It is not difficult to see how the theatrically sophisticated people of the Northwest Coast, people with traditions of representing in art and dance the creatures of history and myth, would conceive of and utilize puppets and marionettes. The imagination required to make lifeless wood seem alive is a requisite of the mask maker. Puppets and marionettes are extensions of the mask carver's work of bringing the myth-people to life. (Holm, Spirit and Ancestor, 1987)

The paint is green, white, black, gray, and orange.

The paint is black, red, and white.

Galokwudzuis, Crooked Beak of the Sky, is one of a household of monster birds and creatures, associates of the Man-eater Bahkwbakwalanooksiwey, the motivator of the major dances of the Tseyka, the winter ceremonial of the Kwakwaka'wakw. Of these dances, the first is the Hamatsa, impersonator of Man-eater himself. The Tseyka dances come from ancestors' fabled experiences with the creatures of the supernatural world, and the public dramatizations of those encounters are among the most prestigious ceremonial acts. (Holm, Spirit and Ancestor, 1987)