national museum of Enthology in Japan, Canada House in London.

Dempsey Bob is a renowned and highly respected Tahltan/Tlingit artist who serves as senior advisor to the Freda Diesing School of Northwest Coast Art and instructor.

Stan Bevan works from the village of Kitselas and is a graduate of the Kitanmaax School of Northwest Coast Indian Art, spending many years training under the tutelage of Dempsey Bob. By 1987 Stan had a strong grounding in art and culture having contributed to numerous commissions, educational projects and ceremonies. Stan taught with Dempsey and Freda locally and abroad, and has been teaching for almost 20 years. Stan is an internationally acclaimed artist in the medium of wood.

Ken McNeil is well known in the art community and has been involved in the production of major public works both nationally and abroad. Local projects have included the 13-foot Grizzly Bear Totem at Kitselas, the four poles for the Muks-KumOl housing society in Terrace as well as the totem pole at the First Nations House of Learning in Vancouver. He has taught in Prince Rupert, Kitselas, Telegraph, and at the University of Alaska in Sitka.

Stan Bevan (Above)

Freda Diesing School of Westcoast Art

Hidden away inside the campus of Northwest Community College on the outskirts of Terrace, a very special and unique thing is happening. Young native artists are being put through a regimen that may lead them one day, hopefully, to become the world class artists of tomorrow. Under the watchful eye of their mentor and contemporary master Dempsey Bob, (Tahltan/Tlingit), internationally acclaimed carver and teacher Stan Bevin, (Tahltan/Tlingit/Tsimshian), and Ken McNeil, (Tahltan/Tlingit/Nisga’a),they spend their days learning about form design, color and the art of the local First Nations people: the Kitselas, Tsimshian, Tlingit, Nisga’a and Haida. What makes it unique is it is the only school of its kind in Canada, focusing on traditional First Nations Pacific Northwest Coast art with the view of developing skills into fine art. The instructors instill in their students what is required to become a First Nations artist and an understanding of each one’s responsibility to continue to share this valuable knowledge with others.

Having travelled up the coast from Prince Rupert to Anchorage visiting First Nations artists, galleries, museums, attractions, parks and tours, I can say that I am not aware of another program of its kind offering a diploma in traditional First Nations Pacific Northwest Coast Art. There are within cultural centers, master artists working with apprentices but they are not accredited institutions where students work towards a diploma.

On the day I arrived at the school, about 20 students were working on individual projects in a large room, while Dempsey Bob was moving from one to the other passing along his knowledge, experience and creative talents. I was asked to

37 Skeena Valley

Photos: All photos courtesy N.W.C.C.

to speak to the class about what I was doing and when they heard I was promoting First Nations tourism in a tourism guide, their enthusiasm was overwhelming. After speaking for a few minutes on the reason for all artists to prepare a bio/ie. to promote themselves - I moved around the room talking with each of the students individually. What impressed me the most was their unbridled enthusiasm for their art and their desire to share what they were doing with the outside world. I went away from my encounter with the students and instructors of the Freda Diesing School of Westcoast Art thinking the future of westcoast art was in good hands.

Program Legacies

The First Nations Fine Art program seeks to honor and support the rich culture and tradition of First Nations art in the northwest. Each class is required to produce a substantive work of art. The art pieces remain at Northwest Community College campus as a legacy to enhance the learning environment and make the College campus more welcoming and supportive of First Nations learners.

Program Outline

FNFA is a 2-year diploma program. In class, learn basic drawing and design techniques and the history of designs and crests. In the workshop, learn hands-on tool making and traditional wood carving techniques. All students are expected to participate in carving the program projects.

The Contribution

The Freda Diesing School officially opened in November 2006 and has graduated 32 students to date. Many of these graduates are now working as artists or art teachers, revitalizing and making a positive contribution to northwest coast art, and to our communities. Examples of their exciting and evocative art include the poles at the arena in Terrace, the “House of Carvers” gallery, a business created by a group of graduates that displays and sells theirs and other ‘Northwest Coast artists’ work, longhouse crests and poles at Githaus, poles in Hazelton, and the poles and paintings for Waap Galts’ap, the longhouse at NWCC Terrace campus.

Freda Diesing

Freda Diesing was a Haida artist from Prince Rupert, BC. She was given the Haida name Skil Kew Wat, ‘magical little woman,’ a name that reflects the influence and power of her talent.

One of the first female carvers on the modern northwest coast, Freda began her carving career at the age of 42. She studied at the Vancouver School of Art and at the Gitanmaax School of Northwest Coast Indian Art at ‘Ksan Village.

In the 1960s, Diesing and a handful of other artists were responsible for the re-awakening of Northwest Coast art and culture. She worked with other master artists including Robert Davidson, Dempsey Bob, and Tony Hunt. In the 1980s, her work was included in the ground breaking exhibition “Legacy - Tradition and Inovation in Northwest Coast Indian Art”, assembled by the Royal British Columbia Museum, and exhibited internationally, bringing awareness and appreciation to her culture’s art and history to the world. Diesing was an exceptional carver, teacher and mentor. Her students include many of the most acclaimed artists working in First Nations art today. She generously contributed many works of art to local communities.

In 2000, she was awarded an honorary diploma from Northwest Community College. In 2002, she received a National Aboriginal Achievement Award and an honorary doctorate from the University of Northern British Columbia. http://fredadiesing.nwcc.bc.ca

Skeena Valley

Cherish Alexander, (Gitxsan)

See - Student Bios @ http://fredadiesing.nwcc.bc.ca/FNFA/Bios_ Students.cfm

Jamie Nole, (Tahltan/Nisga’a)

James H. Lewis, (Tsimshian/Tahltan/Tlingit)

http://nwcc.typepad.com/connections/2011/11/student-success-focuson-the-first-nations-fine-arts-program.html

Kitselas Canyon National Historic Site

The Kitselas Canyon National Historic Site has become a tourist attraction and a source of cultural pride for the Kitselas community. With development well into its seventh year, there have been dramatic changes at the Kitselas Canyon in preparation for the Grand Opening scheduled for 2009. Most recently, 4 totem poles signifying “Honouring our Ancestors” were raised overlooking the Kitselas Canyon in August 2008. Through partnerships with parks Canada and CN Rail, the Kitselas Canyon has become a must-see when in Northwestern BC.

The Canyon was once a strategic location for many First Nations villages and 19th century riverboats traveling the Skeena River often off-loaded to navigate the Canyon. Visit Ringbolt Island to see for yourself. The Kitselas people were the “Guardians of the River” and played an important role in the pioneer settlement of the inland regions.

The Kitselas people have inhabited the Kitselas Canyon as far back as 5,000 years. Kitselas is one of seven Tsimshian First Nations communities in northwestern B.C. Tsimshian people have never relinquished rights to territory or title, prior to European contact there was a traditional system of government, laws, religion and economy that was disrupted, but not eliminated. Following traditional Tsimshian custom, Kitselas adheres to the matrilineal system in which there are 4 crests which represent people:

Skeena Valley

*Laxgibuu: Wolf Clan

*Laxgiik: Eagle Clan

*Gispwudwadaa: Killer Whale Clan

*Ghanada: Raven Clan

The location of the Historic Site Project is about fifteen kilometers east of the city of Terrace. The Project is within the boundaries of Kitselas Reserve #1, immediately adjacent to the Kitselas community of Gitaus.

Upon arriving at the historic site you will be greeted by several longhouses all standing in a row just in front of the treeline. As the plans are to expand the site with the addition of a First Nations cultural center there is ample open space in front of the longhouses to do so. The area is also used for gatherings, barbecues, pole raisings and so on in the summer time. To get down to the canyon, there is a trail behind the longhouses.

As you stroll down to the canyon, you will encounter four totem poles standing sentinel which were erected in the summer of 2008. (see www.kitselas.bc.ca to see photos of the pole raising) As you near the canyon, a long boardwalk has been constructed to take you safely down to a lookout spot located just above the roaring waters below. The view from the landing below is spectacular and your tour guide will point out the historical locations of the old village sites. There are plans I was told, to some day build a longhouse over on the island where the Gitlaxdzawk Fortified Village once stood. Difficulties will be how to get to the site. The river does narrow alittle to the west and a bridge could be built but so far nothing has been started towards making the project a reality. One can see by the terrain (Con’t on page 144)

Historical Villages of the Gitselasu

Archaeological and ethnographic evidence suggests people have occupied the Kitselas Canyon area for at least 5,000 years. The air photo of Kitselas Canyon and the Skeena River, called the Kitselas Canyon Site Map, indicates the five known village sites of the canyon.

The earliest village sites are called Tsunyow, Gitaus and the Paul Mason Site. The word Tsunyow means ‘the landing place.’ You can see from the map that the site is in a somewhat sheltered bay area. The Gitaus means ‘the people of the sand bar.’ This old village site was built beside a sand bar overlooking the Skeena River. The Paul Mason site is named after a Gitselasu elder who was part of the group that found the site in 1981. The site is on a wooded ridge. The site was lost from the memory of the Gitselasu. The knowledge of the other sites have been remembered by Gitselasu historians. For that reason, the Paul Mason site remains somewhat of a mystery. All three of these sites were abandoned hundreds of years ago.

Skeena Valley

(cont. from page 142) and the location of the river with its sand-bars, how this would have been an important junction to the flow of river commerce in the old days. The natural beauty of the area needs to be seen to be appreciated. As fishing is good here in the summer, so is the presence of bears but with alittle care and attention they have never proved to be a problem but an asset. The best time to visit Kitselas Canyon is May through September when tour guides are available to show you around.

A Tsimshian Traditional Society

Take a drive north east out of Terrace and you will arrive at the House of Sim-oi-Ghets gift shop and general store, located on the highway next to the Tempo Gas Bar. Like all Tsimshian, our traditional society is matrilineal, which means we are organized according to the female side of the family. Individuals belong to the family of their mothers and inherit property as well as social status through the mother, not the father. The Kitsumkalum recognize education is important. (Visit www.kitsumkalum.fnschools.ca and see the Na- aksa Gila Kyew Learning Center.)

The House of Sim-oi-Ghets

The Kitsumkalum

We are the people of the Robin, the Kitsumkalum, a galts’ap/community of the Tsimshian Nation living near the City of Terrace in northern British Columbia. Most of us live within our traditional territories around Terrace but we also live in Prince Rupert, Port Edward, and throughout Canada and the United States. Our traditional properties and estates are in the land around Kalum Mountain and the entire Kitsumkalum watershed. We also have heritage sites and resources down the Skeena River and in coastal areas. The people of Kitsumkalum invite you to visit the House of Sim-oi-Ghets Gift Shop and General Store to shop for authentic First Nations arts & crafts.

The Tempo Gas Bar offers full fuel services, including diesel and marine fuel, fishing tackle, large convenience store. As well 24 hour operational Touchless Car Wash.

The Kitsumkalum Boat Launch and RV Park offer close and easy access to the world famous Skeena River.

Recognizing that continuing education is important, the ‘Na’aksa Gila Kyew Learning Center is full of success stories. www.kitsumkalum.fnschools.ca

GREENVILLE

“village on village”

The village of Laxgalts’ap is located on the Nass River estuary, approximately 150 kilometres north of Terrace. Home to 520 residents, laxgalts’ap offers a rich cultural history, natural beauty, and world-class fishing. Laxgalts’ap means “village on village” - the current village is built on a series of Nisga’a communities

that have occupied this site over the past 5000 years. Laxgalts’ap is located in the Nass River estuary. Each year, tons of oolichan are harvested in Fishery Bay and rendered into precious oila historic staple of Nisga’a trade and a valuable commodity that supplied the northwest Coast’s famous “Grease Trail.” For countless generations, we have relied on the harvest of the fish and seafood (cont. page 148)

Lagalts’ap Carving Shed

ABOVE: Master Carver Alver Tait

Skeena Valley

and most of our homes have a traditional smoke house and /or drying racks to preserve all the bounty of the river and sea.

Lagalts’ap Carving Shed

Stop in and visit Master Carver Alver Tait and his apprentices to observe the carving of four Traditional Dugout Nisga’a Canoes. Also, in progress is the carving of the four main totem poles that will become part of the Nisga’a Museum. Other carvers are Calvin McNeil, Justin Ryan, Harry Martin, Fred McKay and Albert M. Stephens.

Wildlife

If you plan on exploring the Nass Mountain Range, you will be in the company of moose, goats, marmots, bears and many other species of wildlife. Always use good judgement when in the presence of wildlife. When visiting the Vetter Falls viewpoint, visitors might get a chance to catch a glimpse of a “phantom” steelhead.

This small community of 800 people is one of the four villages of the Nisga’a Nation. Laxgalts’ap means “the dwelling place comprised of dwelling places.” When visiting Lakalzap you might want to make a stop at St. Andrew’s Anglican Church - the largest Anglican Church building on the BC mainland outside of Vancouver. Laxgalts’ap is home to a youth center and recreation center.

Cultural Heritage

The history of the region is tied to legends handed down from past generations. The Nisga’a house system is composed of four main families: Wolf, Raven, Killer Whale, and Eagle. Each family owns stories and passes them on to the next generation.

One of the most well known stories is about the genesis of the volcano. Legend has it that children had shown disrespect to the life-giving salmon by putting stones and burning sticks into their backs and watching them swim. The elders warned the children repeatedly to stop but they did not listen. Soon the ground began to rumble. The volcano and the lava flow then covered the valley bottom, redirected the mighty Nass River and destroyed two villages. This resulted in 2,000 Nisga’a people perishing.

PHOTO LEFT: Mask Portraying a Halaytyt, Nisga’a Museum.

The Nisga’a Museum

Bringing Our Ancestors Home

The Nisga’a Museum provides a fitting home for showcasing internationally significant Nisga’a artifacts. In addition, the museum is a centre for research, learning, and creating new works of art. Multipurpose space will host cultural performances while outdoors, a historical recreation of a pre-contact Nisga’a village will offer a glimpse into traditional life. The Nisga’a Museum is destined to become a focal point for cultural tourism in northwest British Columbia.

Traveling to Laxgalts’ap requires driving the Nisga’a Highway (Highway 113) from Terrace. The two-lane highway is paved and passes through beautiful mountain valleys. There are lots of twists and turns, several single lane bridges and it’s likely you’ll see a few bears near (or on) the road in early May. Plan for a two and a half hour drive from the Terrace airport.

HOURS:

May 11 - June 20, Sep 6 - Sep 30

Open Thursday - Monday, 10 am to 4 pm

June 21 to Sep 5

Open 7 days a week, 9 am to 5 pm

The museum is closed Oct 1 to May 10

Nisga’a Museum/Hli Goothl Wilp Adokshl Nisga’a, 810 Highway Drive, PO Box 300, Greenville, BC V0J 1X0, 250-633-3050, www.nisgaamuseum.ca

Alver C.Tait (Master Carver)

Alver Tait is an internationally renowned Nisga’a master carver. He is a leader in his community and an exemplary ambassador for the Nisga’a and British Columbia in international venues. As a hereditary Chief of the Eagle-Beaver clan, he is extremely knowledgeable in the culture and traditions of his people and his tireless efforts to improve the welfare of his community have served to focus much attention on BC and the history of aboriginal peoples.

Mr. Tait’s greatest contributions have come from his status as a master carver.

Primary Home For The Haisla First Nation

The Haisla people are Gitamaat and Henaksiala (or Gitlope), closely related neighbouring groups who speak the same language. The groups amalgamated by 1949 at Kitamaat Village, the primary home for the Haisla First Nation with a population approaching 600. The word “Kitamaat” comes from the Tsimshian people, who originate from the Prince Rupert and Metlakatla areas, also on British Columbia’s North Coast. “Kitamaat” means People of the Snow in Tsimshian. The Haisla name for Kitamaat Village is Tsee-Motsa which means Snag beach. Most Haisla continue to carry on the tradition of hunting, and smoking fish.

Sammy Robinson Gift Shop

Skeena Valley

After a long hard North Coast winter, oolichan are the first fish returning to spawn in local rivers. The Haisla use oolichan for almost everything, from food to medicine. Haisla people learned to boil oolichan and make it into a grease. They have become experts at making an especially pure white grease of a quality that is well known up and down BC’s Coast. Haisla people still trade this valuable commodity with neighboring villages.

Haisla people have traditionally occupied and used just over 5000 sq. miles of land and water ways, (approximately 4 million acres).

The Art of Ab Morrison-Hayward is powerful and evocative. Ab’s work is representative of the traditional artistry which is enjoying a resurgence within the Haisla Community.

Ab works as a Teacher’s Aide at the Haisla Community School.

PHOTO RIGHT: Artwork by Ab Morrison

Prince Rupert is Tsimshian Land with lots of totem poles and a magnificent Tsimshian Longhouse which is the home to the Museum of Northern BC. From Prince Rupert you can travel north to Tlingit Country, west to Haida Gwaii and east to Haisla, Nisga’a and Gitxsan Territory.

Skeena Valley

MuseuM of NortherN British ColuMBia

The magnificent Northwest Coast longhouse overlooking Prince Rupert Harbour is home to the Museum of Northern BC. Internationally known for its exceptional collection and the quality of its exhibits, the Museum draws visitors from around the world to experience its unique celebration of cultures and histories.

‘Wiiwaabm

Ts’msyeen MuseuM of NortherN BC

The Museum of Northern BC offers performances, songs and dramatic storytelling in exciting and informative programs. Learn about the vital role of oral history in Tsimshian culture and enjoy its dramatic expression in music and mask dancing. Hosted by the Gwis’amiilkgigot performers in the Tsimshian Longhouse, the ‘Wiiwaabm Ts’msyeen.

Skeena Valley

MuseuM of NortherN British ColuMBia

Your visit to the Museum will begin with a warm welcome in the impressive longhouse lobby with its massive cedar timbers and contemporary glass art. Here you can choose from a wide variety of guided tours and other Museum programs.

As you make your way through the exhibits in the Great Hall and the Treasures Gallery, you will discover the legacy of archaeological artifacts, unique works of art and oral history that portray thousands of years of Northwest Coast history and culture. Here you will also encounter the dramatic history of the more recent period: the fur trade, the construction of the railway, the development of the fishing industry and the creation of modern day communities

In the Hall of Nations you will discover the rich diversity of Northwest Coast nations and their unique ceremonial art, and in the Monumental Gallery, with its spectacular view of the harbour, you can view exciting current works by contemporary Northwest Coast artists. See as well, the Ruth Harvey Art Gallery, which displays a wide variety of local and regional art.

A visit to the Museum’s spectacular Gift Shop will complete your experience with a souvenir of your visit to Prince Rupert. The Gift Shop offers original works by Northwest Coast artists in wood, argillite and other media, Northwest Coast jewelry, and a wide variety of other souvenirs. To learn more about the rich history and heritage of this region you can browse through the Gift Shop’s extensive book selection.

Kwinitsa Railway Museum Out & AbOut with the

MuseuM Of NOrtherN british COluMbiA

Located in Prince Rupert’s waterfront park, Kwinitsa Railway Station Museum provides adults and children alike with an exciting journey into the history of Canada’s northern railway and the many small stations like Kwinitsa along its route. Exhibits portray the development of early Prince Rupert, from its days as the tent town at the terminus of the Grand Trunk Railway to its birth as a city in the 1920’s.

Performance Art at the Tsimshian Longhouse

Northwest Coast performance art is rooted in ancient drama, dance and song. Join the Gwis’amiilkgigot Dancers as they share their legacy of dramatic and musical performance at the ‘Wiiwaabm Ts’msyeen (the Tsimshian Longhouse) that is located just up from the Museum.

All Native Basketball Tournament

The year is 1947. The cold war between the U.S. and Russia is just beginning to take shape, while Canada expands its borders with the addition of Newfoundland and Labrador. On the art scene, A Street Car Named Desire and Miracle on 34th Street make their stage and screen debuts respectively, and The Best Director at the 19th Academy Award ceremony.

In sports, Jackie Robinson breaks down the colour barrier, becoming the first African American to play Major League Baseball, while in New York the future six-time NBA MVP Kareem Abdul-Jabbar was welcomed into the world.

And the Northwest witnessed the birth of the All Native Basketball Tournament, one of the largest gathering of First Nations people and celebrations of First Nations culture in the province and the country - There are no other cultural events that happen every year and span the course of a week.

But, in 1947, the All Native Basketball Tournament went by a different name, the Northern British Columbia Coast Indian Championship Tournament and it was organized by the Prince Rupert Basketball Association - it wasn’t until 1950 that the Native Basketball Committee was formed. The inaugural event included seven teams playing over the course of three days at the Roosevelt gymnasium beginning on March 12, and the Kinkolith squad etched their name into history

as they took the B.C. Packer trophy with a 55-40 victory over Aiyansh in the final, while David Doolan was named Most Valuable Player.

In perhaps a hint of things to come, Kitamatt established the first real dynasty of the tournament, trouncing their competition to win the B.C. Packer trophy in 1948, 1949, and 1950, 1951 marked the end of the Haisla dominance, but also the beginning of the end of the tournament as winter weather kept many villages from attending, and lack of interest cancelled the tournament in 1952. In 1953 only four teams competed in the tournament, with Port Simpson taking the trophy. It would be the last year the tournament was held for almost a decade.

Rebirth of the Tournament

Irwin Garfield was a prominent businessman in Prince Rupert, and an avid basketball fan. As the owner of the Old Empress Hotel, he sponsered a team comprised of mostly native players in the Prince Rupert Basketball Association city league, and it was Garfield who proposed reviving the tournament in Prince Rupert after hearing of the excitement and rivalry the tournament created in the late 40s and early 50s and of the popularity of a similar tournament that had seemingly outgrown its home in New Aiyansh.

And so, in the fall of 1959, the Prince Rupert and District All Native Basketball Tournament was born, which would showcase players in the Senior and Junior division from March 2 to 5, 1960.

While organizers were aiming for a least six villages, the response turned out to be quite overwhelming. A total of 15, teams, the most organizers felt could be handled during the three day tournament, registered resulting in 10 teams competing in the double-knockout Senior division and five competing in the round-robin junior divisions.

And when Hartley Bay had to withdraw at the last minute due to the death of a villager, the PRSS Rainmakers were brought in to provide some competition, although they would be defaulting each game to their competition as not all players were eligible based on the rules set forth for the tournament by the organizers.

In the Junior division, Port Simpson became the first Intermediate champions, taking the Lucky Lager trophy with a 56-44 victory over the Prince Rupert Royals. In the Senior division, the undefeated Kitkatla Excelsior rebounded from a 10point deficit going into the final quarter to score 27 points in the final frame and take the championship by a final of 61-57 over Kitamatt. And if anyone doubted the popularuty of basketball on the North Coast, the 700 screaming fans who packed the Civic Centre to witness the championship game quickly (Con’t on page 174)

Haida Gwaii

MORESBY

Nat. Pk. Res.

ISLAND

PORT EDWARD

OONA RIVER

KITKATLA FERRY

Gwaii Haanas

Named After A Man Called Masseta

A story told in Haida today of how the name Masheet came into existence says that one of the first ships to come into Masset Harbour anchored off what is

now the Village of Masset. One of the officers, a man named Masseta, died and was buried on the little island off which the ship lay anchored. The Haida called the Island after him, however, finding it too difficult to pronounce, corrupted the word to “mah-sh-t.” From this, in 1878, George M. Dawson, a geologist and naturalist well known in this vicinity, named the island “Maast,” saying as he did that he felt this is how the origin of the name “Masset”came to be. The name Masset is a municipality under Canadian Legislation. The village of Old Masset is a village under the Constitution of the Haida Nation (con’t. on p.166)

www.haidaravengallery.com

Haida Raven Gallery

Haida

Gwaii

Haida Gwaii

Christian White was born in Queen Charlotte City and raised in Old Masset, Haida Gwaii (Queen Charlotte Islands, British Columbia). He is from the Dadens Yahgu’7laanaas Raven Clan and his Haida name is Kilthguulans (Voice of Gold). He is an Argilite and wood carver. haidachristian@hotmail.com 250 626 5250

James Sawyer is a very talented painter and silversmith. His images are inspired by his Haida heritage. Gold, Silver, Bentwood Boxes, Paddles, Drums, Prints, Blankets, Logos, Panels, Clothing & Tattoo Design jshaida@telus. net (250) 626-3518

Joyce Bennett Kung Glun Nay (Moonlight House) Contemporary fashion garments with traditional Haida designs by her son John-Brent Bennett.

300 Eagle Avenue 250 626 3939

(continued from page 163) There are a couple of ways to get to Masset. From Prince Rupert you can fly over on Wings Airways. It is a liesurely 40 minute flight to Masset that affords one a great view of the north tip of the island. Another way is to drive up from Charlotte City after you have either come in by ferry from Prince Rupert or flown Air Canada Jazz up to Sandspit from Vancouver. The flight from Vancouver to Sandspit is about two and a half hours. The ferry leaves Rupert usually about 11pm at night and arrives about 6 am. Be sure you have made arrangements in Charlotte City as you arrive early in the morning and nothing is open.

A good place to stay in Masset is Englehard’s Oceanview Lodge. In the summer months they are booked pretty solid, so make reservations. www.engelhardsoceanviewlodge.ca

The Dixon Entrance Maritime Museum is housed in a cream coloured heritage museum at the north end of Masset on the way to Old Masset. Look for a large collection of native items on loan from the Haida Gwaii Museum in Skidegate.

Across the road from where the Wings seaplanes land is where you will find the Haida Raven Gallery. Travel further north along the same road and you will come to Kwaa Kwii (within walking distance).

Joyce Bennett

Marlene Liddle I am a traditional weaver of red and yellow cedar bark. I come from a long line of weavers and traditional artists stemming back as far as Isabella Edenshaw and beyond. Also for viewing enjoyment and educational purposes, I display the cedar bark in various stages that show how it is prepared for use in weaving. Although I usually do custom orders, I may have samples on hand.

2112 Teal Blvd

250 626 7833

marlene.liddle@mhtv.ca

Christine Carty comes from a long line of weavers, which include grandmother Carrie Weir and greatgreat grandmother Isabella Edenshaw. Christine uses Red and yellow cedar to create hats, baskets and blankets. I am from the Yahgu’janaas clan and was taught by sisters, April & Holly Churchill. One of my hats was purchased by the Canada Council Art Bank - one of 79 artists selected (from 1840 submissions)

2118 Teal Blvd., 250 626 5531

cartys@mhtv.ca

Traditional and Contemporary Weaver of Red and Yellow Cedar (Teri Russ)

67

Haida Gwaii

April White ~ Sgaana Jaad (Killerwhale Woman)

“From inspiration through to artistic expression ... it’s as if I am experiencing innate memories that connect me deeply to my cultural past.”

April White was born on Haida Gwaii, of the Yahgu’jaanaas Raven Clan. Through her father, she is a direct descendant of the renowned Staastas Eagle Chief and Haida artist Charles Edenshaw. Named Sgaana Jaad by elders of her clan, she strives to honour this powerful name and to be respectful of their wisdom in her naming. Entirely self-taught, April’s drive to create stems from her heritage where being an artist is an honoured, traditional profession. She feels free when exploring the limitless possibilities of imagination and creativity...the legacy of this tradition. The essential spirit she captures in watercolours, acrylics, serigraphy and

most recently carving, reflects a life defined by proximity to the salt water and rainforests of the Pacific Northwest. Experiencing the dynamic power of our natural world while working as a fishing boat deckhand and as a geo-

ogist has strengthened an enduring personal connection, while creating an internal perspective. Contact April at either of her studio galleries:

MASSET STUDIO

250.626.6072

Open Seasonally: call for an appointment or look for the sign

WIND SPIRIT GALLERY

604.485.7572, 4643 Marine Avenue

Powell River, B.C., V8A 2K8

april@windspirit.com www.aprilwhite.com

OLD MASSET

Named After Maast Island

Located on the east shore of Masset Inlet on the site of three ancient Haida village sites, five minutes up the coastal road from Masset, is the Haida village of Old Masset. Old Masset is one of 2 villages where the Haida regrouped in the late 1800s, having been forced to leave their ancient villages due to their declining numbers, a severe consequence of smallpox introduced by Europeans. Skidegate on the southern shore of Graham Island was the other location. The Hudson’s Bay Company operated a trading post at the Haida site from 1869 to 1898. Old Masset is home to about 700 Haida, including some well-known native carvers.

Haida

Gwaii

Haida Gwaii

Robert Bennett

Authentic steamed bentwood box builder. I hand mill, steam and bend my own wood. I also draw and paint my own designs. I have lots of boxes and can custom make from 4x4 inches to casket size. 202 Eagle Avenue, 250 626 5152

BOBONTHEROCKS73@HOTMAIL.COM

Cori Savard

Cori is a young apprentice carver under the watchful eye of her mentor Reg Davidson. She is a past recipient of the YVR Art Foundation Scholarship. Cori may have work for sale but normally works on custom orders. 250 626 7844 cori.savard@mhtv.ca

Cooper Wilson

When I’m not carving I like to hang out with my kids of four boys and three girls and four grandchildren. I’m building a longhouse as my home, a teaching studio, gallery space, and gathering place. I guess it’s for everything. Life is pretty good for me. I carve the black slate called argillite. Cooper has two sons who are carvers, Donny Edenshaw and Freddie Wilson. 250 626 3799 cooperwilson1@hotmail.com

Haida Rose Café & Roaster

Haida themed café displaying contemporary Haida art. 415 Frog Street (across from church)

250.626.3310

bellarea@mhtv.ca Mon-Fri 9am–5pm, 7–10pm Sat–Sun 12pm–5pm, 7-10pm

Sarah’s Haida Arts & Jewellery

Carvings in gold, silver, copper, wood, ivory. Silk screens, paintings, postcards, artcards, printed sportswear, books and weaving. 387 Eagle Road

250.626.5560

sarahs_haida_arts@yahoo.com Mon–Sat 11am–5pm Sun noon–5pm

Carrie Anne Vanderhoop Bellis

Kiinuwaas Haida weaver

Naaxin (Chilkat) Raven’s Tail and cedar bark

250 626 9380 wampahaida@yahoo.com

Norma Adams

Norma is a granddaughter of Charles and Isabella Edenshaw. She specializes in making clothing with Haida crests. Most of her work is hand sewn. She is 78 years old, and has been creating elegant one-of-a-kind clothing for many years. Norma usually has a few pieces for immediate sale, but also does custom orders. Drop in if her car is in the drive way or call ahead for appointments.

199 Raven Ave

250.626.3621

Merle Anderson

Spruce root & cedar bark weaver

I have been weaving for 13 years. I also sew Haida regalia, vests, blankets, aprons and much more.

380 Eagle Avenue 250 626 9345 merle@mhtv.ca www.haidaweaver.com

Georgia Bennett

Raven’s Tail weaver. I weave traditional Haida regalia with modern colors. I use pure merino wool that is thigh spun. I weave headbands, leggings, aprons and blankets. I also weave full Haida regalia for dolls.

Drop in for a visit.

202 Eagle Avenue 250 626 5152 georgiadbennett@hotmail.com

Primrose Adams

Spruce root and Yellow cedar hat and basket weaver

I have been weaving for over 30 years and I love the harvesting and preparation of the spruce root and yellow cedar bark.

390 Eagle Ave

250.626.3215

Please call for an appointment.

Haida Gwaii

(Con’t. from page 159) put those doubts to rest. While organizers had concerns about the financing for the tournament, those concerns proved unfounded. The tournament made $1,200 in its first year, with $1,000 going to the teams and $200 going into the bank account of the basketball association.

Unlike the tournament back in the late 1940s, interest in this edition of the tournament remained high throughout the next several decades and remains high to this day. Team registration remained around 15 until the Civic Centre burned down in 1968. The tournament was moved to PRSS, and the number of teams competing was capped at 11 in 1969 and 1970 because morning times were not available due to classes at the school.

When the new Civic Centre opened, villages around the northwest jumped at the chance to play in the tournament, resulting in 20 teams competing in 1972 and 21 teams in 1973.

And it was during the 1970s that the All Native Basketball dynasty was first realized. The NBA Beavers dominated the intermediate division, winning four straight titles from 1976 to 1979, a streak that has yet to be broken in that division, and the Haisla Braves took six straight championships in the Senior division between 1975 and 1980 - A record that stood for 27 years of competition. As the popularity of the tournament continued to rise, teams and villages from well outside of northwestern BC began to take notice and started to compete. 1968 marked the first year that the tournament was won by teams outside of the northwest, with Bella Bella winning the Intermediate title and Metlakatla Alaska winning the senior division, a feat which was repeated in 1970. 1986 marked another first for the tournament, as the teams from Metlakatla Alaska swept the tournament aand took both trophies off of Canadian soil for the first time in history, a feat they would repeat in 1990.

And with such a rich tradition and so many memorable players, the tournament committee began floating around the idea of an All Native Basketball Tournament Hall of Fame. The first official mention of the Hall of Fame concept was in the 1982 program for the 23rd All Native Tournament and the list of players thrown out by the program writer for consideration included greats like Chris Wilson, Crosby Smith, Rod Bolton and Gerald Amos of Kitamatt, Wyler Innes, Don Brown, Fred Gamble and Elmer Ridley of Kitkatla, Randy Hayward of Metlakatla Alaska, Sonny Beyon, Art Helin, Andy Peers of Bella Bella, Wayne Haldane, Rod Tait of Aiyansh, Bud Smith of Hazelton and Vern Brown of the Chiefs.

The first Hall of Fame induction took place in 1989, when Elmer Ridley, Peter Martin, Johnny Clifton and Alan Hall were inducted, and the tradition has carried on each year thereafter.

Given the success and popularity of the All Native Tournament for the past

three decades, it would have been easy to maintain the status quo and continue to fill the Civic Centre with, hard fought and always entertaining games in the Senior and Intermediate divisions.

But to do so would be to exclude two important segments of the First Nations communities. And so in 1993 the tournament committee welcomed competitiors in the Women’s division and the Master division, which allowed people over the age of 35 to continue to compete in the tournament against teams made up of similar aged players.

“I was coaching the girls team at Charles Hays, and it was a wonderful team made up of mostly First Nations players. But if they didn’t go to college, high school was sort of the end of the road, but they wanted to keep playing... I had been trying to get the women into the tournament for about three years before it happened, and I had the backing of Frank Parnell because he was trying to get the Masters into the tournament,” said Peter Haugen, noting that the main concern was about whether the tournament could afford it given that extra divisions at the time required the rental of the CHSS gym.

“Jim Ciccone, who was the treasurer for the tournament at the time, said we could afford it and said, “Let’s do it.”

Even in the first year it proved to be the right decision. While some of the committee worried about attendance at the games, the gym at Charles Hays was filled with fans as players in the new divisions took to the court.

“The fans are coming to support the team from their village, whether it is the Seniors, Intermediates, Women or Masters. If their team is playing, the fans will be there to cheer on the players,” added Haugan.”

The Kaien Island women would take the first Women’s championship, while Metlakatla Alaska took home the title in the first two years of Masters competition.

For half a century the All Native Basketball Tournament has provided countless hours of competition, entertainment and fellowship for players and spectators alike, and this year organizers will be marking the tournament’s 50th anniversary with the largest tournament yet.

Approximately 70 teams, well above the previous record of 56 teams, will be taking to the court in the Russell Gamble Gymnasium and the Civic Centre Arena over the course of a record breaking eight days.

*The 50th Anniversary Tournament was held February 7 to 14, 2009.

250 627 8997

75 Haida Gwaii

Evelyn Vanderhoop

Evelyn is a Haida artist from the Git’ans Git’anee family of Masset. Her grandmother was Selina Peratrovich and her mother is Delores Churchill. Her two sisters are Holly and April Churchill, both weavers, culture bearers, regalia makers and dance leaders. For 25 years she has been a successful watercolor artist. Evelyn learned Raven’s Tail and Naaxin, (Chilkat), weaving from Cheryl Samuels and Delores Churchill. She has gone on to win awards and commissions for her Naxin, (Chilkat) weaving. There are only a few weavers of the chiefs robes and she is the only weaver currently that has completed two full size Naaxin, (Chilkat), robes.

250 626 5144

James Hart

Jim Hart is a Haida artist and master carver from Haida Gwaii whose works are in private and public collections worldwide. He started apprenticing over 20 years ago with Haida carvers Robert Davidson and Bill Reid. Hart’s commissions include the royal family in Sweden, clients in Canada and the United States, the Museum of Anthropology at UBC, as well as restoring an old Haida pole for the Smithsonian in New York City. He has had solo exhibitions in Vancouver and Singapore and set up a booth in the Louvre in Paris with other international artisans. In 1999, he became hereditary chief of the (Sdaast’as) Eagle Clan of Masset, Haida Gwaii.

James Hart was one of the carvers who assisted Bill Reid when he made The Raven and the First Men, a three-dimensional dramatization of the Haida creation myth in which the first humans are seen emerging from a clam shell.

77

Haida Gwaii

Reg Davidson

Reg Davidson is an internationally acclaimed Haida artist who creates large and small cedar sculptures, silk-screen prints, gold and silver jewelry, weaving, carved masks and painted drums. He was born Aug 29 in Masset, Haida Gwaii (Queen Charlotte Islands), British Columbia. Reg began his artistic training under the guidance of his father, Claude Davidson, who was chief of the village of Dadens, & under his brother Robert Davidson. Reg is an accomplished dancer and singer with the Rainbow Creek Dancers, a Haida Dance group that Reg and Robert formed in 1980. Reg recognizes the importance of song and dance to Haida culture. In 1977, he worked with Robert on the Charles Edenshaw Memorial Longhouse. In August 1980, Malaspina College on Vancouver Island commissioned Reg to create a 30foot, 3 figure Eagle crest totem pole for presentation to the Tamagawa University of Japan. Today he still works on masks, paintings & large sculptors that are being collected throughout the world

ExploreTheFirstNationsWondersOfSkidegate

Charlotte City is a great place to stay while visiting Skidegate and the Haida Heritage Centre at Kaay Llnagaay. The Sea Raven Motel is an old fashioned motel which is clean and relatively inexpensive. It is situated next door to a great restaurant frequented by the locals and open every night, something which can be very important to the intrepid traveler. Skidegate is a short eight minute drive away. There is no public transit except for Vern and his ‘Golden Raven Taxi’ service. Vern will get you anywhere locally almost anytime. Just call 250 559 8622. He also knows all the artist in town so if you are looking for someone in particular, Vern is your man. Charlotte has a few non-native gift stores and coffee shops well worth exploring.

Haida Gwaii

One great place for breakfast or a snack is the Purple Onion Deli. If you are like me, I prefer not to have breakfast at the same place I had dinner the night before. I always like to visit two or three eateries nearby.

Situated between the sea and the mountains this village stretches along a lengthy section of highway called Oceanview Drive. Northwest Coast Books is located on Oceanview Highway a short walk north of the motel. Northwest has a good supply of First Nations books and is a good place to stop in and have a look around. sales@nwcbooks.com

The Haida Heritage Centre at Kaay Llnagaay is located on the highway between Charlotte City and Skidegate. It is a short drive of about 8 minutes from Charlotte City. Experience the living culture of the Haida in this wonderful new centre. The centre includes the Haida Gwaii Museum - with new exhibits and outstanding collections of Haida art, culture and history, a Gift Shop featuring the work of Haida and Island artists and crafts people. Other features include Canoe House, Performing House, Bill Reid Teaching Centre, Carving Shed, Cafe and Meeting rooms which are available for rental all year round.

PHOTO (Right) Carving by Reg Davidson in the foyer of the Heritage Centre

Centre

81

Haida Gwaii

Haida Heritage Centre at Kaay Llnagaay is an award-winning Aboriginal cultural tourism attraction located in Haida Gwaii (Queen Charlotte Islands) on British Columbia’s northwest coast.

It is a magnificent 53,000 square foot cedar multi-complex consisting of five contemporary monumental timber longhouses. The Centre houses the expanded Haida Gwaii Museum, additional temporary exhibition space, two meeting rooms/ classrooms, the Performing House, Canoe House, Bill Reid Teaching Centre, the Carving Shed, a gift shop and a small restaurant/cafe.

Kaay Llnagaay or Sea Lion Town is where six poles were raised in 2000 Each pole represents villages of the southern Haida—Sgaang Gwaii (Ninstints), Hlgaagilda (Skidegate), T’aanuu, Skedans, Cumshewa and Ts’aahl. The figures on each pole represent each village’s crests, its lineage and part of its history. The master carvers were Tim Boyko, Norman Price, Giitaxaa, Jim Hart, Guujaaw and Garner Moody respectively.

The buildings at Kaay Llnagaay are referred to as “houses” in Haida. In fact, the Haida word for House is “Naay” [pronounced “nigh”]:

Greeting House, also known as the Welcome House, is the main entrance to the Centre and includes the reception desk for visitors and adjacent gift shop.

Eating House (Ga Taa Naay)

- Our Haala Ga Taa restaurant/cafe is now open. Traditional Haida meals as well as conventional family fare are available. Box lunches and snacks can also be purchased. Food and drinks are only permitted in the cafe or outside picnic areas.

Performing House - This is adjacent to the Eating house and is part of the same building. Available for rental, weddings, performances, meetings...etc..

Bill Reid Teaching Centre

and Canoe House - Also known as “Solitary Raven House” this is the display House for Bill Reid’s famous war canoe, Loo Taas, “Wave Eater”. This House also encompasses the Educational centre for Haida artisans.

Carving Shed - This large facility has an open design (no side walls) to accommodate large monumental cedar poles for our enterprising carvers.

The Haida Heritage Centre is open 7 days a week from 10 am to 6 pm from May 1 to September 30. Admission is $15, $10 for students, children $5.

Haida Gwaii

The Haida Gwaii Museum

The Haida Gwaii Museum has been incorporated as part of the Haida Heritage Centre at Kaay Llnagaay.

The size and scope of the Museum has been expanded significantly from its original 8,000 square feet to almost twice the size. The Museum’s primary goal is to accommodate a presentation of Haida culture that represents the full range and quality of Haida art and artifacts.

The Haida Gwaii Museum is dedicated to conserving and making accessible the human and natural history of Haida Gwaii through exhibitions, research and public programs.

Originally opened in 1976, the Haida Gwaii Museum is located at the old Haida village site of Qay’llnagaay - which translates to “Sea Lion Town” in Haida.

The works of a number of local masters have been commissioned and are presently on display alongside older works.

ABOVE: Ravens Tail model of Leggings, robe, apron by Lisa Hageman for a child

The museum also has one of the largest if not the largest collections of argillite carvings in the world, all nicely laid out in drawers for easy viewing.

www.haidaheritagecentre.com/museum.html

ABOVE: Hallway at the Hertage Centre leading to the cafe and the Bill Reid Teaching Centre

BELOW: Lootaas, fiberglass copy of Bill Reid’s 50 foot red cedar canoe which he carved for Expo 86

Haida Gwaii

Gwaii Haanas National Park Reserve and Haida Heritage Site

Visitors to Gwaii Haanas are drawn to its natural beauty and also to its extraordinary living Haida heritage. The carved poles at SGang Gwaay Llnagaay are breathtaking

but there is an enormous quantity of more subtle archaeological evidence from the over 10,000 years of Haida habitation on the Islands. There are over 600 archaeological sites in Gwaii Haanas, alone. Culturally modified trees (cedars with bark removed for weaving; or with test holes), and fish weirs (posts placed in estuaries to help catch salmon) are examples easily seen by informed visitors.

There were about twenty large, permanent winter villages in locations across Haida Gwaii, though of course this number varied over time. Typically, a village site was chosen for access to fresh water, coastal fisheries, and other food sources, and it afforded some protection from winter storms. Families lived in large permanent longhouses in these villages during the winter; they dispersed into other areas to hunt and gather food for the rest of the year.

While many ancestor spirits dwell in Gwaii Haanas, it is a place for the living that remains an integral part of Haida life, spiritually, culturally and economically.

Photo: Courtesy of Parks Canada

Haida Gwaii Watchmen safeguard five key sites during the summer. The Haida harvest food, run tourism businesses and a youth camp within Gwaii Haanas. Hereditary chieftainships of the old villages are still passed through the generations. The chiefs and their families feel close kinship with their original villages

Three human figures wearing high hats are often carved at the very top of Haida poles. In the past, Haida watchmen were posted at strategic positions around a village to raise the alarm in advance of an approaching enemy. Watchmen also crowned poles as carved figures protecting the village from evil spirits. The three carved watchmen form the symbol adopted by the Haida for the Haida Gwaii Watchmen Program.

Today, from spring until autumn, the Haida Gwaii Watchmen serve as guardians at the following old village sites. NOTE: T’aanuu Llnagaay is located inside the boundaries of the park and K’uuna LLnagaay is located outside the boundaries of the National Park Reserve, but within those of the Haida Heritage Site.

•K’uuna Llnagaay (Skedans)

•T’aanuu Llnagaay (Tanu)

•SGang Gwaay Llnagaay (Anthony Island, Ninstints)

•Hlk’yah llnagaay (Windy Bay)

•Gandll K’in Gwaayaay (Hotspring Island)

The Haida recognize that nature and culture are intrinsically connected, and that the protection of Gwaii Haanas is essential to sustaining their culture. This vision is reflected in the preamble of the Haida Constitution:

“Our culture, our heritage is the child of respect and intimacy with the land and sea. Like the forests, the roots of our people are intertwined such that the greatest troubles cannot overcome us. We owe our existence to Haida Gwaii ... the living generation accepts the responsibility to ensure that our heritage is passed on to following generations.”

In 1981, well before Gwaii Haanas was designated a Haida Heritage Site or a National Park Reserve, the Haida were concerned about the potential for vandalism or other damage to old Haida village sites. The Haida Watchmen Program began with parties of one or two volunteers who used their own boats to access the sites, and they would camp for the summer. There, they presented visitors with a first-hand introduction to Haida culture by sharing their knowledge of the land and sea, their stories, songs, dances and traditional foods.

Today, the Watchmen program is funded from several sources, including the fees visitors pay to enter Gwaii Haanas. It has its own management and provides seasonal employment for the Haida. The key elements remain the same.

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The mandate continues to be, first and foremost, the safeguarding of Gwaii Haanas. www.skidegate.ca/watchmen

Prior to the arrival of explorers and fur traders or “Iron People,” starting in 1774, estimates of the Haida population on Haida Gwaii range from 10,000 to 30,000. Initially, the intense sea otter fur trade improved economic conditions. But the overwhelming result of contact for the Haida was their near-demise from introduced diseases. Smallpox wiped out families and lineages, and decimated small villages.

Beginning in the 1870’s, missionaries intent on the conversion of the Haida encouraged survivors to leave outlying villages such as T’aanuu Llnagaay. By 1900, the Haida population reached a low of around 600 people, and only Skidegate and Massett had people living in them full-time. Since then, the Haida population has rebuilt to around 2500 on Haida Gwaii—along with a renewal of pride in a strong cultural identity.

Hundreds of generations of Haida have been nourished by the rich abundance of Haida Gwaii. The islands provide all the essential ingredients for sustenance and growth. Resourcefulness and readily accessible foods allow time for the continuation of a complex society and a unique art form that reflects the people’s close interaction with the land and seas.

Monumental cedar poles announce the crests and lineages of the Haida families. Haida house construction has secured its place in the world of architecture, while the ingenuity of Haida technology is demonstrated in the ocean-going canoe. The undisturbed areas of Haida Gwaii continue to inspire Haida artists who command international recognition in today’s world.

Parks Canada has identified the waters around Gwaii Haanas National Park Reserve and Haida Heritage Site as a potential national marine conservation area reserve. Once the National Marine Conservation Area Reserve is established, nearly five thousand kilometres of Gwaii Haanas will be protected. This will be one of the only places in the world where a representative area is protected from mountain top to the great ocean depths.

For further information on Gwaii Haanas join the Gwaii Haanas mailing list by emailing maggie.stronge@pc.gc.ca or by calling Maggie at 250 559 6317.

RIGHT: The art of Ben Davidson by Jason Shafto of Full Moon Photo

Home Of The Haida Heritage Centre

Haida culture and tradition has always been a big part of the history of Skidegate Village. Legend goes that during the late 1700’s and early 1800’s - a peak period of otter fur trading - Skidegate was named after a chief of the First Nation village. An explorer named Daniel Pender surveyed the waterway in 1866, changing the name from Skit-ei-get, meaning ‘red paint stone,’ to Skidegate. Today, the small village lining the coastline is a story book of Totem Poles, deep in Haida Gwaii arts, culture and history. The section of the Skidegate area along Hwy 16 leads to a

Haida Gwaii

and the six magnificent totem poles at Kaay llnagaay Heritage Centre “Sea-Lion Town” and then on to Skidegate. The waterfront of Skidegate Village is a mix of residential homes, an art gallery/gift shop, beautiful coastline views, viewing benches, a restaurant and some picnic tables.

The Longhouse Gift shop is located right at the entrance to Skidegate. They offer genuine Haida Art hand-crafted by local artists. It is also the site of Bill Reid’s Totem Pole a famous Haida artist whose canoe was paddled from Vancouver, carrying a group of passengers in 1986. The canoe was called Loo Taas, or ‘Wave Eater.’ It was a 3 week trip to Haida Gwaii. Logging and commercial fishing once dominated this small village. But times are changing as eco tourism and the history of the Haida people is attracting more attention. The art of the Haida people attracts the most attention and the outdoor adventure activities is the kicker, bonus.

Located on the waterfront a little further along, Haida Expeditions offers Fishing Charters, Cultural Land Tours, Boat Tours of Gwaii Haanas Park Reserve and Whale Watching Tours. They also offer custom charters anywhere on the island. Haida Gwaii, BC is rich in Haida cultural tradition. For those who prefer land based activities, Haida Expeditions offers guided walking and mini-bus tours of some of Haida Gwaii’s cultural and natural treasures.

Located next door to the Haida Expeditions office is the local carving shed. You can find any number of world class carvers/artists working on projects at the Carving Shed. The day I dropped by, Garner Moody was busy at work painting a totem he had just carved and Tom Greene Jr. was there as well visiting with Garner.

HAIDA EXPEDITIONS LTD

Haida Gwaii

Still further along the waterfront you will arrive at the home of Roberta Olson, famed Haida chef and culinary expert. At Roberta’s you will experience what has been enjoyed by travelers from around the world - a Haida feast savoured while surrounded by Haida art. It comes after a day in Skidegate, where you can explore Haida culture, or just wander soaking up the rustic ambience. Roberta’s banquets are an amazing display of colour, texture and taste, prepared in the traditional methods of the Haida. The variety of tasty dishes served were typical of those served during a Haida “potlatch.”

If you wish to stay in Skidegate there is now a cottage rental as well, with your own detached cottage.

Keenawii’s Kitchen

Jason Shafto

Traditional Haida Dinners for large and small groups prepared by culinary expert Roberta Olson “Keenawii” Original oil paintings and Haida art for sale.

By appointment 250 559 8347

237 Hwy. 33, Box 1450

Skidegate,BC VOT 1S1

OCTOPI INK Cottage Rental

250 559 8449

2 Story One Double & One Single Bed Cable, Fridge Microwave, Phone

Private Entrance &150 per nt. Weekly rates available

2 Blocks from Skidegate Commercial Centre (Groceries, gas, RCMP, Bar & Grill, One Block from the Water)

The Making of A Chief

Not all art is made for sale. Russ Jones of Skidegate, Haida Gwaii potlatched November 14, 2009 to become Chief Nang Jingwas of the Skidegate Gidens Naa S’aagaas Xaaydagaay clan. For the occasion he commissioned a ravens tail robe (see Dolly Garza) which was given the name “The Tide Has Changed” reflecting the movement into new and changing times. His talking stick a eagle-wasco was made by Clayton Gladstone. Nang Jingwas’s eagle headdress was carved by Ketchikan Tlingit master artist Norman Jackson. His eagle apron was created by Russ’s adopted clan sisters Val and Wendy Malesku.

Haida Gwaii

Haida Gwaii

Dolly Garza or Sgang gwaay is a Haida - Tlingit basket and raven’s tail weaver. Sgang gwaay was born in Ketchikan Alaska. Following her matrilineal cuture, she is Kaiganii Haida, from the Sxaalants clan with eagle, frog, and sculpin crests. On her Tlingit fathers side she is Tiin-nei dee (Raven, dog salmon). She was also adopted to the L’uknax.adi and given the name Xaat Shaawat which means Spruce Root Woman. Sgang gwaay learned basket weaving from several Haida & Tlingit weavers including Delores Churchill, Teri Rofkar, Holly Churchill and Diane Willard. She also apprenticed with Teri Rofkar for raven’s tail weaving. She has been weaving since the mid-1980’s. Box 1451, Skidegate, BC VOT 1S1, 250 559 8838, d.garza@att.net

Clayton Gladstone Master Carver Clayton Gladstone has been carving wood and jewellery in Skidegate on Haida Gwaii since 1977. His grandfather was Charles Edenshaw who influenced most of today’s Haida Master Carvers. As a member of the Eagle Clan, Clayton trained and worked together with his cousin Bill Reid in the late 1970’s and 1980’s. He also carved with Tim Boyko and Garner Moody. Clayton’s work is highly respected by museums and collectors all over the world. He enjoys sharing his knowledge and views about traditional and contemporary Haida Art and was featured in the film “The New Masters” as part of the “Ravens and Eagles: Haida Art” series in 2002. He is also a teacher

of carving techniques at the Haida Gwaii Heritage Centre and Museum at Kaay llnagaay on the Queen Charlotte Islands in BC, Canada.

Robert Vogstad Robert Vogstad (b. 1963) lives and works in Skidegate, BC. Robert is part of the generation whose role it has been to revive the traditions of the Haida people. As part of this process Robert worked as a Haida Gwaii Watchman living in isolation with two Haida elders in the abandoned village of sgung gwaay (Ninstints). While staying on Anthony Island, Robert began to rediscover the culture of the Haida people. In this role, Robert gave tours and talked about the history of his nation. As a result of this, he was given the name Luptaagaa - the talkative one. luptaagaa@ gmail.com

Val Malesku Living in Haida Gwaii since 1973 Val Malesku is a multi-talented artist of Cree and Romanian ancestry. She began working in silver and gold in the 1980s and has worked side by side with some of the finest Haida artists including Bill Reid. Her unique designs combine the classic with contemporary in Cree and North West Coast styles. She is also well known for her painting, drawing, wood carving and textile artistry. Although best known for her delicate and intricate jewellery pieces, Val also produces some of the finest button blankets, dance aprons and dance vests. val-arts@hotmail.com

Gladys Vandal I am a Haida Weaver. I come from an unbroken line of Haida people and cultural tradition, and belong to the Skidegate Gidins (eagle) clan, which came from the Naikoon Big House People. I was born and raised in Skidegate, the daughter of Kathleen (Young) and Isaac Hans. I started learning cedar bark weaving in 1994 from Master Haida weaver Delores Churchill and later her daughters Holly and April. I learned spruce weaving from Virginia Hunter, daughter of Florence Davidson. I also teach and pass on my art and knowledge to others. I respect the cedar trees as a gift from the creator and I give thanks before gathering the bark. My husband, Al plays a great role in gathering. I make traditional hats, baskets and mats. 250 559 4508

jiixa@haidagwaii.net

Artwork below: by Clayton Gladstone

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Haida

Gwaii

Giitsxaa began carving more than 40 years ago. He sold his first piece in 1962 - a 9-foot red cedar pole. The first large pole he worked on was at Thunderbird Park in Victoria between the parliament buildings and the Empress Hotel. He remembers the hoards of curious visitors who would stop and gawk at him and the other carvers while they worked. The crest selected by Gwaii Haanas’ Archipelago Management Board is a unique design crafted by local Haida artist Giitsxaa. The sea otter and sea urchin have great significance, both in the history of the Haida people, and the ecology of Gwaii Haanas. 250 559 4616 cumshewa@yahoo.ca

Sylvia Young began weaving in 1999, cedar rose, hats both traditional and golf, ball caps, lamps, fans, baskets. I learned Ravenstail weaving from Evelyn Vanderhoop. I Ravenstail weave with cedar bark hats and baskets. I started spruce root weaving with Dolly Garza in 2009. I am of Haida ancestry from the raven clan. 250 559 0023 sylvia.cedar.weaver@gmail.com

Wendy Malesku lives and works along side her sister Valerie on Haida Gwaii. Primarily specializing in the textile arts and regalia worn at native ceremonies and celebrations, she also creates whimsical designs for every day use. Wendy collaborates with Valerie on jewellery, painted drums, wood carvings and many special projects. spirit2@qcislands.net

Garner Moody

Famous Haida artist Bill Reid has left a beautiful legacy in wood carvings at Skidegate, including the dogfish totem pole at the huge cedar longhouse in Skidegate Village, the Skidegate Haida Band Council office.

In June 2001, six new cedar totem poles - each 13 metres or higher - were pulled upright on the shores of Skidegate on Haida Gwaii, ancestral home of the Haida Nation. The new poles are the first to be raised here since 1978. They honour six major southern Haida villages, five of which were devasted by smallpox before the 20th century.

Garner Moody began carving 27 years ago. He worked on the Loo Taa with Bill Reid and alongside a host of accomplished carvers including Alfred Collinson, Rufus Moody, Giitsxaa, Nelson Cross, and Ding (Melvin) Hutchingson. He is the nephew of prolific argillite carver, Rufus Moody. He carved his first piece of argillite when he was 15. 250 559 8864

Victoria Moody uses cedar bark in the creation of a new style of art that brings together bold designs with her political views. Vicki came to cedar as a teenager and has woven stories into her work. Her Transition robe features the marriage of wool and cedar in new and innovative ways. She has also used her art to help educate people about the importance of cedar to Haida culture. 250 559 8864

Tim Boyko started carving at fourteen and developed his talents and reputation over the years producing finely-crafted jewelry. His favourite metal to work with is silver, and it might be because it was the first surface he ever carved on. 250 559 8256

About seventy-five Haida artists are currently working in the Haida art tradition both at home, on Haida Gwaii, and in Canadian west-coast city centres, such as Vancouver, Victoria and Prince Rupert. A growing international market for the work of contemporary Haida art is making it feasible for more and more young Haida people to explore their skills in carving, painting, weaving and design. More importantly, after having experienced a decline over three generations, Haida art is once again becoming an integral part of community life. Haida artists are keeping the spirit of Haida Gwaii alive.

Young

Sylvia

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Haida Gwaii

Billy Bellis has been a full time self employed Haida carver, sculptor, artist, and jeweller for the last 23 years and is equally at ease working in wood, slate or with precious metals. His works include: totem poles, masks, rattles, gold and silver in-laid jewellery, argillite carvings, gold castings, silk screen prints. He was an apprentice under Bill Reid on the war canoe “Loo Taa.” 250 559 8067

Nelson Cross is from the Eagle clan and began carving in 1973. He trained under his uncle Gordon Cross and argillite carver, Pat Dixon. His father is Raymond Cross, who is known for his carved leather work. He attended a repousse and chasing workshop for jewellery design with English goldsmith, Peter Page. In 1986, Nelson helped Bill Reid carve ‘LooTaa.’ 250 559 0005

Tom Greene Jr. An early mentor of mine was Rufus Moody who taught me argillite carving in the 60s. After pursuing other careers such as photography and commercial diving I returned to carving in 1995. I now design in silver and gold jewellery.250 559 8348, ravenlegs@hotmail.com

Norman Price was born on the remote island of Hippa, on the West Coast of the Charlottes. His father was Jimmy Jones and was adopted to acquire the Price name. During his last year of school, at age 11, he learned carving from Charles Gladstone. His preference is to carve argillite and cedar totem poles with crests: beaver, bear, raven, eagle and grizzly. 250 559 4594

Wayne Wilson at an early age, began an apprenticeship with noted Haida artist and teacher, Gordon Cross. He greatly influenced his designing and assisted in developing his metalworking skills, paying particular attention to fine and unique detail. Since the early 1980’s, Wayne has set a distinct style of cutting out the designs he portrays in silver and gold. This highly labour intensive technique has placed his jewelry at a forefront among his peers. Cell/ 250 637 1367 starlock@haidagwaii.net

Gregory N. Williams /Haida Ink

K’aajuu G’aaya, Greg

Williams is an artist, a professional musician, carver, audio/recording engineer and now a formally trained and working tattoo artist

“Tattooing is new but it is very, very old. Tattoos have been a part of our culture for thousands of years, our people put our crests on their bodies. It is a real privilege to work in the same medium and continue this practice of tattooing for our people,” says tattoo artist Greg Williams. “I am only the first one, but after me there [will] be more. Our people can put their crests on their bodies again and when people come to Haida Gwaii and see us, they can leave with Haida art on their bodies. There hasn’t been a Haida tattoo artist for a hundred years, this is just the beginning. People wear their crests on their clothing and jewellery, now we can wear them on our skin. It’s like taking a piece of your soul and wearing it on your skin.”

This couldn’t be more true. Williams is the first formally trained Haida tattoo artist to practice on Haida Gwaii in a century. Historically, Haida tattoo artists were seen by outsiders as multi-faceted in ways of expressing their art. Like these artists of the past, Williams is a man of many abilities; from composing music, to creating Haida Gwaii guitars, carving in precious metals and now, tattooing.

In the past, Haida tattooing was practiced as a trade which included special mentoring and training. These days it is different, but the same. Williams attended the Tattoo Academy in Thorold, Ontario which is the first formal school of tattooing in Canada. On Haida Gwaii Williams has already set up shop informally and has tattooed a number of people but will be going public with a tattoo shop called Haida Ink in the commercial district of Skidegate near Taaw Naay and Skidegate Band Council office. Haida Ink will open in January 2010. Williams will also be opening the first recording studio in Skidegate near Haida Ink.

Photo: by Kwiaahwah Jones

To Contact Greg by email: kaajuu_gaaya@live.com

Haida Gwaii

Ben Davidson

Ben Davidson WAs a Haida artist who drrw upon his traditional knowledge of Haida design to create innovative and unique contemporary pieces which are sought after by discerning collectors from around the world. Although he specializes in wood sculptures, Ben has experience with two dimensional designs and became interested in expanding his repertoire into jewellery and engraving. Ben, whose Haida name is tlajang nang kingaas meaning “the one who is known far away,” is the son of internationally renowned Haida artist, Robert Davidson. As such, Ben was immersed in the Haida artform from a very early age. He began carving at the age of sixteen, eventually completing a four year apprenticeship with his father. Ben also worked with other artists such as Reg Davidson and John Livingston. Sadly, in 2020, Ben passed away from a heart attack at age 44.

R O B E R T D A V I D S O N is one of Canada’s most respected and important contemporary artists. A Northwest Coast native of Haida descent, he is a master carver of totem poles and masks and works in a variety of other media as a printmaker, painter and jeweler. He is also a leading figure in the renaissance of Haida art and culture. Robert Davidson is best known as an impeccable craftsman whose creative and personal interpretation of traditional Haida form is unparalleled. Robert Charles Davidson was born November 4, 1946 in Hydaburg Alaska. His Haida name is Guud San Glans/Eagle of The Dawn. He moved with his family to Masset on Haida Gwaii (Queen Charlotte Islands) in 1947 and lived there until 1965 when he moved to Vancouver to complete his education at Point Grey Secondary School. It was here that he first learned the fundamentals of silk-screening. In 1966 he met Bill Reid and soon after, began an eighteen month apprenticeship that launched his career as an artist. To read the complete biography please go to: www.robertdavidson.ca

Robert Davidson

Haida Gwaii

Vancouver Island

Port Hardy 111

Port McNeill 115

Alert Bay 117

Campbell River 123

Gold River 125

Courtney 127

Quadra Island 129

Port Albernia 131

Ucluelet 133 Tofino 135 Coombs 139 Duncan 140

Cowichan Bay 145

Sooke 146

Victoria 149 Esquimalt 155

Sidney 156

One of the most exciting aspects of a visit to Port Hardy is the prevalence of rich native culture and heritage. Port Hardy is known for its First Nations shops and art galleries, particularly on Market Street which offer beautiful hand-crafted treasures. Several of these artists regularly invite visitors into their workshops as they create paintings, jewellery, masks and other pieces. Guests can see for themselves how native art is made today, combining modern techniques with traditional methods used for thousands of years.

There are local aboriginal tribes, including the Quatsino First Nation, Gwa’Sala-’Nakwaxda’xw First Nation and the Kwakiutl First Nation. The First Nations people first settled the area more than 8,000 years ago, as evident by the historic totem poles, wood carved signs and outdoor murals nearly everywhere you go.

ABOVE: Kwakiutl Art of the Copper Maker Gallery

Port Hardy Museum

Smoke-Around-the-World

Fort Rupert is the site of a former Hudson’s Bay Company fort which was built and first commanded by William Henry McNeill in 1849. It is located near present-day Port Hardy, British Columbia. The present day village of Fort Rupert is an historic Kwakwaka’wakw village of the Kwagu’ł (Kwagyewlth or Kwakiutl) where the opportunity exists to see native carvers working on totem poles or other artwork and traditional crafts. Petroglyphs, though difficult to find, do exist on

sandstone formations in the higher tidal zones below the old Hudson’s Bay Fort site. Smoke-Around-the-World referencing the smoke that came from the many bighouses in their villages. Enjoy the rich native history of the Kwakwaka’wakw First Nations. Photo: A Kwakwaka’wakw girl wearing abalone earrings and a cedar bark cloak, BC Archives D08431

Kwakiutl

Calvin Hunt Chief Tlasutiwalis, Kwagu’l, Fort Rupert

Hereditary Chief Na-soom-yees, Mowochaht, Friendly Cove

Born 1956

Born into a wealth of traditional values, Calvin started woodcarving Northwest Coast Indian art at the age of 12. From 1972 to 1981, Calvin carved full time as an apprentice with Tony Hunt, Sr. (Arts of the Raven Gallery, Victoria, BC.) Moving to his ancestral home of Fort Rupert in 1981, Calvin and his wife, Marie, opened their carving workshop “The Copper Maker.” In 1989 the workshop doubled in

VANCOUVER ISLAND

Zeballos

Tahsis

Sayward

size and the retail art gallery

“Kwakiutl Art of the Copper Maker Gallery” opened. The prophesy of the gallery’s name has come true as he now has three full time artists at the workshop (Con’t. on page 214)

Welcome to Spirits of the West Coast Native Art Gallery Presenting original Pacific Northwest Coast Native American Art including Haida Art, Kwakiutl Art, Coast Salish Art, Masks, Carvings, Jewellery, Prints and Sculptures.

www.spiritsofthewestcoast.com

In May 1988, he carved and raised the Hunt Pole in Fort Rupert, (which is hereditarily owned by his oldest brother, George Hunt Sr), with the assistance of his brothers, nephews and cousins. He also carved a memorial grave figure for his father at the Fort Rupert cemetery. These poles were the first such poles raised in the village in approximately 70 years.

With the resurgence of canoe building in 1993, Calvin and his nephew, Mervyn Child, carved a 32’ Northern Style canoe that represented the Kwagu’l Nation at “Quatuwas” canoe gathering in Bella Bella. This canoe, named after his mother, “Maxwalaogwa,” belongs to the Maxwalaogwa Canoe Society, formed by Calvin his wife, Marie.

Calvin has also carved the 32’ Northern Style “I-Hos”, and 40’ Northern Style “Ugwamalis Gixdan”, with Mervyn’s assistance. He has helped with the carving of a Munka canoe, and a 37’ West Coast Style canoe from Quatsino. Calvin and Mervyn Child are currently carving a Head Canoe.

In 1995, during a potlatch given by Calvin and his brother, Ross Hunt Sr., he received his Chief’s name, Tlasutiwalis, from his wife’s side of the family. In July of 1998, he was seated as the fourth primary Chief of the Mowachaht; the Hereditary Chieftainship, which belonged to his grandfather, Dr. Billy, of Tsuwana (Friendly Cove), his Chief s name being “Nas soom yees.”

Calvin continues his work in Northwest Coast Indian Art work, working in wood, including canoe building; original silk-screened prints, gold and silver jewelry, and stone carving.

Calvin Hunt

“Gateway to the Broughton Archipelago”

Port McNeill (population: 2,623) is laid out along the shores of Broughton Strait on the northeast coast of Vancouver Island. It was named for William McNeill of the Hudson’s Bay Company, who captained the first steamship to operate on BC’s west coast. Sometimes referred to as the “Gateway to the Broughton Archipelago,” it’s also known as a good, centrally located jumping off point for day trips to north island communities like Alert Bay, Sointula, Port Hardy and Port Alice. Logging and fishing are its main industries and whale watching is its greatest tourist draw. Port McNeill is an excellent base for day trips to Alert Bay and Sointula. BC Ferry has several triangular runs serving Port McNeil - Sointula - Alert Bay.

Mothership Adventures

Gwa’ni (Nimpkish) Hatchery The Gwa’ni (Nimpkish) Hatchery is located just south of Port McNeill along the Nimpkish River. Chinook, Chum and Coho Salmon are raised at this large facility.

Viewing Highlights - Chum Salmon spawn near the hatchery from mid November to mid December. Chinook and Coho Salmon pass by the hatchery site from October to December to spawn further up the Nimpkish River. Thousands of fish fry are visible in the holding troughs and pens from October to July.

Directions - From Vancouver Island Highway ( 19) the access road into the hatchery is located 5.4 km south of the road into Port McNeill, just past the large green bridge over the Nimpkish River, and 3.0 km north of the road into Telegraph Cove. Watch for the hatchery signs.

Gwa’ni (Nimpkish) Hatchery

c/o P.O. Box 210, Alert Bay, B.C. Canada V0N 1A0 (250) 956-4712

Just Art

West coast native art gallery in Port McNeill on Northern Vancouver Island. This Native Art Gallery features the largest and most impressive collection of native American art on Northern Vancouver Island, Just Art is a prominent attraction located in downtown Port McNeill, a west coast wilderness community. 1699 Campbell Way, Port McNeill, BC (250) 949 1854 www.justart.ca

“The

World’s Tallest Totem Pole”

Alert Bay is historically significant as the oldest community on North Vancouver Island, and is well known as a centre for the powerful resurgence of Native culture. Native history and culture are very important parts of the Alert Bay identity. The Kwakwaka’wakw have been instrumental in spearheading a movement to reclaim their birthright to traditional art, dances, songs, legends, ceremonies, and language. During the summer season, the T’sasala Cultural Group dance regularly in the community’s Big House. The Cultural Group also performs regularly for visiting cruise ships and is available for special performances by arrangement. Photo: Star Weiss www.starweiss.ca/photography.php

The U’mista Cultural Centre is an internationally known facility that houses one of the finest collections of historical artifacts depicting the Potlatch Ceremony of the Kwakwaka’wakw. Visit the galleries and meet some of the artists that have made Alert Bay the centre of Kwakwaka’wakw art works.

Several First Nation’s tour packages are available from Alert Bay, Telegraph Cove Resort and Alder Bay Resort. You can visit traditional village sites, and study wildlife and resources in a pristine setting with First Nation tour guides.

Other popular attractions on the island include an ancient ‘Namgis burial ground and a 19th century Anglican Church with graveyard.

Traditional Kwakwaka’wakw dances and performances by the T’sasała Dance group representing various tribes within our language group are presented throughout July and August. All dances and songs are presented with pride and have our Elders approval, and remain unchanged since our Creator gave them to us.

The public dance performances are held Thursday through Saturday at 1 p.m.

Please call for details on admission and other special events. 250-974-5403 www.umista.ca

All Photos: Courtesy Umista Cultural Centre

The mandate of the U’mista Cultural Society is to ensure the survival of all aspects of the cultural heritage of the Kwakwaka wakw. U’mista Cultural Centre is one of the longest-operating and most successful First Nations cultural facilities in BC, founded in 1980 as a ground breaking project to house potlatch artifacts which had been seized by the government during an earlier period of cultural repression.

U’mista operates a modern museum and cultural education facility in Alert Bay. Their operations include the museum, an extensive art gallery and gift shop, group tours, and presentations by dance troupes. The facility hosts international scholars, and supports researchers in a range of disciplines.

#1 Front Street PO Box 253 Alert Bay, British Columbia Canada VON 1A0 (250) 974 - 5403

U’MISTA CULTURAL CENTRE ALERT BAY, BRITISH COLUMBIA

We were free because the masks had been taken. It must have been as if the masks had paid for our way out of gaol. It was said that they would be returned that they wouldn’t stay forever, so the old people were told when the masks went. What they did to us because if the potlatch was terrible. Now they are telling us to do it when was it the past they made us suffer so much, which is why we had forgotten our ways, because all of our tribes had been afraid. Now, they are all strongly urging us to show how things were done in early times they, the white people.

Agnes Alfred at Alert Bay June 20, 1975

Museum Gift Shop & Hours 250-974-5403

Open Year round Tuesday to Saturday from 9am to 5pm

Tsatsisnukwomi

Da’naxda’xw Cultural Tours and Campground in Broughton Archipelago Featuring a performance of traditional Da’naxda’xw Dances and Songs.

Your visit includes a Feast highlighting salmon barbequed in the traditional manner by an open fire. Delicious! Your visit is presented in the traditional style of the Da’naxda’xw people and includes every aspect of Kwakwakawakw hospitality from the welcoming speech to the thank you and farewell speech by the Herditary Chief or his representative.

Here Chief Glendale welcomes visitors to his new Big House at Tsatsisnukwomi on Harbledown Island in the Broughton Archipegalo. Come see the renewal of the village. The Da’naxda’xw are presently re-establishing the village at Tsatsisnukwomi.The Da’naxda’xw people will soon move back to the home village.

Enjoy a Salmon Barbecue Da’naxda’xw origin Stories and Ancient Legends. Cultural and spiritual places There are special cultural and spiritual places in our Traditional Territory. Most of these places are not immediately obvious to visitors. Visitors are asked to respect our Indian Reserves (clearly marked on topographic and marine maps) and abandoned village sites. Please do not disturb or remove any objects from any sites you may come across in our territory. We are in the process of cataloguing and studying our cultural resources. Note that provincial regulations prohibit disturbing archaeological sites and archaeological objects. Thank you for your cooperation and enjoy our spectacular scenery. For more information, please call our office 1-877-207-9797 www.danaxdaxw.com

Vancouver Island

c1881 Dzawadi, Edward Dossetter photos courtesy the Department of Library Services American Museum of Natural History, New York, NY library.amnh. org/special/photocoll.html

“The Salmon Capital of the World”

The Coast Salish First Nations people occupied the river shores of the Campbell living off the riches of the Salmon and the natural lush surrounding lands. The Salmon, was a spiritual symbol to the First Nations people as they also referred to the Salmon as “K’u ta ‘la.” The Coast Salish in the early 1800’s left their villages

www.aboriginaljourneys.com and moved further south to what is now Comox and Qualicum. Soon the north island Laichwiltach people from the Kwaguilth First Nations in Alert Bay migrated south into the vacated villages in Campbell River and at Cape Mudge on Quadra Island. Today the Salmon is still a cultural and spiritual icon to the First Nations people of the region. Photo: Tsa-Kwa-Luten 1792, Credit aboriginaljourneys.com

Aboriginal Journeys

Vancouver Island

Museum at Campbell River

The Museum at Campbell River has a superb First Nations exhibit area with a wonderful collection of First Nations artifacts including masks, coppers and tools. Local First Nations artists participated in creating a dramatic light and sound presentation, unique to the Campbell River Museum, that spotlights a series of carved wooden masks while the story of The Treasures of Si- widi is related. For over 30 years, the Museum Shop at Campbell River has represented First Nations artists of the Pacific Northwest. The Shop features authentic works of aboriginal art including ceremonial masks, rattles, boxes, jewelry, feast dishes, baskets and coppers. We also carry a selection of regional books and locally crafted gift items. www.crmuseum.ca

Wei Wai Kum House of Treasures

First Nations art gallery and gift shop dedicated to Kwakwaka’wakw and other Vancouver Island art of the Northwest Coast. Located in Discovery Harbour Centre, in downtown Campbell River 1370 Island Highway, Campbell River V9W 8C9 250-286-1440

“Gateway To Historic Nootka Sound”

Yuquot

The Village of Gold River is the gateway to Nootka Sound and a jumping off point for wilderness adventures on central Vancouver Island and the Pacific Ocean. The birthplace of British Columbia is the small community of Yuquot, also known as Friendly Cove, the site of the first contact between Europeans and First Nations people in British Columbia. The internationally historic site of Yuquot where the

wind blows in all directions - was the summer home of Chief Maquinna and the Mowachaht/Muchalaht people for generations, housing approximately 1,500 natives in 20 traditional wooden longhouses. First Nations people came to magnificent Yuquot over 4,000 years ago, drawn by the rich sea life and natural resources, the mild climate, and the beautiful surroundings. Those same qualities still draw visitors to this magical place

Friendly Cove Today today, as there is so much to see and experience.

177 Archaeological Sites Throughout Nootka Sound

In March 1778, Captain James Cook of the Royal Navy became the first European to set foot on British Columbian soil when he visited Friendly Cove on Nootka Island. While anchoring in Resolution Cove on Bligh Island, across from Friendly Cove, the natives hollered “itchme nutka, itchme nutka,” meaning “go around” (to Yuqout), but Cook misinterpreted their calls, believing the name of the area to be Nootka.

A Spanish trading post, Santa Cruz de Nutka, and Fort San Miguel, the only Spanish fort ever established in Canada, was maintained here between 1789 and 1795, with Nootka becoming an important focal point for English, Spanish and American traders and explorers.

The Nootka Convention was held in nearby Tahsis in 1792 to resolve the dispute between Spain and Britain over trading rights with the people of Yuquot. The talks between Captain George Vancouver and Captain Juan Francisco de la Quadra were facilitated by Chief Maquinna. The Canadian government declared Friendly Cove a National Historic Site in 1923, with recognition of the significance of the First Nations history following in 1997.

Historically, Bligh Island, a few miles to the northeast of Yuquot, has been used extensively by the Mowachaht First Nations people, and still remains part of their traditional territory. Large Bligh Island is named for a much-maligned British Navy Captain who sailed here with the equally well-known Captain James Cook in 1778. Resolute Cove on Bligh Island is named after Captain Cook’s ship, where a cairn on the southeast cove of the island commemorates the landing. The area subsequently became a major centre for international fur trading. On March 22 1803, while anchored in Nootka Sound, the trading vessel Boston was attacked by Nootka indians. Twenty-five of her twenty-seven crewmen were massacred, their heads “arranged in a line” for survivor John R. Jewitt to identify. Jewitt and the other survivor, John Thompson, became two of some fifty slaves owned by Chief Maquinna. The fascinating book White Slaves of Maquinna is John Jewitt’s narrative of his capture and confinement at Nootka (1815).

Today, members of the Mowachaht-Muchalaht First Nations conduct history tours that include a visit to the traditional gathering places of the MowachahtMuchalaht, the site of San Miguel, and opportunities to see spectacular old-growth forest, whales, otters, and other marine life. Visitors also have an opportunity to meet some of the friendliest, most hospitable people anywhere! Few tourist destinations in the world can offer the amazing cultural, historical and natural experience that awaits visitors to Yuquot. Below: Chief Maquinna, late 1700’s, BC Archives, AO2678

The Lodge at Gold River

Nestled on nearly 1,000 feet of riverfront, the Lodge at Gold River easily speaks to those who know the meaning of roughing it in luxury. The main lodge, a 3,000 square foot log structure offers guests two huge fireplaces, a game room with bar, dining room and great room, perfect for the out of office meeting. www.lodgeatgoldriver.com

“the

For thousands of years indigenous people occupied the shoreline of eastern Vancouver Island in a place referred to as, “the land of plenty.” This Land of Plenty stretched from what is known today as Kelsey Bay south to Hornby and Denman Island and included the watershed and estuary of the Puntledge River. The people called K’ómoks today referred to themselves as Sathloot, Sasitla, Ieeksun, Puntledge, Cha’chae, and Tat’poos. They occupied sites in Kelsey Bay, Quinsum, Campbell River, Quadra Island, Kye Bay, and along the Puntledge estuary. As a cultural collective they called themselves, “Sathloot,” according to the late Mary Clifton.

Photo: Comox First Nations

Andy Everson

Andy Everson was born in Comox, BC in 1972 and named Nagedzi after his grandfather, the late Chief Andy Frank. Influenced heavily by his grandmother, he has always been driven to uphold the traditions of both the K’omoks and Kwakwaka’wakw First Nations. In this regard, Andy has pursued avenues where he can sing traditional songs and perform ceremonial dances at potlatches and in a number of different dance groups, most notably the Le-La-La Dancers, the Gwa’wina Dancers and the K’umugwe Dancers.

Pursuing other areas of traditional culture has also led Andy to complete a Master’s degree in anthropology. Because the Comox First Nation lies on the border between the larger Salish and Kwakwaka’wakw realms, his thesis focused on notions and expressions of contemporary Comox identity. His work in anthropology provided him with a background in linguistics which subsequently inspired him to create a company, Copper Canoe, Inc, that specializes in the creation of Aboriginal language CD-ROMs.

Andy feels that his artwork stands on par with these other accomplishments. Although he began drawing Northwest Coast art at an early age, Andy’s first serious attempt wasn’t until 1990 when he started designing and painting chilkat-style blankets for use in potlatch dancing.

To learn more about Andy Everson go to: www.andyeverson.com

“the gathering place”

First recorded contact by the Europeans with the local First Nations people occurred at the ancient village of Tsa-Kwa-Luten, “the gathering place” on Quadra Island, by Captain George Vancouver in 1792. At that time Tsa-Kwa-Luten was inhabited by the Coast Salish peoples. Sometime after the British explorers were here, approximately 1841, the Salish abandoned this village and surrounding villages and retreated to the south. The Laichwiltach peoples then took possession of the rich salmon fishing grounds and the strategic trading position offered by the narrow Discovery Passage. At that time the Laichwiltach peoples were made up of the We-Wai-Kai of Cape Mudge, Wei-WaiKum of Campbell River, Walatsama of Salmon (cont. on page 230)

Photo: “Village of Friendly Indians” – 1792, Arran Rapids, Credit aboriginaljourneys.com

Tsa-Kwa-Luten Lodge

River and Kwiakah of Philips Arm. Villages were established in Campbell River and at Cape Mudge on Quadra Island, making this area the southernmost territory of the Kwak’wala speaking peoples.

Quadra Island is home to a lively close-knit community of 2,700 people from all walks of life and all parts of the world. The We Wai Kai band of the indigenous Laichwiltach People, (Kwakwak’awakw First Nation) reside at Cape Mudge (Yaculta). Nearby Quathiaski Cove is the main port of arrival and commercial hub of the island. Picturesque Heriot Bay serves as departure point for the ferry to Cortes Island and other boat services to the outer Discovery Islands. Arts, culture, adventure recreation, scenery and the laid-back island lifestyle are just a few of the reasons people come to live or visit Quadra Island. Whatever your reason we bid you

Nuyumbalees Culture Centre

“Nuu-chah-nulth Of Nootka Sound”

Alberni and the West Coast of Vancouver Island was the traditional territory of the Tseshaht and Hupacasath First Nations of the Nuu-Chah-Nulth Tribal Council. The Nuu-chah-nulth were previously called the Nootka. Many place names in Port Alberni have a Nuu-chah-nulth origin, such as Somass (washing), Kitsuksis (log across mouth of creek), Pacheena (foamy), and Nootka (go around). Ancient petroglyph carvings can be found at Sproat Lake. The term ‘Nuu-chah-nulth’ is used to describe fifteen separate but related nations, such as the Tla-o-qui-aht First Nations, whose traditional home is in the Pacific Northwest on the west coast of Vancouver Island.

PHOTO: c1906, Inside of long house at Ahaswinis Village in the Alberni Valley. VPL9287, Vancouver Public Library

Ahtsik Native Art Gallery

(Owned and operated by Tseshaht artist Gordon Dick)

Located along the Pacific Rim Highway on British Columbia’s beautiful west coast, the gallery houses original works by Nuu-chah-nulth artists as well as artists from other First Nations tribes in Canada. The mediums and styles represented are varied – Carved jewelry in silver, gold and semi-precious stones, wood carvings (totems, masks, bentwood boxes, rattles, panels), weavings, photographs and prints. A multi-medium artist, Gordon also creates structural and decorative pieces for homes such as doors (wood or sandblasted glass), posts, panels and security gates. Custom orders are welcome.

7133A Pacific Rim Highway, Port Alberni B C V9Y 8Y4 250 723 3425 www.gordondick.ca

Nuu-chah-nulth Archaeological Sites

Long before the first European settlers came to the Pacific Rim of North America, there were the Nuu-chah-nulth people, a rich and diverse tribal band who left their imprint throughout what is now the Pacific Rim National Park. Today, over 290 significant native archaeological sites are scattered throughout the Pacific Rim region.

Pacific Rim National Park, 2185 Ocean Terrace Road, Ucluelet, BC V0R 3A0

250 726-7721 www.nuuchahnulth.org

Du-Quah Gallery

Locally hand crafted first nations arts done by canadian artists, displayed in a traditional longhouse, carvings, masks, silver and gold jewellery, cowichan knitting, prints, books,custom framing, and much more....come visit and see!

1971 Peninsula Road, Ucluelet, BC V0R 3A0 250-726-7223

‘Hishuk

ish is’awalk’

Ucluelet is a Nuu-chah-nulth First Nation word meaning ‘safe harbour’ or ‘safe landing place.’ The local First Nations have always been influenced by their environment. The land and the sea gave them food and influenced their lifestyle and culture. From the sea they took salmon, cod, halibut, shellfish, sea lions, seals,

www.nativeartcedarhouse.com and whales. From the forest they took plant and animal food as well as cedar which was the material they used for most everything from wood for building homes and canoes to bark strips for weaving clothing. Nothing was wasted. One of the Nuu-chah-nulth’s primary teachings is ‘Hishuk ish is’awalk’ or ‘Everything is one. The Kwisitis Interpretive Centre is perched on the shore of the Pacific at the end of Wick Road, 3.5 kilometres from Highway 4.

Cedar House Gallery

Vancouver Island

Kwisitis Interpretive Centre, and gift shop focuses on the natural and cultural heritage of the Pacific Rim National Park Reserve. Visitors can enhance their national park experience through exhibits, displays, films, and other events. An all-terrain wheelchair is available for visitor use. The Kwisitis Interpretive Centre - operated by the Ucluelet First Nation with the Pacific Rim National Park Reserve - is open mid March to mid October, and also houses the Wickaninnish Restaurant.

House Of Himwitsa

Welcome To The Himwitsa Native Art Gallery in Tofino, British Columbia, Canada. The First Name in Fairly Traded First Nations Art. Himwitsa, in the Nuu Chah Nulth language, describes the tradition of tribe elders sharing wisdom with the young through the cherished art of storytelling.

Enter the Himwitsa Art Gallery and view some of the world’s most sought after award-winning fairly traded masks, carvings and jewelry. Each creation has a story to tell. We are First Nations owned and operated, specializing in fair trade First Nations artwork handcrafted by our region’s most talented and innovative native artists. Listen…one hears a tribal elder sharing wisdom with the young through the cherished art of storytelling. www.himwitsa.com

“Tree Loving Capital of the World”

Nuu-chah-nulth First Nations People have made Clayoquot Sound their home for several thousand years. The Tla-o-qui-aht Village of Opitsaht (across the water from Tofino on Meares Island) is thought to have been continuously inhabited for at least the past 5,000 years according to carbon dating performed on a buried stash of discarded clamshells there. In 1971, Pacific Rim National Park was created. In 1984, Meares Island was declared a Tribal Park by the Nuu-chah-nulth after successfully winning a legal injunction against logging companies who wanted the island clearcut logged. It is a tremendous debt we owe the Nuu-Chah-Nulth People for taking such great care of Clayoquot Sound. Exceptional adventures are enjoyed by visitors to Pacific Rim National Park on the west coast of Vancouver Island in British Columbia.

Photo: Hesquiat maiden, BC Archives D08326

Roy Henry Vickers

Canadian artist Roy Henry Vickers is best known around the world for his limited edition prints. He is also an accomplished carver, design advisor of prestigious public spaces, a sought-after keynote speaker, and publisher and author of several successful books.

In addition, he is a recognized leader in the First Nations community, and a tireless spokesperson for recovery from addictions and abuse.

Roy has received many awards and honours for his art and community involvement. Among them are a hereditary chieftainship and several hereditary names he has received from Northwest Coast First Nations.

In 1994, Maclean’s magazine included Roy as the first artist ever in its Annual Honour Roll of Extraordinary Canadian Achievers. In 1998, the Province of British Columbia appointed Roy to the prestigious Order of B.C. and in 2003, Roy received the Queen’s Golden Jubilee Medal. In 2003, a video featuring Roy was part of the successful Vancouver 2010 Olympic Bid.

In 1987, at the Commonwealth Summit in Vancouver, the original of Roy’s painting A Meeting of Chiefs was the official gift of the Province of British Columbia to Queen Elizabeth II. Limited edition prints of the painting were presented to the 48 Commonwealth Heads of State.

(To read more on Roy Henry Vickers go to his website at:) www.royhenryvickers.com

The Nuu-chah-nulth canoe design is recognized as one of the finest and most efficient hull designs in the world. It has been designed by people who have lived on the West Coast of Vancouver Island for thousands of years, for conditions of the ocean in its many moods. The stability of the canoe has been developed over a very long time and today it is one of the most seaworthy crafts that have ever been put to use on this coast.

Joe Martin was born October 1953. He has lived in Clayoquot Sound all of his life and grew up in canoes with his late father Chief Robert Martin senior. Joe began learning canoe carving at the young age of 5, when his father would take him along to an island near the island near the village of Opitsaht.

TLA-OOK CULTURAL ADVENTURES

We are a First Nations owned and operated company, offering experiences in Traditional Nuu-chah-nulth Dugout canoes. We are located in Tofino, British Columbia, on the edge of Clayoquot Sound. www.tlaook.com

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Vancouver Island

The Best Western Tin-Wis Resort is located 3kms outside of Tofino, in the beautiful and pristine heart of Clayoquot Sound on Vancouver Island, British Columbia. Positioned on the traditional territory of the Tla-o-qui-aht First Nations, the Tin Wis is sure to be an unforgettable experience

Our 85 ocean front rooms overlook majestic Mackenzie Beach, providing the perfect opportunity to sit on the balcony or patio and feel the pulse of the Pacific Ocean. Whether you’re looking for the perfect view of a summer sunset or to hear the rumbling power of a winter storm, our rooms provide the best atmosphere for your visit to Tofino.

In addition to a stunning view from your room, enjoy a delectable and unique meal in The Calm Waters Dining Room. Chef Margot Bodchon, C.C.C, has crafted an exceptional BC Fresh Menu which incorporates staples of traditional First Nations cuisine. The First Nations themed dining room, which overlooks the beautifully landscaped property and beach, will only heighten your experience.

Best Western Tin Wis Tofino

Hotel Resort

‘Discover the Spirit’ www.tinwis.com

COOMBS

Jeremy Humpherville was born and raised in Haida Gwaii, on the North West Coast of British Columbia, Canada. Jeremy’s family who are of Cree and Metis descent, have carved for generations. Jeremy’s uncle, Ken Humpherville and brother, Jerett Humpherville, are also accomplished carvers. From a young age, Jeremy developed a great appreciation for his native surroundings. The diverse wildlife of the Queen Charlotte Islands is apparent in his art. Since early on, he has worked with traditional red cedar, yellow cedar and alder woods. Photo Coastal Carvings

Jeremy Lee Humpherville

“City of Totems”

Duncan is the Cowichan Valley’s largest community and known as the “City of Totems,” with approximately 80 totem poles located downtown and along the Trans Canada Highway. The totem pole project was started in 1985 and many of the totems on display were removed from original sites and private collections. Follow the yellow footprints, which start at the Cowichan Valley Museum for a self-guided tour of 41 totem poles. Free guided tours are also available. Explore this area’s aboriginal past and enjoy a look at the world of the Northwest Coast Natives at the Quw’utsun’ Cultural and Conference Centre. A wonderful cultural experience in a spectacular setting housing one of B.C.’s largest Native Art Galleries featuring

Quw’utsun’ offers all guests an authentic Cowichan First Nations Experience - Interpretive Group Tours, Traditional Art Work in our Gift Gallery and First Nations contemporary cuisine in the Riverwalk Cafe. Feel, see and learn traditions still practiced today by the Cowichan People Quw’utsun’

CULTURAL AND CONFERENCE CENTRE

authentic Cowichan sweaters, carvings, masks, prints and jewellery. Watch demonstrations of totem carving, weaving, silver-smithing, beadworking and a mid-day salmon BBQ show all summer long. At the Quw’utsun’ Cultural Centre, guests are introduced to our world. The legends, history and culture of the Cowichan People and the Coast Salish Nation. We offer a variety of activities for everyone of all ages to enjoy and learn from.

JUDY HILL GALLERY

We are a world-class tourist attraction owned and operated by Cowichan Tribes, the largest Aboriginal Band in British Columbia with over 3,900 members. www.quwutsun.ca

Authentic Native Cuisine

Vancouver Island

BC First Nations Spirit Pole

The Cowichan 2008 North American Indigenous Games in Duncan, scheduled for August 3 – 10, was going to be special. With BC150 celebrating 150 years of cultural diversity and achievement since the founding of the colony in1858, it also embraced the Games in all the hoopla. So, BC150’s contribution was to sponsor the creation of a ceremonial totem pole. The Spirit Pole was the brainchild of Ron Rice, Cultural Events and Ceremonies Manager and member of the Cowichan First Nations tribe. The extensive, public carving process included having various people throughout British Columbia participate in the carving, as the raw log made its way around the province.

The contract to carve the pole was won by Carey Newman, multi-medium artist hailing from the Coast Salish and Kwatiulth Nations. The 33 year old master carver proposed an intricate and massive undertaking. Collaborating with father and carving mentor, Victor, he planned a detailed carving design along with an elaborate production process involving the public, that was, “something that every one of all ages could take part in.” “Something that would be similar to the

Judy Hill Gallery

torch relay for the Olympics,” said Newman. “To create awareness for the [Indigenous] Games and share ideals, that is healthy living, honouring Spirit, culture and diversity.”

Newman was fortunate in procuring a 450 year old Western Red Cedar log from the sacred village of Stanley Park. With the 20 foot pole in tow, he and a

privileged entourage started a 95 day and 10,000 km. trek around British Columbia. The group of 12 included Newman’s wife, Elaine, his mother, Edith, father and fellow carver Victor (both from Fort Rupert), project coordinator, Marek Tiler, and a band of helpers in various capacities Victor and apprentice carver Sterling Thorne, guided the public as each person took a turn at carving. In order to visit more than 50 stops, the circuitous route was a challenge. The logistics of time and synchronizing with various celebrations along the way were a constant strain. Newman reflected, “I needed time to work between [stops]. Some parts need to be completed [before the next stop].” He also had to set up for the next day in accordance with the overall schedule.

In total, 11,599 people lent a hand in carving the pole. “People who took part [carving] were very respectful and careful,” commented Newman. He was impressed with, “how much effort the public used to carve on the Spirit Pole – how far they traveled to get the chance.” He fondly remembered a lady from Fort Nelson who, on Aboriginal Day and her 100th birthday, came to carve for the first time in her life.

ABOVE: Master Carver Newman. Spirit pole raised in Duncan for 2008 Aboriginal Games

BELOW: 11,608 people across B.C. carved the Spirit Pole, which found a permanent home at the Cultural Centre in Duncan

Photos and story: Helena Green, www.synergymag.ca

Vancouver Island

ABOVE: Cowichan men and boys having tug-of-war at potlach, Duncan, BC, c1919, University of Washington Libraries, Special Collections, NA4106

1. Joe Jack -Traditional Salish Art in beautiful gold jewellery, engagement rings, wedding rings, bracelets, ivory sculpture, Limited edition prints, and western Red Cedar. 250.715.1139 www.joejack.com

2. Virginia Jack, Basket Weaver 250.597.3092

3. Edward Joe, Paintings; Gold & Silver Jewellry, 250.748.2552

4. Brant Johnny, Cowichan Tribes Carver, Masks, Plaques, Totem Poles & Wall Panels, 250.746.4465

5. Stella Johnny, Basket Weaver , 250.746.8604

6. Evelyn Louie, Elder, Cowichan Knitter, Sweaters, Toques and Vests, cowichan.sweaters@gmail.com

7. Milissa Peter, Cowichan Tribes Knitter, Exp. 35 years, 250.701.5792

8. Maureen Tommy, Traditional Blanket Weaver & Cowichan Knitter, 30 years, tommym1@telus.net.

9. Charlotte Williams, Elder, Cowichan Knitter, 45 years, 250.746.6266

10. Dora Wilson, Elder, Cowichan Knitter & Traditional Blanket Weaver, 50 years, D.Wilson.42@hotmail.com.

11. Joey Wilson, Paintings, 250.748.2732

12. Martina Wilson, Cowichan Knitter & Spinner, 35 years, 250.748.0117

“Land Warmed By The Sun”

The Cowichan Bay area and much of the southern Strait of Georgia is the traditional land of the Cowichan First Nation. The Indian village in Cowichan Bay was officially named the Kilpaulas village and was one of the foremost villages in the area. They were renowned for their Potlatches, a get together where lavish gifts were bestowed upon the guests. The government at the time, fearing that the natives would give away all their wealth banned the events in 1884. But, the potlatches continued for many years, eventually even going underground. The early 1950’s saw the law repealed, but by then the village here in The Bay was gone.

Photo: Cowichan Dancer, BC Archives, DO8422

Our founder, Herb Rice, a Coast Salish Native Indian Artist from the Pacific Northwest, is a Master Wood Carver whose work is in private collections all over the world. To view his beautiful work, or find out about the classes he offers go to our website below.

www.coastsalishjourney.com

Coast Salish

“Named After A Stickle Back Fish”

For centuries, this area was a thriving Coast Salish settlement. The T’sou-ke peoples lived alongside a salmon river and within a sheltered harbor, an area where seafood was in abundance along the seashore, and game, roots and berries were harvested in the forests. The name T’sou-ke is said to be that of a stickle back fish found at the mouth of the Sooke River. The T’sou-ke First nation proudly created a valuable and lasting legacy that continues to enrich the community to this day.

The T’sou-ke peoples were the envy of many first nations tribes in less favored regions. With clams in abundance along the seashore, game in the forests, roots and berries to harvest and ducks to net, the T’sou-kes had plenty to augment their staple diet of salmon. Both the Blue Raven Gallery and the Sooke Museum are located south of Sooke.

Blue Raven Gallery

SOOKE MUSEUM Within the museum’s exhibit galleries, highlights of the region’s history and culture are presented through First Nations artifacts, historic photographs, dioramas, displays and scale models, depicting both momentous occasions and the day to day life in the history of the region. Fine items of clothing from the 18th century, weavings, quiltings and carvings, pioneer artifacts, displays of exploration, natural history, early schools, churches, farming, forestry, mining for gold, and harvesting the bounty from the sea - these items and more compete for the attention of the beholder.

The Sooke Region Museum’s archives section houses some eight thousand historic photographs, and more than six thousand historical documents and a range of newspaper clippings.

In our gift shop see unique crafts, specialty jewellery, carvings in wood and silver by Vancouver Island’s First Nations artists, gold nuggets mined at one of B C’s earliest goldrushes (nearby Leechtown), a variety of souvenir items and tshirts, local maps, children’s items, and last but not least, a wonderful selection of books on history, geography, outdoor activities, guidebooks, First Nations, cooking, biographies, crafts and hobbies, gift baskets of specialty jellies, and ever so much more...

SOOKE REGION MUSEUM

VICTORIA

“Camosack”

The native Indians called the area of present day Victoria, “Camosack” meaning “Rush of Water.” The spirit of the Lekwammen people pervades the history of Victoria. When European ships sailed through the Georgia and Juan de Fuca Straits, there were 10 Lekwammen villages along the shores of what is now Greater Victoria. British agent James Douglas and his men came upon these shores, searching the Pacific coast for new Hudson’s Bay Company headquarters. Welcomed by the Lekwammen as new trading partners, Douglas and his entourage set up a trading post and Fort Victoria was built in 1843 in the area known today as Old Town, now the heart of Victoria’s downtown.

MARK LORIA GALLERY

Thunderbird Park

Thunderbird Park is a park in Victoria, British Columbia next to the Royal British Columbia Museum. The park is home to many totem poles (mostly Gitxsan, Haida, and Kwakwaka’wakw) and other First Nations monuments. Also in the park are a carving studio, St. Anne’s Schoolhouse (built 1844), Helmcken House (built in 1852 by Dr. John Helmcken), and Mungo Martin House (Wawadit’la), a traditional Kwakwaka’wakw “big house” built in 1953 by Kwakwaka’wakw Chief Mungo Martin. The park is part of the Royal BC Museum Cultural Precinct, an area around the museum that contains a number of historical sites and monuments.

Totem poles were first erected on the site in 1940 as part of a conservation effort to preserve some of the region’s rapidly deteriorating Aboriginal art. The site was opened as Thunderbird Park in 1941. By 1951, many of the poles had greatly decayed, and in 1952 the Royal BC Museum began a restoration program with Chief Martin as its head carver. Martin died in 1962 and was succeeded by renowned carver Henry Hunt. Other artists who have worked as part of the program include Henry Hunt’s sons Richard Hunt and Tony Hunt, Tim Paul, Lawrence Bell, David Gladstone, David Martin, and Bill Reid. All of the original poles were replaced with new versions by 1992, and some of the originals are now preserved within the museum.

Photo courtesy Greater Vancouver Parks Board

BC Archives - First Nations’ Art in BC Ten thousand paintings, drawings and prints are held by the BC Archives. The collection is made up of sketched or painted perspectives of the land and people in the BC area in the past.

Address: 675 Belleville Street, Victoria BC Canada V8W 9W2 250 387-1952

Gordon Perreault is from the Cree Nation of Northern Alberta. He is based in Victoria now and has limited-edition prints available that have been reproduced from his original acrylics paintings. He can also be commissioned.

540 Manchester Road, Victoria,BC Canada V8T 2N8 250 514-2682

RIGHT: Native art at the harbour

Royal B.C. Museum

Since 1886 the Royal BC Museum has preserved and shared the human and natural histories of this province. The museum received its “Royal” designation in October 1987 by Queen Elizabeth II. The museum is one of the centrepieces of Victoria’s tourist industry. It includes three permanent galleries and an IMAX theatre. In addition, it often hosts feature exhibitions from around the world; these have included the RMS Titanic, Leonardo da Vinci and Genghis Khan.

The Royal BC Museum and cultural precinct includes the BC Archives, Helmcken House, St. Ann’s Schoolhouse, the Netherlands Carillon, Thunderbird Park and Mungo Martin House (Wawadit’ła). The museum works closely with First Nations communities and individuals to interpret collections and make them accessible through exhibitions, on-site visits, archives and databases.

The Royal B.C. Museum is located on the corner of Belleville and Government Street, on Victoria’s Inner Harbour. Before visiting check www.royalncmuseum.bc.ca and click on “Plan a Visit” for a downloadable welcome guide and information on events and tours!

CowichanTrading

250.383.0321

sasquatchtrading@shaw.ca

www.cowichantrading.com

Focusing on tribal arts, our gallery, located in the historic Empress Hotel in Victoria, British Columbia, carries one of North America’s most extensive displays of Canada’s finest native art. Featuring tribal works of Haida, Inuit, Iroquois and Cree, amongst others, our gallery offers striking imagery from many of the leading artists at the forefront of native culture in Canada. www.artofmangallery.com

We are proud to carry on the tradition, begun in the 1860’s in Victoria of the first dealers in classic and contemporary Northwest coast native art. Including traditional potlatch masks, basketry, shamanic devices, button blankets, totem poles, artefacts, and much more.

“place of the shoaling waters”

The region now known as Esquimalt was settled by First Nations people approximately 400 years before the arrival of Europeans. The treaties of the Hudson’s Bay Company, signed in 1843, refer to these people as the Kosampsom group, though they are now known as the Esquimalt Nation. The word Esquimalt

is a transliteration of “Ess-whoy-malth,” a phrase usually translated as “place of the shoaling waters.” The Songhees people (then called Songish), who now have a reserve in Esquimalt, were originally located on the western shore of what is now Victoria Harbour, but were relocated in 1911. Both nations spoke a North Straits Salish dialect called Lekwungen (which is also an alternate name for the Songhees). Photo: Songhees Potlatch, (BC Archives F07618)

ONE MOON GALLERY

“the Salish Sea” SIDNEY

Rich in Coast Salish history and spectacular scenery, the Gulf Islands are a group of small islands located just off the coast of Southern Vancouver Island, BC. Coast Salish First Nations lived a semi-nomadic existence off the bounty provided by the sea and lands of this area. More and more you’ll hear the Gulf Islands region referred to as “the Salish Sea,” in recognition of its original inhabitants. Saanich people were previously nomadic and camped at various places on the Saanich Peninsula and the Gulf Islands in order to benefit from the various habitat and wildlife at these different locations. The proof lies in the burial sites and artifacts that are found when new development is in progress.

TSEYCUM CANOE TOURS

INDEX

A

Aboriginal Journeys 123

Adams, Norma 73

Adams, Primrose 73

Ahtsik Native Art Gallery 131

ALCHERINGA GALLERY 149

ALERT BAY 117

Alert Bay 109

Alexander, Cherish 40

All About U Arts 89

Anderson, Merle 71, 73

Art of Man Gallery 154

Auckland, Titus 33

B

BC Archives 151

BC First Nations Spirit Pole 142

Bell, Lawrence 150

Bellis, Billy 102, 104

Bellis, Carrie Anne Vanderhoop 71, 73

Bennett, Georgia 71, 73

Bennett, Joyce 64, 66

Bennett, Robert 70, 72

Best Western Tin Wis Tofino 138

Bevan, Stan 36

Blackfish Gallery 52

Blue Raven Gallery 146

Bob, Dempsey 36, 39

Boyko, Tim 99

Broughton Archipelago 115

C

CAMPBELL RIVER 123

Carty, Christine 65, 67

Cedar House Gallery 133

CHARLOTTE CITY 79

Charlotte City 61

Child, Mervyn 114

Churchill, Delores 76

COASTAL CARVINGS GALLERY 139

Coast Salish Nation 141

Coombs 109

Cowichan First Nation 145

Cowichan People 141

Cross, Nelson 102

DDavidson, Ben 88, 89, 106

Davidson, Reg 78

Davidson, Robert 39, 77, 78, 107

Delgamuukw Court Case 30

Dick, Gordon 131

Diesing, Freda 39 E

Edward, Joe 144 F

Friendly Cove, BC 125

Full Moon Photo 88

GGarza, Dolly 96

Giitsxaa 98

Gitanyow 28

Gitselasu 43

Gitxsan 27

Gladstone, David 150

Greene Jr.,Tom 103

HHageman, Lisa 84

HAIDA GWAII

CHARLOTTE CITY

Sea Raven Motel & Gift Shop 79

MASSET

Haida Raven Gallery 63

KWAA KWII 67

OLD MASSET

Sarah’s Haida Arts & Jewellery 69

SG

Gwaii Haanas National Park Reserveand Haida Heritage Site 86

SGang Gwaay Linagaay

Gwaii Haanas National Park Reserveand Haida Heritage Site 86

SKIDEGATE

All About U Arts 89

HAIDA EXPEDITIONS LTD 91

Haida Gwaii Museum 84

Haida Heritage Centre 81

Keenawii’s Kitchen 92

LONGHOUSE Gift Shop 90

NorthwestCoastBooks 80

OCTOPI INK Cottage Rental 92

TLELL

JASON SHAFTO PHOTOGRAPHY 81

Haida Gwaii 53

Haida Rose Café & Roaster 72

Haisla people 51

Harris, Walter 30

HART, JIM 64

Heron, Dean 32

Humpherville, Jerett 139

Humpherville, Ken 139

Hunt, Henry 150

Hunt, Tony 39, 150

Hupacasath First Nations 131

JJack, Joe 144

Jack, Virginia 144

Johnny, Stella 144

Jones, Russ 93

K

K’ómoks 127

Keenawii’s Kitchen 92

Kelly, Henry 32

Kispiox Village 27

Kitamaat Village 51

Kitsumkalum 46

Kwaguilth First Nations 123

Kwakwaka’wakw 117, 121

Kwakwaka’wakw dances 118

Kwatiulth Nations 142

Kwisitis Interpretive Centre 133

L

Lekwammen People 149

Lewis, James H. 40

Liddle, Marlene 65

Lodge at Gold River 126

Lootaas 85

Louie, Evelyn 144

MMalesku, Val 95

Malesku, Wendy 98

Martin, David 150

McKay, Geo 33

McNeil, Jacqueline 33

McNeil, Ken 36

Meares Island 135

Moody, Garner 99

Moody, Victoria 99

Mowachaht/Muchalaht people 125

Muldon, Earl 20

Mungo Martin House 150

N

National Aboriginal Achievement Award 39

Native Basketball Tournament 58

Newman, Carey 142

Nisga’a 53

Nisga’a Museum 49

Nole, Jamie 40

Nuu-chah-nulth 131

Nuu-chah-nulth Archaeological Sites 132

Nuu-Chah-Nulth People 135

O

OKANAGAN OSOYOOS

Nk’Mip Desert Cultural Centre 11

Olson, Roberta 92

P

Pacific Rim National Park 135

Paul, Tim 150

Perreault, Gordon 151

Peter, Milissa 144

Price, Norman 103

R

Reid, Bill 85

Rice, Herb 145

Rice, Ron 142

Robinson, Sammy 51

Royal BC Museum 150

Royal British Columbia Museum 39

Russ, Teri 67

S

Savard, Cori 70

Sawyer, James 64

SKEENA VALLEY

GREENVILLE

Lagalts’ap Carving Shed 47

Nisga’a Museum 49

HAZELTON

‘Ksan 21

Sebastian Native Arts 19

KISPIOX

Gitwangak Battle Hill National Historic Site 30

Kispiox Village Walking Tours 26

Skeena Eco-Expeditions 29

KITIMAT

Blackfish Gallery 52

Sammy Robinson Gift Shop 51

KITSUMKALUM

Kitsumkalum Tempo Gas Bar 46

The House of Sim-oi-Ghets 45

PRINCE RUPERT

Crest Hotel 53

Native Basketball Tournament 58

TERRACE

Freda Diesing School of Westcoast Art 37

Gallery at the George Little House 34

Kitselas Canyon National Historic Site 41

Waap Galts’ap Community House 31

Wilp Simgan Carving Shed 35

Spirits of the West Coast Native Art Gallery 113

Stephens, Todd 32

T

T’sasala Cultural Group 117

Tait, Alver 47, 50

Titus Auckland 33

Tla-o-qui-aht First Nations 131

Tla-o-qui-aht Village of Opitsaht 135

Tlingit Country 53

Tommy, Maureen 144

Tsimshian People 51

U’mista Cultural Society 119

V

VANCOUVER

EASTSIDE

NEC Native Education College 15

VANCOUVER ISLAND

ALERT BAY

Culture Shock interactive gallery 117

U’MISTA CULTURAL CENTRE 120

BROUGHTON ARCHIPELAGO

Da’naxda’xw Cultural Tours and Campground 121

Tsatsisnukwomi 121

CAMPBELL RIVER

Aboriginal Journeys 123

Museum at Campbell River 124

Wei Wai Kum House of Treasures 124

COOMBS

COASTAL CARVINGS GALLERY 139

COURTNEY

I-Hos GALLERY 127

COWICHAN BAY

Coast Salish Journey 145

DUNCAN

Authentic Native Cuisine 141

Judy Hill Gallery 142

Quw’utsun’CULTURAL AND CONFERENCE CENTRE 140

ESQUIMALT

ONE MOON GALLERY 155

PORT ALBERNI

Ahtsik Native Art Gallery 131

PORT HARDY

Kwakiutl Art of the Copper Maker Gallery 111

Port Hardy Museum 110

PORTMCNEILL

Just Art 116

Mothership Adventures 115

Gwa’ni (Nimpkish) Hatchery 116

QUADRA ISLAND

Nuyumbalees Culture Centre 130

Tsa-Kwa-Luten Lodge 129

SIDNEY

TSEYCUM CANOE TOURS 156

SOOKE

Blue Raven Gallery 146

SOOKE HARBOUR HOUSE 149

SOOKE REGION MUSEUM 147

tale of the whale 148

TOFINO

Best Western Tin Wis Tofino Hotel Resort 138

Eagle Aerie Gallery 135

House Of Himwitsa 134

TLA-OOK CULTURAL ADVENTURES 137

UCLUELET

Du-Quah Gallery 132

Cedar House Gallery 133 VICTORIA

ALCHERINGA GALLERY 149

Cowichan Trading 152

Out Of The Mist Gallery 154

Royal B.C. Museum 152

Sasquatch Trading 152

The Eagle Feather Gallery 151

Thunderbird Park 150

Vandal, Gladys 95

Vanderhoop, Evelyn 76

Vickers, Roy Henry 136

Vogstad, Robert 94

W

We-Wai-Kai of Cape Mudg 129 WEST VANCOUVER HORSESHOE BAY

Sun Spirit G A L L E R Y 5

Williams, Gregory N. 105

Wilson, Cooper 70

Wilson, Dora 144

Wilson, Joey 144

Wilson, Martina 144

Wilson, Wayne 103

Y

Young, Sylvia 98 Yuquot 125

An island of artists. It has been many months now since I returned from the mist-shrouded ‘Island of Artists’ off the west coast of British Columbia, and the vast land to the north known as the Alaskan Panhandle. I have had time to reflect on the wonderful people I met along the way, and how I finally found myself on a ten seater float plane high above Hecate Strait on my way to the mystical village of Masset, some seven weeks after my departure from Vancouver. What happened to me during those seven weeks and the two weeks that followed on the ‘Island of Artists,’ was nothing short of amazing and an experience that I will cherish forever.

My original plan had been to visit the new Haida Heritage Centre at Kaay Llnagaay in Skidegate but the morning after I arrived in Prince Rupert on Air Canada Jazz Flight 203 my plans changed drastically. I found myself about to embark on another adventure of a lifetime. The Alaska Marine Highway Ferry arrived in Prince Rupert the next morning and I stepped on board.

I saw more than Alaska. I had always wanted to see Alaska and see Alaska I did! I spent a week each in Ketchikan, Sitka, Juneau, Haines and finally Anchorage. I left Anchorage on October 30 and arrived back in Prince Rupert on November 1. Once back in Prince Rupert, the weather was still quite mild, so I took a chance and headed east to Terrace for a week and then to Hazelton. I had in mind that I wanted to be on the ‘Island of Artists’ for my birthday (November 22), but how could I get back to Prince Rupert and then to Haida Gwaii safe and sound, with the least amount of wear and tear on my body and soul? That was the challenge. I decided to take the train. After all my other adventures on this trip, I was so happy that I wasn’t going to miss out on finally going to Haida Gwaii. So I affectionately dubbed the train:

‘The Train to Haida Gwaii’

WARFLEET PRESS

Long before explorers arrived, the Northwest Coast was one of the most densely populated areas of North America. Prince Rupert lies at the heart of the traditional territory of the Tsimshian First Nation This territory is bordered by the traditional lands of the Gitxsan, Nisgaʼa, Haida and Heiltsuk people, many of whom today make their home in Prince Rupert as well as in their traditional communities along the coast. For countless generations these communities presented the familiar line of post and beam cedar houses along the forestʼs edge in sheltered bays, with magnificent canoes drawn up on the beach and tall crest poles telling the story of each house and family-and though there are similarities between the nations, each spoke a distinct language and led a unique way of life The monumental art of the Northwest Coast cultures, today famous around the world, reflected the beliefs of the first people in the interconnectedness of all things, and the strength of family networks. Northwest Coast nations are best known for their monumental art, and you will see towering totem poles in Prince Rupert and throughout the region. Often, as impressive as the poles, is the commanding backdrop of their original locations Visitors are welcome to visit First Nations communities, and are sure to find the journey to be almost as pleasant as the destination. Each place is unique and whether you travel by air, water or road, the scenery is breathtaking

Many of the most famous Northwest Coast artists live and work in Prince Rupert. You will find original sculpture, prints, and jewellery, and possibly be able to observe artists at work.

Many visitors begin their exploration of the Northwest Coast at the longhouse-style building that houses the Museum of Northern B.C. As you explore the museum galleries you will discover the rich diversity of Northwest Coast nations and their unique ceremonial art The Museumʼs new Longhouse also allows visitors to experience the living culture of the First Nations of the Northwest Coast. Here visitors can join in a rich legacy of ancient drama, dance and song