By exchange

Rasmussen Collection of Northwest Coast Indian Art; Gift of the Native American Art Council.

Worn during the winter ceremonial dances that accompany a potlatch feast, this mask represents the prestigious inherited privilege of a high-ranking individual. The layers of commercial paint reveal that this mask was repainted at a later date, perhaps to refurbish it when passed to a new owner, a hamat’sa society initiate dancer. Masks such as this one are still carved and worn in dances by Kwakwaka’wakw artists and inheritors of this privilege. Ironically, at the time of its creation, First Nations’ ceremonial practices, including the dancing and display of this headdress, were illegal under Canadian law. The artists working during those arduous years of forced assimilation and oppression are celebrated for carrying on traditions that continue in practice today.

By exchange

HAIDA DANCE FOR TOTEMS TO TURQUOISE (AMNH, NEW YORK, NY, USA, 2004)

This highly decorated stem is the center of what would have been a three part pipe.First a mouthpiece, then this section , then a bowl, probably steatite or catlinite (pipestone).

Northern Plains area. The drum has a red painted patch glued onto drumhead. The design is a buffalo with a zigzag line around it but no power lines emanating directly from the buffalo. There are red areas of pigment on drumhead. Wool and hide fringe dangles from drum. Remnants of silk ribbons are attached with nails along the edge. It has a knot in the hide ties in the middle back. This was possibly made as a showpiece as would have been very awkward to hold and play. This is a drum that would have ceremonial significance These are specialized.

This mask may be part of the Nuu-chah-nulth "wild man" dance performances.