Brooklyn Museum Collection

Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwak waka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.

Brooklyn Museum Collection

Bequest of W.S. Morton Mead

Mask in the form of an animal, possibly a wolf, dog or bear, with separate pointed ear attachments (the proper left ear has a section missing) and a protruding snout. It is painted with black, red, and white pigments. Under the chin is a white leather tassel that is secured by a knot inside. On both sides of the mask are holes, probably for wearer to secure object. There are two holes in the eyes and nose. The mouth is partially open revealing two sets of sharp teeth towards the front. The object is in fair and stable condition. There are nine reattached fragments along the proper left edge as well as two reattached fragments at the top of the head. There are indications of old insect damage and loss of wood around the mask's edges and base. The leather tassel is dry. Note: although this photogrpah show the mask as 'blue' the paint has darkened to where it looks black. Would be a good conservation example to clean.

Brooklyn Museum Collection

This kachina is wearing a long, painted dress, tall hide boots. He is carrying a bow and a small, striped bag in his proper left hand.

Stewart Culin provided the name Kjaklo for this particular kachina doll, which may not be accurate. Now identified as Kiaklo. Feathers are tied to the top of his head. His white face has painted dashes extending out from the bottom of each small eye in three different directions. On one side of his head is a small horn-shaped ear. The kachina is wearing a two-piece textile dress and sash, upon which are painted geometric designs. Around neck are a feather ruff and a disproportionately large shell amulet. Wrists are tied with colored yarn. In proper right hand is a small wooden bird- probably a duck. On kachina's feet are high, long-fringed leather boots, tied at the top with yarn. See the long story about Kiaklo in "Kachinas of the Zuni"pgs. 51-53.by Barton Wright. Involves Kiaklo searching for the middle, being counseled by Duck, and offering to guide him (he had become blind) if he put his shell around Duck. He appears every four years at the initiations of young boys ensuring they are initiated into the Kachina cult and preparing the way for the Salimopea and Kolowisi. The kachina doll is in stable and good condition; however, garment decorations reveal some paint losses. Leather is stiff and appears brittle.

The paint is black, white, and red. The fur is white. The felt is red and black. The string is red. The thread is red and black.

The paint is black, red, and green.