This dish is carved in the form of a reclining human figure, knees drawn close to the body, head extending outward at the opposite end, and hands grasping the edge of the bowl, which encompasses the whole torso. The carving of the disk-shaped head is highly stylized in the Kwakwaka'wakw manner and is painted black, yellow, green, and white. A carved rim resembling rope surrounds the face. It probably represents the twisted red cedar bark that has such a prominent role in the Tseyka ritual. (Holm, Crooked Beak of Heaven, 1972)

After the disappearance of the excited headdress dancer and the sounding of the Tlasula horns announcing his imminent appearance, the attendants usher in a dancer, or group of dancers, whose function it is to display the inherited privilege toward which the entire Tlasula dance is focused. Some dances, such as the Gyidakhanis, feature groups of dancers and are re-enactments of mythical incidents or dances acquired from supernatural contact by an ancestor. (Holm, Crooked Beak of Heaven, 1972)

The personified sun is usually shown in Kwakwaka'wakw art as a human figure with a hooked beak-like nose and a corona of decorated rays surrounding the face. This sun mask in the Burke collection was done by Jack James, a Kwakwaka'wakw carver from Alert Bay.

Two pieces of mountain goat horn have been joined with a single copper rivet to form this spoon. The figures carved on the handle appear to be a killer whale with a man's face on the dorsal fin, a raven, and a bear. The carving is very precise and resembles Haida work from the mid-nineteenth century. (Holm, Crooked Beak of Heaven, 1972)

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)

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)

This horn is one of a pair in the Burke Museum collection. It represents a raven, shown with a broad humanoid face, the beak extending downward from the lower jaw. Horns of this type are sometimes designated as from the Dluwulakha ritual. (Holm, Crooked Beak of Heaven, 1972)