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Performing Archive Main Menu Visualizing the “Vanishing Race”: the photogravures of Edward S. Curtis Front Page for Visualizing the "Vanishing Race" path Curtis' Image and Life: The Network of The North American Indian, Inc. An experiment with data visualization approach to understand and contextualize Curtis' images and his life Media, Technology and Mediations Curtis's Technology, Relationships to Media and Style Contextualizing Curtis, The North American Indian, and Race the collection of essays from the contributors Consulting with Tribes as Part of Archive Development Introduction to Consulting with Tribes by Ulia Gosart Contributing Archives Information on how to participate in Performing Archive Browsing the Media A path of paths that allow users to cut through the collection in a variety of ways. Acknowledgements and Project Information Project Network

Yakotlus - Quatsino, profile

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Kwakiutl Erik Loyer
Contents of this path:
1. Qa'hila - Koprino
2. Mowakiu - Tsawatenok
3. In Kwakiutl waters
4. Koskimo house-post
5. Kwakiutl house-frame The two long beams in the middle are twin ridge-timbers, which are supported in the rear, as in the front, by a transverse beam resting on two uprights. At the extreme right and left are the eaves-timbers. The longitudinal and circular flutes of the columns are laboriously produced by means of a small hand-adze of primitive form. This frame is at the village Memkumlis. Another view is given in the illustration facing page 36. Kwakiutl houses are discussed on page 6.
6. Yakotlus - Quatsino, profile
7. Rounding into port - Qagyhl The primitive Kwakiutl sail for canvas was a sheet of cedar-bark matting, and on catamarans a large, square section of thin boards was propped up against the wind. Canvas is now used. The painting on the canoe at the left represents "sisiutl", the mythical double-headed serpent. The carved figure-heads of the middle canoe and the one on the right are respectively an eagle and a bear. The bear canoe is further embellished with highly conventionalized paintings of the head, flipper and tail of a whale.
8. Qagyuhl village at Fort Rupert This village of Tsahes was founded in 1849, when the tribe abandoned Kalokwis, on Turnour island, in order to be near the Hudson's Bay Company post which was then established at Fort Rupert, on Vancouver island. The heraldic column in the foreground commemorates the legendary history of a Tsimshian family. Its presence in the Kwakiutl settlement is due to the following circumstances: A party of Seattle men, cruising in Alaska, innocently removed a totem pole from what they supposed was an abandoned village, and placed it in a public square of their city. In reality the inhabitants of the Alaskan village were only temporarily absent, and when they returned and learned of the spoliation, there was a many-voiced protest, the echoes of which finally reached even Fort Rupert. Here was living a prominent member of the wronged family, the aged Tsimshian widow of a former employee of the Hudson's Bay Company. In order to wipe out the stain in the family name, she had a local carver produce a totem pole according to her description of the lost one, and cause it to be erected at the house of her eldest son's eldest son.
9. A Kwakiutl canoe
10. Devil Fish Mask - Kwakiutl
11. Love Song - Kwakiutl
12. Morning Song - Kwakiutl
13. Nursery Song - Kwakiutl
List of Large Plates Supplementing Volume Ten Erik Loyer
Contents of this path:
1. Painting a hat - Nakoaktok The painter is clad in a short, seamless, cedar-bark cape, which is worn for protection from rain. That she is a woman of wealth and rank is shown by the abalone-shell nose-ornament and the gold bracelets, no less than by her possession of a "chief's hat". These waterproof hats, of a form borrowed from the Haida are made of closely woven shreds of fibrous spruce-roots, and are ornamented with one of the owner's crests - a highly conventionalized painting of some animal or mythological being.
2. Carved posts at Alert Bay
3. Qa'hila - Koprino
4. Mowakiu - Tsawatenok
5. Hamasaka in Tlu'wulahu costume with speaker's staff - Qagyuhl The principal chief of the Qagyuhl is depicted in a "button blanket" (which is simply a woollen blanket ornamented with hundreds of large mother-of-pearl buttons), cedar-bark neck-ring, and cedar-bark head-band. His right hand grasps a shaman's rattle, and his left the carved staff which, as a kind of emblem of office, a man always holds when making a speech. The button designs along the edge of the blanket represent "coppers" (see page 144). The tlu'wulahu ceremony is described on page 243 of Volume X.
6. Nakoaktok chief's daughter
7. Siwit - Awaitlala
8. Kotsuis and Hohhuq - Nakoaktok
9. Coming for the bride
10. Chief's party - Qagyuhl
11. On the beach - Nakoaktok
12. In Kwakiutl waters
13. Koskimo house-post
14. Gathering abalones - Nakoaktok
15. Kwakiutl house-frame The two long beams in the middle are twin ridge-timbers, which are supported in the rear, as in the front, by a transverse beam resting on two uprights. At the extreme right and left are the eaves-timbers. The longitudinal and circular flutes of the columns are laboriously produced by means of a small hand-adze of primitive form. This frame is at the village Memkumlis. Another view is given in the illustration facing page 36. Kwakiutl houses are discussed on page 6.
16. Wedding party - Qagyuhl
17. Quatsino Sound
18. Yakotlus - Quatsino, profile
19. Yakotlus - Quatsino
20. Group of winter dancers - Qagyuhl
21. Fire-drill - Koskimo
22. Nimkish village at Alert Bay The figure at the bottom of the column in the foreground, with the painting on the front of the house, represents a raven. When a feast or a dance is to be held in this house, the guests enter through the raven's beak, the lower mandible of which swings up and down on a pivot. When a guest steps beyond the pivot, his weight caused the beak to clap shut, and thus the mythic raven symbolically "swallows" the tribesman one by one. A view from the other end of this street is shown in the illustration facing page 8, Volume X.
23. Masked dancers in canoes - Qagyhl, A
24. Rounding into port - Qagyhl The primitive Kwakiutl sail for canvas was a sheet of cedar-bark matting, and on catamarans a large, square section of thin boards was propped up against the wind. Canvas is now used. The painting on the canoe at the left represents "sisiutl", the mythical double-headed serpent. The carved figure-heads of the middle canoe and the one on the right are respectively an eagle and a bear. The bear canoe is further embellished with highly conventionalized paintings of the head, flipper and tail of a whale.
25. Qagyuhl village at Fort Rupert This village of Tsahes was founded in 1849, when the tribe abandoned Kalokwis, on Turnour island, in order to be near the Hudson's Bay Company post which was then established at Fort Rupert, on Vancouver island. The heraldic column in the foreground commemorates the legendary history of a Tsimshian family. Its presence in the Kwakiutl settlement is due to the following circumstances: A party of Seattle men, cruising in Alaska, innocently removed a totem pole from what they supposed was an abandoned village, and placed it in a public square of their city. In reality the inhabitants of the Alaskan village were only temporarily absent, and when they returned and learned of the spoliation, there was a many-voiced protest, the echoes of which finally reached even Fort Rupert. Here was living a prominent member of the wronged family, the aged Tsimshian widow of a former employee of the Hudson's Bay Company. In order to wipe out the stain in the family name, she had a local carver produce a totem pole according to her description of the lost one, and cause it to be erected at the house of her eldest son's eldest son.
26. Koskimo woman
27. Dancing to restore an eclipsed moon - Qagyuhl
28. Sailing - Qagyuhl
29. Wedding guests
30. Masked dancers - Qagyuhl The plate shows a group of masked and costumed performers in the winter ceremony. The chief who is holding the dance stands at the left, grasping a speaker's staff and wearing cedar-bark neck-ring and head-band and a few of the spectators are visible at the right. At the extreme left is seen a part of the painted mawihl through which the dancers emerge from the secret room; and in the centre, between the carved house-posts, is the Awaitlala hams'pek, showing three of the five mouths through which the hamatsa wriggle from the top to the bottom of the column. See page 175 and footnote.
31. Passing a dreaded point
32. Inland waterway
33. Bridal group
34. Masked dancers in canoes - Qagyuhl, B
35. Tsulniti - Koskimo
36. Chief's daughter - Nakoaktok