The oak is stand. The acrylic paint is black, red, green, and orange.

By exchange

Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwak waka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.

This tightly woven bag has an elegant, dark blue, thunderbird design woven on natural color one side and a blue and natural stripe with a orange/red stripe on the reverse. Reviewed by Matha Gradolf, Winnebago (Hochunk) weaver from Nebraska 5/3/05.

The paint is green, black, black, red, orange, and dark red.

Spirit of the Ancestors-The dancer cocks the Kolus head to one side, slowly sweeping its piercing eye across the house, then tilts and reverses his swing as the song describes the Kolus, calling it Screecher Mask. - Bill Holm

Throughout the masking area of the Northwest Coast, the dramatic effect of opening jaws and other moving parts on masks was recognized. Of all the tribes using masks, however, the Kwakwaka'wakw carried articulation to its highest development. This small thunderbird forehead mask uses two variations on the theme. The lower mandible is hinged to allow it to open and close, and the crest of wooden feathers between the ears can be spread like a fan or dropped back to lie flat on the head. Strings control movement of these parts. (Holm, Crooked Beak of Heaven, 1972)