Visit the Residences of...
|
Along the Pacific's District of
Northwest Islands and Bays
Chief:
A rest station has been set up at the NW Trading Post.  The Northwest Coastal Indians lived in what is now Alaska along the Pacific Ocean down the coast to Northern California. This was a rugged strip of land with many small islands, deep inlets, and narrow beaches. The mountains rise to the shore in many places. Thick forests of spruce, cedar, and fir dominate the area supplying and endless supply of wood. Many rivers and streams cross the land. By the 1750’s more than 100,000 Indians lived in this area because it was richer in natural resources than any other area of North America. Homes Most villages consisted of large rectangular houses. Each housed 30 to 40 people. They were made by covering large beams with planked sides gabled in the north. The posts were often decorated with carved figures. The earth floors were divided by woven mats into family units. Several families lived in one of these large structures. Each family was allowed a space about the size of a barn stall. Each family had its own fire, but cook fires in the center of the building were shared. Farther south the homes had low conical roofs. In the north sweat houses were built for both men and women, and for men only in the south. Large totem poles carved from tree trunks stood in front of the homes. The totem poles showed the titles of the head of the household.  Dress The Northwest Coastal Indians wore little clothing. Except for on long journeys they went barefooted. The men wore basketry or fur hats. They wore fiber rain capes and skin robes. The men wore breech clouts. The men tattooed their arms and hands for measuring dentalium. Dentalium was a shell that was strung together and used as money. The women living in the Washington area wore fringed cedar-bark or goatskin skirts. In other places the women wore fiber string aprons or fore-and-aft skin aprons. The women wore basketry hats, rain capes, sleeveless jackets, and some skin robes. Some women tattooed their chins. The fiber clothing was made from woven strips of bark. Food The Northwest Coastal Indians could catch enough fish during the summer salmon run to feed themselves for the whole winter. The Indians also caught a variety of food from the sea including halibut and cod. The ate clams, crabs, seals, sea otters, sea lions, and whales. The men hunted land animals including bear, caribou, deer, elk, and moose. In some areas mountain goats could be found. The women gathered roots, berries, seaweed for salt, nuts, fungus, acorns, and camas bulbs. Blueberries and huckleberries were some of the favorite berries. Customs The Northwest Coastal tribes occasionally gathered together for a potlatch. The person hosting the potlatch gave away as many gifts to his guests as he could. This showed he was wealthy. These ceremonies could last for days. Singing, dancing, and story-telling were part of the celebration. vői: The Potlatch is a ceremony in which masks are used to interpret a series of songs, dances and rituals. The use of masks in traditional dance ceremonies has long played a vital role in preserving the stories, privileges, status, and responsibilities of their owners. It is in the context of the Potlatch ceremony that the Kwakwaka’wakw give meaning to the purpose of their existence in the universe. It occurs during the Winter Ceremonies. It is when they observe themselves in relation to the Sky World, the Undersea World, the Mortal World, and the Spirit World. This highly sacred event is centered on the establishment of social claims and involves the distribution of hospitality and gifts. Totem poles were often ceremonially erected to mark these occasions. The dances, songs and theatrical performance demonstrate special inherited privileges, and the performances are witnessed by invited guests, often from other tribal areas. The Potlatch is the defining instrument of the great order of things, past and present and yet to come. Singing, dancing and potlatching are the ceremonies, which create the traditional impetus for the making of masks, drums, rattles and other regalia, and by participating in them physically, the artists experience the cultural and spiritual as well as aesthetic value of their work. The Northwest Coastal Indians took slaves. Slaves were a sign of wealth. Children were kept close to their camp for fear that they would be stolen by another tribe and become a slave. Tools/Weapons  Northwest Coast Tools Only two tribes of Northwest Coastal Indians, The Makah and Nootka, hunted for food in the sea. They built great seagoing canoes. Some were more than 60 feet long. They built the canoes from the trunks of huge cedar and redwood trees. The canoes could hold as many as 60 men. The Makah and Nootka often carved elaborate pictures and painted designs on their canoes. The Inuit built large boats called an umiak. The umiak was about 30 feet in length. When a whale was spotted the chief was the first to strike it with his harpoon. Then the others joined in. After the whale died, the Indians tied its mouths shut so the whale’s lungs couldn’t fill with water. The whale would become heavy and sink if this were to happen. The whale was then towed back to shore. Once the whale was pulled to shore, it was cut up. The meat was divided. The whale also was a source of oil and the bones were used for various tools. An entire tribe could live for a whole year on two to four whales. Art The Northwest Indians believed that each of their clans were closely related to a particular animal. Common animals were the raven, thunderbird, eagle, wolf, killer whale, and bear. These animals were used as designs for many objects. The designs were sometimes flattened or bent to the shape of the object it was being placed on. Parts of the animals were drawn in squared ovals and solid, curved u-shaped sections. The Northwest Coastal Indians carved and painted wooden masks. These were used in dances during ceremonies. The dances acted out legends of ancestors and family origins. Sometimes the masked dancers appeared through trap doors or swung through the air on rope to look like they were flying. The ceremonies were held in elaborate settings. When the dancers put on masks they took on the personality of the spirit the mask represented. Guardian Figures Carved human figures were also used to both protect areas of sacred ground and serve as effigies with which to remember the dead. At the burial ground for whalers, who were considered the bravest of hunters, human effigies stand clustered together among the skulls of the dead. 
Northwest Indians - Did you Know? Some tribes used to flatten the heads of newborn babies to make them more beautiful. The child was placed in a machine for about 10 to 12 months that would compress the forehead. Girls were put in the machine for longer. When they were released, the heads of children were not more than two inches thick above the upper edge of the forehead About some Northwestern tribes: WEST COAST (NOOTKA)The West Coast Nation’s style of design is flowing and flexible with a strong angularity. Form lines are fluid with no tight control. Their obvious difference from the northern style is their tendency to leave blank areas open and not fill them with elements of design. West Coast dance masks have a large mouth and pronounced, aquiline nose. The reason for this is that in West Coast dances the dancer keeps a profile to the audience. Face painting has its influence on the decor of the mask as it is often emulated in the representations of the animals. This signifies the creature’s supernatural ability to transform from animal to human at will. Silver and gold pigments made an appearance in the work of the Coast Salish shortly after the arrival of the Europeans.KWAKIUTLThe Kwakiutl are known for applying their magnificent mythologies to dramatic masks and extravagant totem poles. The supernatural bird masks, such as the powerful Thunderbird and Kolus are Kwakiutl creations. The Kwakiutl sun mask with its embellished rays is a popular image. The animal and human forms depicted often have a great deal of realism. The masks, totems and other carvings have deeply cut areas, creating a more three-dimensional effect. Attachments, such as fins, beaks and wings are another characteristic of their style, which leans towards as much true representation of the subject as possible. Transformation masks are elaborate inventions of Kwakiutl design; as are the enormous beaks of the Cannibal raven birds, which clap, open and closed during the dance ceremonies. The Kwakiutl were quick to apply the many different colours brought by the Europeans while still adhering to black as the primary colour used on the outlines. They generally stay within the traditional style of their crest art. Ceremonial life continues to be vibrant and alive in communities such as Alert Bay, which is a hotbed for talented Kwakiutl artists.HAIDAThe Haida Nation is located primarily in the Queen Charlotte Islands. The powerful art of the Haida is, perhaps, the best known Northwest Coast cultural style. The designs are bold and uncluttered with a monumental weight that carries through in even the miniature argillite sculptures. Balance and symmetry are strong characteristics of Haida art. There is a classic, flowing use of line in the ovoids which is shared with the northern work. The body proportions show similarities to northern style as well, with the head of the figure often occupying half of its length and size. Large ovoids are used to construct the body in their painted prints. Blank spaces are never left unadorned. The classic and traditional colours of black and red are predominantly used by Haida print makers. TLINGITThe Tlingit occupied the areas of Northern British Columbia and Alaska. They had much in common with their Haida neighbours and traded extensively with them. Their painting style was similar to that of the Haida and they are generally both considered the northern style. They still practice silk-screen printing. The Tlingit are credited as being the first to construct community houses in traditional style. These House fronts were painted and adorned with totem poles.TSIMSHIANNorthwest Coast art is thriving today in K’san Village, near Hazelton, where design styles of the old traditions are being studied and applied by the new generation of artists. Exceptionally skilled silk screen designers are creating fine work that illustrates the ancient legends of their people. Tsimshian is the collective under which the Gitksan and Nisga'a people are termed. Tsimshian art has a look that is crisp and clean. They create in a tradition of precision and linear refinement. The human figures are lifelike and often depicted expressing emotion. Their art is very personal and positive. Animals and inanimate objects are widely depicted. A defining characteristic of Tsimshian art is that the linear elements are often detached from the main body of the design. The resulting effect is action and vigorous movement. The Tsimshian are similar to the Kwakiutl in their ceremonial art. Their dancers and singers are beautifully adorned in lavish masks and costumes.sources: Northwest Coast Tools (artwork by Gordon Miller) - http://www.thecanadianencyclopedia.com/ About some Northwestern tribes - http://www.coastalarts.net/site/culture/ Guardian Figures (text) - http://www.boundingwarrior.com/history/ Northwest Indians - Did you Know? - http://www.kidzworld.com/site/p1387.htm Pictures from the book "Indiaanlased" by Larry Zimmerman and from Wikipedia  
Built by Lipset YellowStar
The Articles of Northwest Islands and Bays:
Sort by: Featured Date | |
The Discussions of Northwest Islands and Bays:
|
