VISIONS CAST ON STONE: THE PETROGLYPHS OF GABRIOLA ISLAND By Amanda S. Adams Introduction sites, I highly recommend the phase art. Most examples of rock art ... Gabriola Island, located within the examination ofMary and Ted Bentley's fit comfortably within the stylistic Gulf of Georgia region, is home to an publication, Gabriola: Petroglyph parameters of phase art" extraordinarily rich collection of Island (Bentley 1998) for an illustrative (Holm 1990:314). This statement petroglyphs. To date, twelve petroglyph and useful inventory of motif types and provides an important point of sites on the island have been formally site layout. departure for my investigation into the registered with the province; several That being said, this article provides Gabriola Island petroglyphs: did .the more sites, located on private property, an overview of a pre-contact visual petroglyphs emerge out of the Marpole currently remain unregistered. The culture and builds upon on Margaret A. phase culture type and the ·general number of images at each site varies Holm's (1990) unpublished Master's artistic florescence evident 2400 to dramatically: some sites contain a thesis, Prehistoric Northwest Coast Art: 1000 years ago (Matson and Coupland single caiving while other sites display A Stylistic Analysis of the 1995:203 ; Thoro 1995:45)? And if so; over 70 separate images in tight Archaeological Record. Her data, which what is it about an image that makes it proximity (i.e., DgRw 192). And while derive predominantly from well-dated distinctly Marpole? Gabriola Island possesses many contexts within the Gulf of Georgia There are approximately 115 known petroglyph sites, nearby islands such as region, provide a comparative sample petroglyphs on Gabriola Island and they (McLay 1999) and the of design elements and motifs. Holm divide into surprisingly even groups Of northern end of have few (1990: ii) argues that by the end of the motif-type: a total of 3 5 known or none (despite heavy summer Locarno Beach phase or the beginning anthropomorphic carvings are found on populations and ample opportunity for of the Marpole phase, the "essential the island along with approximately 40 discovery). Surely, Gabriola Island character of the Northwest Coast art zoomorphic figures and 42 abstract/ stands as an area of extraordinary style had developed." Furthermore, she symbolic designs (Table 1). Most of interest to archaeologists while being observes that, "although [her] study had these sites are found inland and cluster a very sacred place for members of the not focused on rock art, a casual within a five-kilometer radius of the . examination of petroglyphs from the extensive False Narrows midden Ten of the more popular petroglyph Gulf of Georgia area reveals parallels located on the southeast portion of the images (i.e., the "kingfisher" and with the motifs, design elements, and island. AU petroglyphs found within 20 "dancing man") have been trademarked compositional principles of Marpole meters of the high tide mark are solitary · with the Canadian Intellectual Property Office. This action was the result of Table 1: frustration, on behalf of the Motif Type Distribution For Gabriola Island Petroglyph Sites. Snuneymuxw Nation, over the fact that Site # Anthropomorph Zoomorph Abstract Total sacred petroglyph images produced by DhRw 2 1 0 0 1 their ancestors were--and still DhRw 5 2 0 0 2 sometimes are- used for commercial DhRw 13 1 1 0 2 gain (i.e., pasted on bags of coffee DgRw 2 0 1 0 1 beans, sold as tourist postcards, made DgRw 30 1 1 0 2 into jewelry, painted on boat hulls and DgRw 63 0 2 0 2 replicated in pieces cif artwork later sold DgRw 192 16 22 33 71 for profit). Many Snuneymuxw Elders DgRw 193 2 4 3 9 firmly believe that any reproduction of DgRw 194 1 3 0 4 a petroglyph image "steals its power" DgRw 198 1 3 3 7 away;· hence, just as use of the images DgRw 201 7 1 0 8 is prohibited in commercial contexts, DgRw 224 1 0 0 1 it has also been requested that Dgrw 225 0 1 0 1 photographs of petroglyph sites not be Unregistered #1 1 0 3 4 included in this article. I have abided Unregistered #2 1 0 0 1 by tha t request. And although no Unregistered #3 0 1 0 1 images are incorporated into this overview of Gabriola Island petroglyph Total 35 40 42 115

4 TheMidden carvings (with the exception being that example, are consistently portrayed. '0''0' 00 of the Lock Bay site, DhRw 13). The same is true of 'animal' depictions @ @ The majority of petroglyphs located and abstract forms. A stylistic toolkit 0'15' c. on Gabriola Island are distinguished by of techniques and aesthetic approaches • • their bold and curvilinear appearance. thus seems to be at work, one that is ,, ~ Q ~ The line quality of many of the carvings content specific and utilizes a D (usually the zoomorphic ones) is determinate repertoire offorms. Certain <:> C> ~ confident, fluid, consistent (in both design elements (such as eye-forms <:!:> <::> width· and depth), and masterful with secondary features rendered in ~@> @ (particularly with regard to use of profile) seem to have been reserved for B f. symmetry and negative space). Some of certain images and not used in others. the petroglyph motifs may have been And though one hesitates to rely too Figure 1: Eye-forms. A) Eyes with crescent painted. onto the rock surface prior to heavily on subjective judgments brows and/or unibrow; B) End-pointed eye~ engraving.1 ·Paints and pigments were regarding the ' quality' of a carving, with iris; C) Basic circle; D) Deep pitted eye; certainly known and used during the some petroglyphs do indeed exhibit a E) Eyes with secondary and tertiary features, time period spanning 4000 to 2500 BP remarkable application of skill (and i.e., 'elaborate. ' (Carlson 1993 :7) and--given 'the surely a larger investment of time and unforgiving nature of stone as a labour) while others appear to have between eye-shape and motif type in medium-it does not seem unlikely that been rendered in a rough and less both the Gabriola Island petroglyphs these complex images would be painted careful manner. Such differences should and Marpole period portable artifacts. before being carved and made be acknowledged as a marked point of Zoomorphic figures tend to have both permanent. 2 contrast. round and sharply pointed, down­ Another striking feature turned eyelids with secondary elements characteristic of many of the carvings Marpole Connections while anthropomorphic figures are is their ' signature' look. Other Comparisons based on style (i.e., portrayed with basic circle-shape eyes researchers have noted the same: with design elements, technique and sometimes accentuated with eyebrows regard to the carvings found at composition) between artifact but never with pinched ends, points, or Petroglyph Park in (rock assemblages collected from Gabriola large irises. Holm notes the same carvings which undoubtedly relate to Island (i.e., False Narrows), Holm's pattern in her study and concludes that those of Gabriola Island), Douglas comparative sample, and other Marpole during Marpole times an increasing Leechman states that " ... of the whole phase artifacts (Carlson and Hobler complexity in the way features are petroglyph[s] ... there is very little 1993 ), support assigning production of delineated begins to emerge and, in overlapping of figures. This fact and the the majority of Gabriola Island's close accordance with the Gabriola quite evident similarities in style petroglyph sites to the Marpole period Island petroglyphs, approximately 75% suggest that most of the figures shown (2400-1000 BPV Rationale for this of her sample contains eye-shapes with were made by the same artist" chronological placement is threefold: "secondary and tertiary elements" (Leechman 1952:267). Close (1) the striking and strong similarities (Holm 1990: 13 6). examination of the Gabriola Island found between petroglyph motifs and Marpole mobiliary objects also petroglyphs leads me to also suggest those found on portable artifacts display many of the same stylistic traits that an individual specialist or a small recovered from Marpole contexts; (2) seen in the Gabriola Island petroglyphs: group/family of trained carvers a generally bold and curvilinear style bold and curvilinear form-lines; the produced the bulk of well-crafted type not seen either before or after the distinctive 'sea-wolf' motif replete with petroglyph panels located on both Marpole period; and (3) the presence hunched limbs, open mouth and Gabriola Island and Island of the expansive False Narrows village elaborate eye-forms with secondary (i.e. , in Snuneymuxw traditional site and cave burials which date largely features; zoomorphic figures that territory and possibly at the Sproat Lake to the Marpole time period (Burley contain lateral-sectioning and the site, DhSf 1). Given the ·strong stylistic 1989) points to an active Marpole peculiarly elongated, bulbous nose; and similarities found between the two and occupation on Gabriola Island, while anthropomorphic figures rendered with the fact that seasonal rounds the sheer density of sites ( 17 in a 3 heart-shaped heads, basic concentric encompassed both places, the theory is linear km area; Wilson 1987:57) eyes and limbs tipped with three to five a plausible one. located on the False Narrows bluffs digits (see Figure 2). Stylistic harmony and cohesion is underscores the clear importance of the Parallel distribution of motif types most evident within motif-type groups place. A host of radiocarbon dates (human, bird and ' sea-wolf' ) found (i.e., anthropomorph, zoomorph, (Curtin 2002) also demonstrates between portable objects and abstract). The extant · patterns of extensive occupation within the petroglyphs forms another point of similarity do not find substantial or Marpole phase timeframe. Each point intersection. Emphasis, in terms of consistent overlap across motifs; rather, shall be briefly expanded upon in turn. skilled craftsmanship and investment of it is the congruity with which faces, for A significant correlation is found time and talent, was consistently placed

The Midden 35/4 5 on certain motifs (i.e., 'sea-wolf' and less labour-intensive- while the entire bird forms) and not on others. "There group of motifs adheres to.a consistent is great interest in the human figure and A ~ ll ~ pattern: zoomorphs are often elaborate in particular the human face" notes and well-craved, anthropomorphs Margaret Holm (1990:311) with regard generally appear to have been created to Marpole phase objects, and "[fjacial with less effort and 'flair' and abstract features are usually rendered in detail motifs haunt the middle ground. while the rest of the body receives The hypothesis that part- or full-time perfunctory treatment." The same is specialists were involved in creating very much the case for the Gabriola " !5~ certain petroglyph panels is an petroglyphs. Also in accord with the intriguing one and, given the rock carving subject matter is the discrepancies between finely executed seco~d most common motif: the long­ petroglyph panels and those m~>re legged or long-beaked bird (n = 6 on stylistically ' rough' (as well as the Gabriola Island) and the third most preponderance of the former), I suggest common motif: the ' sea-wolf'4 (n = 3 that this may well have been the case. on Gabriola Island with another 3 In tune to Suttles' definition of carvings representing possible sea-wolf Figure 2: Design Element Illustrations. A) Northwest Coast art where " .:.some Heart-shaped head; B) Hunched limbs; C) motifs). It should be added, that in Central Coast Salish art may have been Rays; D) Lateral sectioning; E) Rounded nose; contrast to Holm's sample, fish motifs F) Ovoid. decorative [art for art's sake], ·much of are popular in the Gabriola Island it can be related to four sources of power petroglyph repertoire (n = 7). exaggerated pointed heads, necks and prestige-the vision, the ritual The popularity of these three motif defined by two notches which give the world, the ancestors, and wealth" types during Marpole times--as jaw a " squared-off look" and (Suttles 1983 :69), I suggest that this rendered in both portable objects and rectangular-shaped eye margins (ibid.). was (and actually still is) the case for petrolyphs--points to a stylistic Many of these figures also sport 'skirts' Gabriola Island's petroglyph sites. compatibility or visual language (i.e., rendered by straight parallel lines and Elites may have commissioned some of an iconographic vocabulary) bridging hair that is fashioned with the same the complex petroglyph panels while the two media. Birds, 'sea-wolves' and angular symmetry. commoners may have produced some the human forrns were clearly. figures As previously mentioned, curves of the lesser-quality images as they of cultural significance and value at the abound in the petroglyph sites of trained for or endured the spirit quest. time. What's more, it seems as though Gabriola Island and one of the most Tied to the fact that within Coast Salish mutual emphasis was placed in a distinctive and overlapping "winter ceremonies" and concomitant similar manner on not only the characteristic found across both the vision/guardian quests, the acquired product--the petroglyph or antler petroglyph repertoire and Marpole ' spiritual helper' often took the form spoon or pendant--but also on the period aesthetics is the ubiquitous, of "birds, animals, and fabulous spirits · process of creation. Although one may curvilinear form-line. Despite the fact or monsters" (Barnett 1938: 136), find many 'unrefined' (if that word that explicitly rendered genitalia do not precisely the types of creatures found should be used) or ' rough' emerge in the archaeological record depicted ubiquitously as petroglyphs. It anthropomorphic faces and figures; one until Late/Gulf of Georgia times, and does seem that perhaps, petroglyphs never encounters a poorly carved 'sea­ that such genital features are indeed truly were visions cast on stone. wolf' or bird anywhere. This mirrors portrayed with frequency in the While it can be surmised then that Holm's observation that with only one petroglyphs (isolated vulva forms are the petroglyphs, broadly speaking, do exception, all of the 'sea-wolf' motifs also found at several sites), I do not not belong in Late/Gulf of Georgia inscribed on mobiliary objects in her believe that there is a close relationship period based on notable stylistic Marpole sample are "well-made, deeply between the two. The difference is style, difference (linear and square vs. curved engraved compo·sitions" (Holm design elements, detail, and general and round), the question of why the 1990: 110). content is so radically different-in petroglyphs are not representative of, Seven of the anthropomorphic terms of appearance--that any or included within, the Locarno Beach petroglyph figures found on Gabriola temporal connection seems nebulous. culture type (3300-2400 BP) remains. Island·display pronounced genitalia. 5 It Unlike Late Period motifs-­ The answer is circumstantial in nature; was not until approximately 1000 BP distinguished by a more linear and grounded not in obvious stylistic that male and female genitalia are seen squared-off style-the petroglyphs of difference but rather, upon the lack of on decorated objects, specifically in Gabriola Island rarely, if ever, exhibit evidence currently available to draw antler figurines (Holm 1990:231). an angular nature or composition. any other conclusion with confidence. Figurines collected from the Puget The Marpole style thus embraces a When compared to the later abundance Sound and Gulf of Georgia region are range of craftsmanship-expert and of Marpole mobiliary objects, the typically distinguished by their deft as well as untrained or, at least, paucity of the preceding archaeological

6 TheMidden assemblage is stark. Of the few portable making petroglyphs really commenced certain techniques that were exclusive art objects that have been recovered and and gained momentum. to certain imagery. By "short" I mean associated with the Locarno Beach within a single life span or, perhaps, phase, none of these display any Summary within a generation or two. Had the convincing stylistic features that might The Gabriola Island petroglyphs petroglyphs been made over and over underscore some relationship to the appear to be commensurate-in terms and again through the course of many petroglpyh styles found on Gabriola of style-with Marpole phase material decades or a century more variation in Island. As Carlson states, "there are no culture. One straggler does remain, style types, motif content, super­ pictographs or petroglyphs which are however. Site DgRw 225 consists of a positioning and design elements would close enough in style to the excavated solitary carving depicting what looks be seen (Lewis-Williams 2002); as it mobiliary art of the period 4000-2400 to be an anthropomorph (or perhaps a stands, these are not. BP to permit assigning them to this frog) with limbs bent at the knee and The more elaborate petroglyphs (i.e., period" (Carlson 1993: 8). Artifacts spread to the side and which contains the 'sea-wolf and bird panel at DgRw made by ··pecking, grinding, incising two well-developed ovoids as eyes. The 198) may have been produced,· or and sawing of hard stone do not become first ovoid appears in the archaeological commissioned, to satisfy the spirit.ual common in the archaeological record record around 800 BP in Prince Rupert needs/wants of elite individuals who until (;l.fter 2500 BP and a curvilinear (Holm 1990:322) and the similarity had access to (or control/ownership of) style depicting birds and animals starts between this petroglyph and one located specific motifs. As has been argued to emerge only later, in sites dating at Myers Passage is unmistakable (Hill throughout this essay, some fmages from about 2500-1700 BP in the Strait 197 4: 181). Although beyond the scope were consistently well-carved and their of Georgia and Lower of this thesis, such co-occurrences composition was particularly artful. regions (ibid.). should be investigated further. Special techniques, or simply Mobiliary art from this time period Decorated objects dating to the specialists in general, were probably is, as mentioned above, scanty and most Locarno Beach time period-although called upon for their making (see also of it dates to approximately 2500 BP, slightly similar in content--are Thorn 1998:6). Given our conventionat the tail end of the Locarno Beach phase nevertheless marked by a lack of understanding--that an ascribed and beginning of the Marpole .. Holm internal design detail (hunched limbs, society has been in existence within the admits that "imprecise dating of elaborate eye-forms, open-mouths, Gulf of Georgia (and specifically at the Locarno Beach phase components and skeletal features, etc.) when compared False Narrows site) from at least a small inventory of decorated objects to both the Gabriola Island petroglyphs Marpole times onward (Matson and makes it difficult to hypothesize when and later Marpole period artifacts. More Coupland 1995:209, 225)-we can or how artistic developments took place importantly, not only is there a general conclude, ostensibly and with grounded during this time period" (Holm paucity of decorated material dating to speculation, that opportunities for 1990:305). Given this uncertainty this time period in Holm's exhaustive visual expression were socially coupled with the minimal overlap in sample, no Locarno Beach phase sites distributed along hierarchical lines with stylistic conventions as expressed in have been found on Gabriola Island. It higher status individuals able to · two Locarno Beach spoons (Holm is extremely unlikely that the commission elaborate petroglyph 1990:87) and zoomorphic petroglyphs petroglyphs pre-date 2500 BP. panels to improve or strengthen their (i.e., sea-wolf figures), it seems possible As mentioned previously, many of the connection to the spirit world. This that they demonstrate not a one to one carvings look to have been created by a theory is conjectural but it adheres to relationship (i.e., contemporaneous) but single hand or by a group of trained current archaeological knowledge rather, an example of continuity in specialists. Margaret Holm argues that concerning social stratification during terms of motif styles. during the Marpole period "there is Marpole times, the emergence of The strongest argument for evidence to suggest either that a limited specialization, and theories pertaining designating the Gabriola Island number of carvers used the more to restricted access of symbolic wealth petroglyphs as Marpole, and not significant carving techniques, design (Thorn 1998:6). Locarno Beach lies in the fact, however, elements, and principles ofform, or that that no Locarno Beach phase sites have these related techniques were reserved Conclusion been found on Gabriola Island. One for carving higher status items and The aim of this article has been to does exist at nearby Duke Point, but motifs" (1990:314, emphasis my own). demonstrate that a stylistic relationship this, like the sparse numbers of poorly I venture to suggest that the creation of exists between petroglyph sites located dated mobiliary art objects in general, the Gabriola Island petroglyphs does on Gabriola Island and Marpole phase adds little real weight or conviction in not represent an "either/or" scenario; material culture. While Locarno Beach favor of a Locarno Beach assignment rather, I believe that the majority of phase material culture shows some for the Gabriola Island petroglyphs. 6 By petroglyphs were produced in a fairly possible relation to the petroglyph and large, it does seems that it was not short period of time by a limited number sites-their motif content (i.e., 'sea­ until after 2500 BP that the practice of of specialists who did indeed utilize wolf') and use of design elements-the

The Midden 35/4 7 lack of internal detail combined with specialist were responsible for most of Columbia, Department ofAnthropology, the general paucity of ' art' objects the imagery) or, at most, over the course Vancouver. available to compare the petroglyphs of a few generations (maybe a family Leechman, Douglas 1952 The Nanaimo with, leads me to conclude that any of trained carvers). The bulk of all petroglyph. Candian Geographical relationship between the two is a slim petroglyphs were, I argue, produced Journal11 :266- 268. one. My feeling is that the Gabriola during the Marpole culture phase Lewis-Williams, David 2002 A cosmos in Island petroglyphs do not pre-date 2500 (2400-1000 BP) and their primary stone: Interpreting religion and society BP (see also Carlson 1993) and that any raison d' etre pertained to the through rock art. Altamira Press, New stylistic overlap found between the two acquisition of supernatural power. In York. samples is of an ancestral and not other words, ' art' in the service of: "the Lundy, Doris 1974 Therockartofthe contemporaneous nature. vision, the ritual world, the ancestors, Northwest Coast. Master's Thesis, Simon Stylistic associations evident between and wealth" (Suttles 1983:69). Fraser University, Department of the Gabriola Island's petroglyphs and Archaeology, Burnaby. I Marpole· phase material culture are Amanda S. Adams received her MAin anthropology from the University of Matson, R.G, and Gary Coupland 1995 The based upon a shared toolkit of design prehistory ofthe Northwest Coast. elements and motifs generally rendered (2003). She currently lives in Seattle, Washington. Academic Press, San Diego. in a l?old and curvilinear style as well McLay, Eric 1999 The diversity ofNo rthwest ' as an observable tendency to produce certain images (i.e., birds, 'sea-wolf') Coast shell middens: Late pre-contact References settlement subsistence Patterns on·V aldes with notable effort and labour and Barnett, Homer 193 8 The Coast Salish of Island, British Columbia. Master's Thesis, others (i.e., faces) with much less. My . American Anthropologist40:118- University of British Columbia, conclusion that the Gabriola Island 140 Department ofAnthropology, Vancouver. petroglyphs are Marpole in character Bentley, Mary and Ted Bentley 1998 Suttles, Wayne 1983 Productivity and its finds concurrence with Carlson (1993), Gabriola: Petroglpyh Island. Sono Nis constraints: A Coast Salish case. In Indian implicit agreement with Holm (1990) Press, Victoria. Art Traditions ofthe Northwest Coast, Roy and even, to some extent, Lundy (1974). L. Carlson, ed. 67-87. Simon Fraser Burley, David 1989 Senewelets: Culture Although I had expected to find University Press, Burnaby. history of the Nanaimo Coast Salish and stylistic resonance between the False Narrows Midden. Royal British Thorn, Brian 1995 The dead and the living: anthropomorphic petroglyph figures Columbia Museum Memoir No. 2, Burial mounds and cairns and the displaying explicit genitalia and Late Victoria, British Columbia. development ofsocial classes in the Gulf Prehistoric antler figurines with the ofGeorgia. Master's Thesis, University of Carlson, Roy 1993 Content and chronology same, this proved not to be the case. British Columbia, Department of ofNorthwest (North America) rock art. In Anthropology, Vancouver. Marpole phase aesthetics are dominated Time and Space: Dating and Spatial by a curvilinear quality whereas the Considerations in RockA rt Research, Jack --1998 The Marpole-Late transition in Late Prehistoric assemblage is best Stein bring the Gulf of Georgia region. The Midden defined as more angular, linear, and 30:3-7. and Alan Watchman, eds., pp. 7-12. squared-off. Based on this incongruity, OccasionalAURAPaper No. 8,Australian Wilson, I.R. 1987 The False Narrows bluffs any proposed relationship between the Rock Art Research Association, Melbourne. archaeological investigations on Gabriola two is unwarranted. Island. Permit report 1987-40, submitted Carlson, Roy and Philip Hobler 1993 The Due to a lack of superpositioning and to the B.C. Heritage Conservation Branch, Pender Canal excavations and development notable stylistic variation, it may have Victoria, B.C. of Coast Salish culture. BC Studies 99:25- been the case that the vast majority of 52. Gabriola Island's petroglyphs were Curtin, Joanne A. 2002 Prehistoric Notes produced in a fairly compressed period 1 of time: by one person or a few, or, mortuary variability on Gabriola Island, Professor Michael Kew was the first British Columbia. Simon Fraser person to suggest this idea to me alternatively over the course of Archaeology Press, Burnaby. (personal communication 2003). generation or two: Perhaps a single family specialized in the production of Duff, Wilson 1975 Images Stone, B.C. : 2 Wilson Duff, in Images: Stone: B.C. I petroglyphs and knowledge of the craft Thirty centuries ofNorthwest Coastlndian (1975), devotes much discussion to was passed down? Exactly when, sculpture. University ofWashington Press, the qualities and permanence of stone Seattle. however, within the 2400-1000 BP time with attention given to Northwest frame, this flurry of petroglyph making Hill, Beth and Ray Hill1974 Indian Coast art and culture. occurred, remains ambiguous. Petroglyphs ofth e Pacific Northwest. 3 Although the Marpole culture type is To summarize: I propose that the Hancock House Press, Saanichton , B.C. conventionally defined as ending majority of petroglyphs located on Holm, Margaret 1990 Prehistoric Northwest around 1500 BP, my feeling is-and I Gabriola Island were made in a short Coast art: A stylistic analysis ofthe am in concurrence with Thorn period of time, perhaps over the course archaeological record. Unpublished (1998)-that this temporal bracket of a single life (if a single, prolific Master's Thesis, University ofBritish

8 TheMidden marking a "transitional period" is somewhat arbitrary and should be II extended to 1000 BP (after Matson H JARY STEWART and Coupland 1995). ART & ARCHAEOLOGY 4 The label 'sea-wolf' should not be viewed as either accurate or COMPETITION definitive. Commonly spoken of as 'lightning snake' or hai'itlik (the MAY2004 ·Church site [DgRw 192] and Museum both use this title in their information boards) and sometimes as 'Wasgo' or On May 12, just before the ASBC's MIDDEN; and an original drawing of a 'Wasco', the former terminology monthly public lecture, I was pleased suite of Northwest Coast First ~ations t derives from a specific Nuu-chah­ to present several prizes to Lucy Tran artifacts, provided by Hilary Stewart. [ nulth. figure (the "hai 'itlik" or (age 17, from Vancouver, BC), the Ms. Stewart generously su~mitted Lightning Serpent is associated with winner of the new Hilary Stewart Art two drawings to the ASBC and Luc~ the Thunderbird and becomes the & Archaeology Competition. The chose one of the two which included Thunderbird's harpoon when it takes winning illustration by Lucy is featured illustrations of a hand maul, slate knife, whales). The term really should not on the cover of this volume of The awl, beads, and stone bowl,.lmd several be used outside the Nuu-chah-nulth Midden. other artifacts. · area and that specific context (Alan The Hilary Stewart Art & Thanks to everyone who participated McMillan, personal communication in this years' Competition. The 2003). It is difficult, however, to find Competition will run again in Fall of an appropriate descriptive designation 2004 and will be open to children and for this peculiar creature. Certainly a youth between grades 3-7. label such as ' sinuous beast with Congratulations Lucy, on your fine hunched limbs, long tail, ferocious illustration! We at the ASBC wish you teeth, and fiery mouth' is ctimbersome all the best in the future, and encourage and inconvenient. I employ the name you to continue to explore your interest ' sea-wolf' here for descriptive in Archaeology. purposes-as the creature does possess wolf-like features and a sea­ Sarah Ladd serpent's form-yet I do so with President awareness that the label lacks 2004-2005 ethnographic specificity. Several ASBC Snuneymuxw refer to the creature simply as 'mythical.' 5 The sex of a given figure is, however, often ambiguous and in many cases it appears that hermaphrodites may be portrayed; Incming ASBC President awards prize to gender indeterminate beings instilled student Lucy Tran with powers both masculine and feminine. Archaeology Competition was launched 6 But see the extraordinary artifact this year in honour of Hilary Stewart, a t recovered from the Pender Canal site talented award-winning British (Carlson and Hohler 1993; Figure I Columbian author best known for the A30). This object depicting a ' sea­ nine books she has written and wolf' motif problematizes any tidy or illustrated on Northwest Coast First linear chronology with regard to the Nations cultures. The competition is evolution of Northwest Coast design designed to encourage the interest of elements and style. The piece looks to young people in the Archaeology of be of Marpole age but has been British Columbia. associated with the date of 3600 +/- Prizes include a copy of one of Hilary 10 C-14 years BP' (Carlson and Stewarts' books, Cedar; a $50.00 cash Hohler 1993:47). prize; their artwork featured on cover of the ASBC ' s publication, THE

The Midden 35/4 9