Skip to main content

Statement against the Cultural Appropriation of the Kwakwaka'wakw

By
A solid friend with several familial links has written the following statement to which I have received permission to post on this blog. Cultural appropriators beware!

____________________________________________________

Gilakas’la Nał’namwiyut / Welcome Friends

I have been asked to write a statement on behalf of my fellow artists and Kwakwaka’wakw “Kwakwala Speaking People” relations. Our nation would like to share our feelings about people who imitate our traditional art forms and label their work as coming from our respected tribes.

Kwakwaka’wakw artwork, which includes carving, painting, designing, weaving, singing, dancing and story telling, are traditions that have been passed on amongst our nations from generation to generation from the beginning of our existence. The teaching of these “talents” or “skills” or as we call them “gifts”, are through mentorship and only select people are chosen to apprentice. Young people, who are recognized as carrying “natural talent” or gifts, are often selected or taken to a master in the specific art form and groomed to fulfill that role. Only chosen students, especially in earlier times, are allowed to learn these skills that we as Kwakwaka’wakw consider sacred.

As with many of our sacred teachings, artwork was done in secrecy. Only members chosen to learn these skills were allowed to witness their teachers at work. To the Kwakwaka’wakw, especially the artwork of creating masks, regalia and designs for ceremonial use are sacred and only brought out during the appropriate ceremonies.

We as Kwakwaka’wakw honour our neighbouring villages and tribes and do not duplicate or create artwork that does not belong to us or have not received proper permission from the rightful owners to do so. All Kwakwaka’wakw artwork represent crests and designs that belong to specific families who have inherited the right to create and wear these ancient symbols.

Our beginnings predate the Great Flood when we first transformed from our supernatural forms to our human state as we are today. We are taught that before the deluge, it was the mythical Raven named “Umeł”, that was the first supernatural creature to give us our first ceremony; and taught us how to make the regalia that is necessary for us to carry out this scared dance. We are still carrying on this tradition and our neighbouring tribes do not imitate or copy the rights and artwork that accompanies the dance. This is out of utmost respect for traditions that are scared to us, and were given exclusively to our forebears by the Creator.

Our ancestors were blessed with a beautiful art form that was bestowed upon us by the Creator. We find it necessary to inform people that there are other people not from our nations that imitate and duplicate our artwork especially for the commercial market. We want to encourage these people to search into their own traditions, as we would not disrespect them by copying their artwork and cultures. All people on this earth were given teachings and traditions that make us all individual and unique. When we are able to fully understand our roots and our own history, we are able to find “oness” within our spirits and souls; it is only then that we will be able to find balance and live in harmony with all things in this great universe.

We are respectfully informing people that there are traditional Kwakwaka’wakw artists that have been groomed and have the inherent right to carry on the legacy of creating authentic Kwakwaka’wakw artwork. We must protect these gifts and gifted people that we now call “artists”. Our art was given to our ancestors for us to express ourselves and identify who we are as Kwakwaka’wakw. Only we can truly continue this tradition, as we are the Kwakwaka’wakw.

He’am / That is all.

Chief Waxawidi - ‘Namgis Artist, Singer, Composer and Story Teller.

The U’mista Cultural Centre encourages all Collectors and Gallery Owners to refer to the following list of artists as those we verify as authentic Kwakwaka’wakw artists.

U’mista – the return of something valuable to the rightful owner.
Labels:

Most Popular

A brief look at the impact of the potlatch ban on the Kwakwaka'wakw

By
The Kwakwaka’wakw are located on the North East of Vancouver Island as well as part of the adjacent mainland. The traditional Kwakwaka’wakw diet includes salmon, herring, eulachon, halibut, berries and to a lesser extent, goats, seals, and porpoises. The Kwakwaka’wakw social structure was organized into extended family units or ‘na’mima, which means “of one kind”. Each ‘na’mima had ranked positions or offices that came with many responsibilities and privileges. There were approximately four ‘na’mima to each of the seventeen tribes. The Kwakwaka’wakw had a comprehensive and stable governing process prior to the Indian Act, in which they successfully managed limited resources, settled legal matters and disputes within a constantly evolving traditional culture. Despite the focused legislative campaign against the core of their identity, the Kwakwaka’wakw continue to thrive and practice the traditional ceremonies given to them by their ancestors. The Kwakwaka’wakw trace thei
Read more

Uqalurait - An oral history of Nunavut

By
I found the reading to be extremely interesting. This is the first time I have read about the Inuit as an oral accounting. As this is how it should be, I felt honoured to learn some history. I found the culture difference between the Inuit and the “Indians” they encountered to be especially important. I feel it further supports our rights as the First Nations of Turtle Island. The customs for the far north are different from the Kwakwaka'wakw and of course they would be. The dramatic differences in geography and spiritual beliefs warrants such variance. I found the spouse swapping of particular interest, simply because it was an aspect so far from current accepted Westernized culture that I actually re-read the section because I was so surprised. We have always acted in our own interests, had protocols and made love and war with the tribes around us. The romanticized Indian story is getting tired. We are nations coming together through much suffering, yet so far f
Read more

Book Review: Smoke from their Fires: the life of a Kwakiutl chief by Clellan S. Ford.

By
It is important to describe my familial connection to Charles James Nowell, a point that brought me to read this book and no doubt influenced my understanding of it. My Great Great Grandfather was Owadi (Thomas Nowell) and was born in 1840 and died in 1921. Owadi was Charles’ older brother who took the role of raising him because their father, Malitsas, went blind. The name Nowell came from an Englishman who wanted a godson in Canada. After being baptized the name Nowell was born. Owadi was the head chief of the first clan of the Kwixa tribe. Owadi’s grandfather (mother’s father) was the younger brother of Tlakodlas (Tlakwudlas), the head chief of the second clan of the ‘Namgis (41). My grandfather, Joseph Lewis Isaac, was the son of Dorothy Isaac (nee Nowell) and Benedict Isaac. Image: Great Great Grandfather O'wadalagalis (Thomas Nowell). Smoke from their Fires offers a very brief introduction to the Kwakwaka’wakw culture followed by a first-hand account by Charles of his
Read more

Sea Lice, Aquaculture and 'Namgis Resistance

By
Introduction It is important to introduce my background so that the reader can fully understand my position and where I come from. My lineage derives from the 'Namgis and Kwagu’ł First Nations of the Kwakwaka’wakw (Kwak’wala speaking peoples). The Kwakwaka’wakw are located on the North East of Vancouver Island as well as part of the adjacent mainland. The traditional Kwakwaka’wakw diet includes salmon, herring, eulachon, halibut, berries and to a lesser extent, goats, seals, and porpoises. The contemporary diet has recently integrated western foods to complement the collapsed fisheries that was heavily relied on and effectively stewarded for thousands of years (Heaslip, 2008). The Kwakwaka’wakw, described as the Salmon People, have witnessed profound differences since the fish farms started appearing in their territories (Cranmer, 1998). Some of these changes include blackened clam beds, increased sea lice infestation and sea vegetation changes (Richard et al, 2005). The 'Nam
Read more

Tsilhqot’in (Chilcotin) Landmark court decision

By
I asked a Tsilhqot’in friend to write about the how the court decision impacted his people and by extension all negotiating Kwakwaka'wakw Nations under the BC Treaty process. Russell is finishing up his Masters thesis in Indigenous Governance at the University of Victoria. His response is broken into several sections that outline the court case, how it impacts the BC treaty process and finally Russell's personal reflection on the subject. I want to extend my gratitude for this important piece of writing. It will be helpful in further understanding our position as a Nation negotiating under a illegitimate treaty process. _________________________________________ To Chiinuuks & people of the land I want to express my thoughts and share information concerning two divergences that have yet to converge. The BC Treaty Process and the Supreme Court decisions resemble two routes to playing politics in trying to gain recognition for the land that we still belong. While the province
Read more