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)

In this hamatsa whistle the three different voices are produced by three separate cylindrical whistles bound together so that their mouthpieces join and their barrels radiate out in a fan-like configuration. This is another example of the variety of whistles used in the Tseyka. (Holm, Crooked Beak of Heaven, 1972)

Tlasula whistles and horns vary in size from small squeakers held in the dancer's mouth or built into the mask to rather large instruments nearly a yard in length. This horn, one of a pair in the Burke Museum collection, is about average in size. The plain brown cedar is decorated with an unpainted relief representing raven. The figure is highly conventionalized and closely resembles the formline surface decorations of the northern coastal artists. (Holm, Crooked Beak of Heaven, 1972)

The clam basket represents a highly successful solution to an everyday problem in Northwest Coast life. Baskets made to hold clams as they are dug must be rigid and strong, but must allow water and mud to pass through the walls when the clams are rinsed. The solution was a large, flaring basket of split spruce or cedar root in the open wrapped twining technique. The basket, full of clams, can be plunged up and down in the water, and the sand and mud clinging to the shells are quickly removed, draining through the sieve-like sides. (Holm, Crooked Beak of Heaven, 1972)

Knife (a) with a slightly curved rusted metal blade and the tang of the blade protruding through the butt end of the bone and wood handle. Sheath of light brown reed, one piece folded at one end (b) to hold a second piece of reed (d) and protect the blade point. A length of light brown reed (c) is used to secure the knife inside the sheath.