The paint is black and green.

One of the most characteristic objects of Northwest Coast manufacture is the copper. Superficially resembling a shield, it had throughout the northern coast a place of high regard as an object of chiefly paraphernalia. Among most of the coastal people, and especially among the Kwakwaka'wakw, it was considered to represent monetary wealth. (Holm, Crooked Beak of Heaven, 1972)

Shell and beaver tooth knives were probably the aboriginal prototypes of the crooked knife of historic times. Knives with long handles and upward-curved blades meant to be drawn toward the carver were used over a good part of North America. The version of this man's knife common to the Northwest Coast typically has a short, double-edged blade with a gradually increasing curve mounted on the underside of a slim handle. (Holm, Crooked Beak of Heaven, 1972)

This figure stood on top of a pole that was erected in 1928 at the time the Fort Rupert Kwakwaka'wakw were called to a great potlatch at Blunden Harbor. The eagle was carved by Willie Seaweed, the chief of the Nakwakdakw, and was said to be watching for the arriving tribe. It is carved of red cedar and painted in black, red, yellow, and white. Much of the paint has weathered away, but enough remains to suggest its original appearance. (Holm, Crooked Beak of Heaven, 1972)

The paint is red, black, and white.

The paint is red, black, and green.

The presence of supernatural power is expressed in some of the Tseyka performances by the sound of whistles. The hamatsa in particular is known by his whistles, which his attendants blow whenever the power of Bakhbakwalanooksiwey becomes strong in him. His first approach to the village after his long absence, supposedly at the house of the cannibal spirit, is heralded by the eerie sound. Whistles are held secret and are never intended to be seen in use. (Holm, Crooked Beak of Heaven, 1972)

This mask represents one of the mythical human-eating birds that appear during the Hamatsa dances, the most important of the Tseyka dances. The appearance of these masks helps to calm and tame the initiate Hamatsa dancer, who has been possessed by the Cannibal Spirit. The dancer, hidden by a long fringe of red-dyed cedar bark, imitates the high-stepping actions of the bird, shouts the bird's call, and snaps the hinged beak loudly at important points of the dance. (Holm, Crooked Beak of Heaven, 1972)