These carved frontlets were attached to regal headdresses and used in the Kwakwaka'wakw Tlasula. This beaver is identified by its two large front teeth and stick in its mouth. Its flat tail raised at the top has a human face at the base.

The paint is black, blue, and yellow.

Whistle (mudzis): Whistles, such as this two-tone one, are secretly blown in the Tseyka to signal the first approach of a Hamatsa dancer who is possessed by the Cannibal Spirit. Horns were used in the Tlasula, after the disappearance of the initiate dancer, to announce his or her return in the guise of a supernatural being.

This mask was made by Willie Seaweed as part of a set for the Gyidakhanis dance. The most obvious features of the artist are the precision and clarity of the planes of the face and the clean, meticulous painting. The mask is painted a solid white with commercial paint. The tiny mustache, round eyes, and arched eyebrows of typical Seaweed conformation are in glossy black, while the lips and nostrils are in red. (Holm, Crooked Beak of Heaven, 1972)

The paint is red.

Dzoonokwa, one of the best known mythical personages in Kwakwaka'wakw art, is usually represented as a female. She is a giantess of great strength and awesome appearance. Her characteristic features are large size, dark hairy body, hanging breasts, and a great head with heavy brow, arched nose, sunken cheeks and eyesockets, and lips pushed foward and rounded to produce her fearsome cry, "Oooooh!" (Holm, Crooked Beak of Heaven, 1972)

The paint is red, black, white, yellow, and green.

Family crests are displayed on carved wooden plaques attached to dance headdresses. These have a long trailer of ermine skins and a crown of upright sea lion whiskers. This whisker "fence" holds eagle down, symbolizing peace, that cascades out as the dancer bobs his or her head. This gives the name Feather Dances to the Tlasula.

The paint is red, white, black, and green.

The paint is black and red.