The exact use of this staff is unknown. It was possibly used as a shaman's curing staff. It depicts a raven with a long beak and flattened wings along the side. (Photograph does not show the body or the long staff itself). Most of the greenish paint has come off.

This ceremonial plume would have been worn straight across the back of the head, stuck into a hair net. Curator Culin's informant, George, said that it indicated his rank as captain and it had been a gift to him. The raw materials are responsible for much of the effect of wealth and prestige. The larger piliated woodpecker does not live around Chico; its feathers must be traded in from the mountains. This pin employs sixteen of its scalps- a multiple of four, the sacred number. The manzanita wood for the shaft is especially hard and difficult to carve.

This Doctor's headdress was probably made by Dr. Hudson using gull feathers his wife gathered with special permission from the game warden. The Big-Head headdress or Kuksu shna, a ceremony involving the impersonation of a god. The feathers are attached to a twined redbud or dogwood framework, and a projecting snout, representing the long nose of the Kuksu spirit, is composed of short feathers attached to a stick. There has been some confusion as to if this is made correctly or it may have been rendered slightly differently by Hudson after a particular Pomo group.

This headdress would have been worn by a man on the back of the head. The long wooden pin would secure it to a hairnet. It is part of a dance outfit see 06.331.8027,a,b,c,e.

This deeply carved mask is painted with brown, red, green and white. It has painted eyebrows and teeth. The jaw is loose and could be manipulated in a dance performance to indicate a talking mask. This mask is identified as representing an orator, the individual who would recount the histories that were dramatized by Winter Dance performers. The lower jaw, articulated to produce a more lifelike effect, would be moved to imitate the actions of the performer as he spoke. These types of masks were once common among many Northwest Coast tribes and each had their own stories to tell. The deeply carved and exaggerated features of this image are more typical of Heiltsuk that Haida style but the mask could have come from either nation. The otherworldly appearance of the mask would have been attenuated by the flickering light and shadows of the fire lit performance.

One of two canoe paddles carved in light, soft wood stained brown. On each paddle there is the Northwest Coast form-line style with salmon design , frontal view with an eye in the center of the design. The handles are undecorated. Old acession number #17, 695. Condition: good except for tip of paddle .1 is broken off.

Cedar wood, unpainted. Rear, hollow concavity. Original pole cut in half. Top half (a): Design - plain, tapering cylinder at top, two main figures and part of a third. Upper figure - raven with two subsidiary motifs (crescent across chest and upper wings, a small head and hands peering over the crescent). Raven beak, separate piece of wood. Lower figure - top half of a humanoid with large head above upturned flukes which are grasped in its hands. Fragment of third figure - upturned flukes (whale-like, cut off at tail). Bottom half (b): Design - upside-down humanoid, large animal (bear?) holding a small creature (frog?) to its mouth. CONDITION: Pole cut in two, evidently before arrival at the Museum.

This is a ball-headed type of war club. The incised designs on the handle include six birds on one side and four (possibly) dancing or fihjting figures on the other. The bird motifs are filled with black paint, the figures with red paint. The ball is painted black and there is fire decoration on the handle. The painted and incised designs on this club consist of six black gallinaceous birds (prairie chicken-like in silhouette) on one side. On the opposite side, two pairs of red human figures run toward one another. Each of the four carries a pipe in one hand and, in the other, an upraised arrow in an enigmatic pose. As demonstrated in this example, clubs were carved from one piece of wood. Often a thick branch attached to a trunk was chosen, or a knot of a tree would be formed into a head and the attached portion of the trunk into a handle, so that the grain had structural strength. The club is flat handled and sided and stained black at both the handle end and ball end.

The basket for these prayer sticks has never been located. This impressive set has 101 prayer sticks of different sizes, colors, and patterns, strung together. Some singers kept a "sample" roll of prayer sticks to aid in making the ones used in all the various chants. This possibly might be a sample roll and never had a basket. It also might have been made for display purposes as usually the prayer sticks were destroyed during the ceremonies.

Object is a ball-headed war club. Linear curves of upper handle and ball-head carved with scallop shapes that are decorated with black paint. Beveled edges of handle are painted red. Ball and handle are ornamented with burned file decorations. Condition is good.