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Ksan Historical Outdoor Museum and the Kitanmax School of Northwest Coast Indian Art

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Ksan Historical Outdoor Museum and the Kitanmax School of Northwest Coast Indian Art It Took More Than a Village: The Story of The ‘Ksan Historical Outdoor Museum and The Kitanmax School of Northwest Coast Indian Art by Chisato Ono Dubreuil B.A., The Evergreen State College, 1990 M.A., University of Washington, 1995 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of History in Art © Chisato Ono Dubreuil, 2013 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii It Took More Than a Village: The Story of The ‘Ksan Historical Outdoor Museum and The Kitanmax School of Northwest Coast Indian Art by Chisato Ono Dubreuil B.A., The Evergreen State College, 1990 M.A., University of Washington, 1995 Supervisory Committee Dr. Catherine Harding (Department of History in Art) Supervisor Dr. Bill Zuk (Department of Education) Outside Member iii ABSTRACT Supervisory Committee Dr. Catherine Harding (Department of History in Art) Supervisor Dr. Bill Zuk (Department of Education) Outside Member My dissertation analyzes the development of the visual culture of the people known as the Gitksan, as witnessed through the creation of ‘Ksan, a tourist village located at present day Gitanmaax (Hazelton, B.C.). I demonstrate how the fields of ‘art’, ‘craft’ and ‘artifact’ come into play in a more nuanced understanding of the development of various sectors at this key tourist site. The focus of the dissertation includes the complex motives that led to the creation of ‘Ksan. I consider the interrelationship of its art, the school as well as its business practices. I offer new insights into the developmental advantages of governmental project funding, the selection of a teaching staff knowledgeable in the arts of the Gitksan, and the reasons that led to its dramatic early success, only to be followed by an equally dramatic decline, all in a space of about 40 years. My reliance on interviews and analysis of new documents contributes to a deeper understanding of the complex history at this site. I also examine how the vision of Marius Barbeau may have contributed to the vision for ‘Ksan, articulated in part by a non-Native woman, Polly Sargent, a prime mover in the development of the site, the contributions of professionals like art historian Bill Holm, and most importantly, the dedication of the Gitksan people. While the school has closed, ‘Ksan’s positive impact on First Nations art of the Northwest Coast and its influence on the acceptability of Native art as fine art in Canada and other parts of the world, is evident. iv TABLE OF CONTENTS SUPERVISORY COMMITTEE ………………………………………………………………………………………….........ii ABSTRACT ……………………………………………………………………………………………………………………...iii TABLE OF CONTENTS ……………………………………………………………………………………………………….iv LIST OF FIGURES ……………………………………………………………………………………………………………..vi ACKNOWLEDGEMENTS ……………………………………………………………………………………………………..ix DEDICATION ………………………………………………………………………………………………………….xi INTRODUCTION ……………………………………………………………………………………………………………..…1 Methodology……………………………………………………………………………………………………… 7 Literature Reviews …………………………………………………………………………………………….13 Chapter Synopses ……………………………………………………………………………………………...16 The “Formline” Design System …………………………………………………………………………...23 Tsimshian Sculptural Style …………………………………………………………………………………27 CHAPTER 1: EARLY NATIVE ART: FORMLINE AND PROFESSIONAL ARTISTS (PRE-CONTACT – 2000) ON THE SKEENA RIVER’S NORTHERN NORTHWEST COAST ………………...31 The Impact of Early Native Art as Part of the Local Economy ……………………………………………41 The Impact of Introduced Disease on Northwest Coast Native Art ……………………………………54 Euro-Canadian Christian Missionaries and Their Impact on Native Art and Culture …………..60 CHAPTER 2: THE TOURIST INDUSTRY IN NORTH AMERICA: THE APPROPRIATION AND COMMODIFICATION OF NATIVE ART AND CULTURE ……………………………………………………………...72 CHAPTER 3: THE SHIFT FROM GITKSAN TOTEM POLE RESTORATION TO THE RENEWAL OF GITKSAN ART: THE SKEENA TREASURE HOUSE AS THE MODEL FOR ‘KSAN ........................................107 CHAPTER 4: POLLY SARGENT AND THE DEVELOPMENT OF ‘KSAN: A NEW PARADIGM OF TRADITIONAL NORTHWEST COAST ART, FROM CEREMONY TO A CONTEMPORARY FINE ART COMMERCIAL MARKET …………………………………………………………………………………………………..146 CHAPTER 5: THE KITANMAX SCHOOL OF NORTHWEST COAST INDIAN ART: ITS RISE AND FALL AS A LEADER IN THE CULTURAL REVIVAL OF NORTHWEST COAST ART …………………..185 CONCLUSION ………………………………………………………………………………………………………………..213 FIGURES ……………………………………………………………………………………………………………………...217 BIBLIOGRAPHY …………………………………………………………………………………………………………….258 v APPENDIX A: Memorandum: Mr. Harkin, Re: National Park at Hazelton, British Columbia ……………………………………………………………………………………………………....307 APPENDIX B: ‘Ksan Historical Village & Museum Background ……………………………………...315 APPENDIX C: A Brief Description of the Buildings at ‘Ksan……………………………………...........316 APPENDIX D: Schematic of ‘Ksan Complex…………………………………………………………………...317 APPENDIX E: Totem Poles of ‘Ksan Historical Village…………………………………………………… 318 vi LIST OF FIGURES Figure 1. Map of Hazelton, British Columbia……………………………………………………217 Figure 2. ‘Ksan Historical Village and Museum, Hazelton, BC ……………………………218 Figure 3. Totem Poles, of Kitseukla by Emily Carr, 1929 ……………………………………219 Figure 4. The cover of Northwest Coast Indian Art: An Analysis of Form by Bill Holm (1965) ………………………………………………………………………………220 Figure 5. The Form Characteristics of Humanoid Tsimshian (Mask and and Frontlets) ……………………………………………………………………...221 Figure 6. Tsimshian Frontlet ………………………………………………………………………...…222 Figure 7. Tsimshian mask ……………………………………………………………………………..…223 Figure 8. The Form Characteristics of Humanoid Tsimshian (Totem Poles) ……….224 Figure 9. Close up of “Totem pole of Ksemxsam (Gitlardamks), 1927 ………………..225 Figure 10. Close up of “Totem pole of Ksemxsam (Gitlardamks), 1927 ………………226 Figure 11. Dennis Wood’s totem pole, 1927…………………………………………………...…227 Figure 12. Totem poles, Gitwinlkul (Gitanyow), 1924 ……………………………………….228 Figure 13. Rendition of painted house screen from Lax Kw’alaams by Lyle Wilson 1992……………………………………………………………………………...229 Figure 14. Postage stamp of Mount Hurd from a painting by Frederic Marlett Bell-Smith (1928) ……………………………………………………………...230 Figure 15. Field work of Harlan Smith; Oiling pole no. 4 with double Smith, 1925 ……………………………………………………………………….231 Figure 16. Kitselas village as restored by Marius Barbeau and Harlan I. Smith of the National Museum Man………………………………………………………………….232 Figure 17. Map of the Skeena Region, as dust jacket for Marius Barbeau, The Downfall of Temlaham 1928……………………………………………………………….233 vii Figure 18. Painting of Kispayaks Village by A. Y. Jackson, 1926-1927………………….234 Figure 19. Design for the Skeena Treasure House……………………………………………..235 Figure 20. Skeena Treasure House, 1959……………………………………………………...…..236 Figure 21. British Columbia centennial silver dollar (1958)………………………………237 Figure 22. “Hand of History”……………………………………………………………………………..238 Figure 23. First ‘Ksan brochure, designed by Bill Holm. c. 1960s…………………...239 Figure 24. Tsimshian chest by Vernon Stephens. 1974……………………………………..240 Figure 25. Bent-corner Box. Haida or Haisla, ca. 1875………………………………………241 Figure 26. “We-gyet and the Swans” by Ken Mowatt (1977) ……………………………...242 Figure 27. Premier W. A. C. Bennett and Cabinet Ministers Kiernan and Shelford join Gitksan Chiefs and Elders at the opening ceremony of the ‘Ksan Village at Hazelton on August 12 1970………………………………….....243 Figure 28. “Bennett” Totem Pole ………………………………………………………………………244 Figure 29. Polly Sargent and Premier W.A.C. Bennett at the ‘Ksan opening in 1970. (The Smithers Interior News, August 19, 1970) ……………..245 Figure 30. ‘Ksan performers in Ottawa, 1972 …………………………………………………...246 Figure 31. Three carved cedar murals by Ron Sebastian and Earl Muldon at the Department of Indian and Northern Affairs Canada, Ottawa, Ontario in 1978 …………………………………………………………………………………….247 Figure 32. The Housepost by Walter Harris at the Department of Indian and Northern Affairs Canada, Ottawa, Ontario in 1978 ………………...248 Figure 33. Killerwhale by Walter Harris at the Commonwealth Room in House of Commons in Ottawa, 1981 …………………………………………249 Figure 34. Untitled by Earl Muldon at the House of Commons Entrance (East Wall) in Ottawa, 1981 ………………………………………………………………..…250 Figure 35. My Guardian Angel by Roy Henry Vickers, 1977………………………………..251 viii Figure 36. First Annual Collection: ‘Ksan 1978 Original Graphics …………………………252 Figure 37. ‘Ksan Art Card Series. Canadian Native Prints Ltd……………………………..253 Figure 38. The Gitksan Dance of the Hummingbird Flight by Vernon Stephens, 1975 …………………………………………………………………………254 Figure 39. The Middle Plaza Totem Pole by Walter Harris and Art Sterritt, 1977 in Rochester, NY……………………………………………………………………………255 Figure 40. Back side of the Middle Plaza Totem Pole by Walter Harris and Art Sterritt, 1977 in Rochester, NY ………………………………………………..…256 Figure 41. Totem Pole of Tsimshian, Canada by Earl Muldon and Phil Janze, 1988. Aichi, Japan ………………………………………………………………..257 ix ACKNOWLEDGEMENTS The completion of the dissertation has been a long journey; I moved from Japan to America, to Canada, to Japan and finally back to America. The dissertation research took me to several countries on research trips throughout Canada, America, Japan and Korea to see the art of Gitksan artists. I would like to first say thank you to Dr. Catherine Harding for her help and encouragement. Her “aikido spirit” helped me a great deal and touched my heart and spirit. I also
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