The Kwakwaka’wakw Potlatch Collection and its Many Social Contexts: Constructing a Collection’s Object Biography by Emma Louise Knight A thesis submitted in conformity with the requirements for the degree of Masters of Museum Studies Faculty of Information University of Toronto © Copyright by Emma Louise Knight 2013 The Kwakwaka’wakw Potlatch Collection and its Many Social Contexts: Constructing a Collection’s Object Biography Emma Louise Knight Master of Museum Studies Faculty of Information University of Toronto 2013 Abstract In 1921, the Canadian government confiscated over 400 pieces of Kwakwaka’wakw potlatch regalia and placed it in three large museums. In 1967 the Kwakwaka'wakw initiated a long process of repatriation resulting in the majority of the collection returning to two Kwakwaka’wakw cultural centres over the last four decades. Through the theoretical framework of object biography and using the museum register as a tool to reconstruct the lives of the potlatch regalia, this thesis explores the multiple paths, diversions and oscillations between objecthood and subjecthood that the collection has undergone. This thesis constructs an exhibition history for the regalia, examines processes of institutional forgetting, and adds multiple layers of meaning to the collection's biography by attending to the post-repatriation life of the objects. By revisiting this pivotal Canadian case, diversions are emphasized as important moments in the creation of subjecthood and objecthood for museum objects. ii Acknowledgments First and foremost I would like to thank Sarah Holland, who introduced me to this collection in her UVIC museum studies class in 2010, continued to encourage me over the years, and who invited me into her home in Alert Bay for what would be a life-changing experience. To Juanita Johnston for her archival research and patience in answering my never-ending questions. To Trevor Isaac whose passion for practicing and sharing his art and culture is truly inspirational. This thesis would not have been possible without the continued support of my supervisor Dr. Cara Krmpotich who has helped me navigate this complex history and always been a constant source of advice, encouragement, and inspiration. I would also like to thank Dr. Lena Mortensen for her thought-provoking comments, and Dr. Aldona Jonaitis for her invaluable contributions. My many thanks go to the archivists and museum staff members at the following institutions for their help with finding archival information used in this thesis: Jonathan Wise, Reference Archivist, Library, Archives and Documentation Services, Canadian Museum of Civilization Sandra Parrish, Associate Director/ Collections Manager, Museum at Campbell River Tricia Walker, Manager, Registration Department, Royal Ontario Museum Angela Raljic, Database Technician, World Cultures, Royal Ontario Museum Nadja Roby, Head, Liaison and Research, Ethnology Collection, Canadian Museum of Civilization Kelly Cameron, Senior Collections Analyst, Ethnology, Canadian Museum of Civilization Kelly-Ann Turkington, Permissions/Licensing Officer, Royal British Columbia Museum Stephanie Alder, Archives and Records Manager, Central Archive, The British Museum Jennifer Longon, Archives and Research Library, New Brunswick Museum Kenlyn Collins, Librarian, Winnipeg Art Gallery Becky Boughner, Curatorial Assistant, Museum London Erica Douglas, Intern, Art Gallery of Windsor Wendy Gomoll, Acting Archives Technician, Art Gallery of Ontario Sean Weaver, Photographer, Art Gallery of Ontario Jessica Stewart, Library Assistant, National Gallery of Canada Michael William, Library, National Gallery of Canada Betty Murphy, Assistant Librarian, Billie Jane Baguley Library and Archives, Heard Museum, Phoenix, Arizona Debbie Lindsay, CBC Digital Archives Linda Cobon, Manager, Records and Archives, Exhibition Place, Toronto. Christine Schindler, Archives Coordinator, Stratford Festival iii Table of Contents Introduction ................................................................................................................................................ 1 The Kwakwaka’wakw: Those who speak Kwak’wala ............................................................................... 1 Methodology ........................................................................................................................................... 6 Kwak’wala and Kwakwaka’wakw Voice ................................................................................................... 8 Analysis .................................................................................................................................................... 8 Organization of the Thesis ....................................................................................................................... 9 Chapter One: A Published History of the Potlatch Collection, Literature Review, and Analytical Framework ................................................................................................................................................ 13 The Potlatch Collection Repatriation: A Published History .................................................................... 13 Object Biography- A Literature Review ................................................................................................. 19 Applying the Framework: Object Biography Theory, Subjecthood and the Potlatch Collection ............ 23 Chapter Two: Diversion from Regalia to Museum Collection .................................................................... 29 The Potlatch and Potlatch Prohibition ................................................................................................... 29 Dan Cranmer’s Potlatch ......................................................................................................................... 32 Confiscation as Crisis: The Diversion from Regalia to Museum Objects ................................................ 33 Becoming Museum Objects ................................................................................................................... 41 Chapter Three: Objects in Action, an Exhibition History 1927- 1979 ......................................................... 44 Chapter Four: Recognition, Negotiation, Repatriation and the National Museum of Canada ................... 73 Division of the Collection and the Establishment of Two Cultural Centres ............................................ 84 Kwakwakaʼwakw: The Righting of a Wrong ........................................................................................... 90 Chapter Five: The Royal Ontario Museum and the National Museum of the American Indian ................. 92 The Royal Ontario Museum ................................................................................................................... 92 National Museum of the American Indian............................................................................................. 99 Chapter Six: Repatriations from Institutions and Individuals .................................................................. 102 Yaxwiwe’ Headdress in the Breton Estate ........................................................................................... 102 University of British Columbia, Museum of Anthropology .................................................................. 103 The British Museum ............................................................................................................................ 104 The Horniman Museum ....................................................................................................................... 106 Chapter Seven: The Collection Today ...................................................................................................... 112 Chapter Eight: Conclusions ...................................................................................................................... 127 References ............................................................................................................................................... 130 iv List of Figures Figure 1. The Subjecthood and Objecthood of the Potlatch Collection…………………………….………27 Figure 2. The confiscated regalia on display in the parish hall, Alert Bay. Image H-03978 courtesy of Royal BC Museum, BC Archives …………………………………………………………………………………………..37 Figure 3. The confiscated regalia on display in the parish hall, Alert Bay. Image AA-00176 courtesy of Royal BC Museum, BC Archives………………………………..……………………………………………38 Figure 4. Ed Meade, Curator of the Campbell River and District Historical Society, holding a Sea Eagle mask now in the collection of the Nuyumbalees Cultural Centre. Image 9100 courtesy of the Museum at Campbell River………………………………………………………………………………………………..58 v List of Appendices Appendix A: Exhibitions of pieces of the potlatch collection yet to be researched ………………….139 vi 1 The Kwakwakaʼwakw Potlatch Collection and its Many Social Contexts: Constructing a Collection’s Object Biography “A mask is history in object form.” - Trevor Isaac, Collections and Education Assistant, U’mista Cultural Centre Introduction This thesis examines the life history of what has become known as the potlatch collection, a collection of Kwakwakaʼwakw ceremonial regalia that was the subject of the first major repatriation of First Nations material heritage from Canadian museums. By using archival materials to explore the object biography of this collection, the life history developed