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Kwakwakaʼwakw arts consist of a diverse range of crafts, including totems, masks, textiles, jewellery and carved objects, ranging in size from transformation masks to 40 ft (12 m) tall totem poles. Cedar wood was the preferred medium for sculpting and carving projects as it was readily available in the native Kwakwa̱ka̱ʼwakw regions.
Transformation masks are complex, intricately built masks designed to depict the dual nature of mythological beings. The Kwakwaka'wakw carried this art to its highest form. [ 15 ] The masks are used in dances, where the dancer may "open" the mask via a series of strings in order to reveal a second figure, usually a "human" mask concealed within ...
A transformation mask, also known as an opening mask, is a type of mask used by indigenous people of the Northwest Coast of North America and Alaska in ritual dances. These masks usually depict an outer, animal visage, which the performer can open by pulling a string to reveal an inner human face carved in wood to symbolize the wearer moving ...
Totem poles, a type of Northwest Coast art. Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
Seaweed's masks acted as visual aids to tell a narrative, some containing moveable jaws or hidden wooden hair tendrils that allowed the masks to transform throughout the performance. [ 9 ] : 98 The Kwakwaka'wakw's winter Hamatsa ceremony was especially elaborate, and the majority of native artwork, including Seaweed's, was meant to be displayed ...
Iroquois oral history tells the beginning of the False Face tradition. According to the accounts, the Creator Shöñgwaia'dihsum ('our creator' in Onondaga), blessed with healing powers in response to his love of living things, encountered a stranger, referred to in Onondaga as Ethiso:da' ('our grandfather') or Hado'ih (IPA:), and challenged him in a competition to see who could move a mountain.
Mask of Dzunukwa face (Museum of Anthropology at UBC) Dzunuḵ̓wa (pronounced "zoo-noo-kwah"), also Tsonoqua, Tsonokwa, Basket Ogress, is a figure in Kwakwakaʼwakw mythology and Nuu-chah-nulth mythology. Dzunukwa holding tináa (copper shields) outside the Burke Museum of the University of Washington, Seattle, WA
Kwakiutl Art by Audrey Hawthorn; Chief James Wallas. Kwakiutl Legends. ISBN 0-88839-230-3. Hamatsa: The Enigma of Cannibalism on the Pacific Northwest Coast by Jim McDowell; Chiefly Feasts: The Enduring Kwakiutl Potlatch by Aldona Jonaitis; Aldona Jonaitis (1998). From the Land of the Totem Poles. University of Washington Press. ISBN 0-295-97022-7.