The Train To Haida Gwaii

by CHRISTOPHER BEST AUTHOR OF THE LEGENDARY MR.D

The Train to

HAIDA GWAII A BOOK ABOUT FAMILY

An island of artists. It has been many months now since I returned from the mist shrouded ‘Island of Artists’ off the west coast of British Columbia, and the rest of the land to the north, known as the Alaska Panhandle. I have had time to reflect on the wonderful people I met along the way, and how I finally found myself on a ten seater float plane high above the Hecate Strait on my way to the mystical village of Masset, some seven weeks after my departure from Vancouver. What happened to me during those seven weeks and the two weeks that followed on the ‘Island of Artists,’ was nothing short of amazing and an experience that I will cherish in my memories forever.

A change of plans. My original plan was to visit the new Haida Heritage Centre at Kaay Llnagaay in Skidegate but the morning after I arrived in Prince Rupert on Air Canada Jazz Flight 203 (on the evening of September 27, 2009) my plans changed drastically. I found myself about to embark on another adventure of a lifetime. The next morning the Alaska Marine Highway Ferry arrived in Prince Rupert and I stepped on board.

I saw more than Alaska. I had always wanted to see Alaska and see Alaska I did! I spent a week each in Ketchikan, Sitka, Juneau, Haines and finally Anchorage. I departed Anchorage on October 30 and arrived back in Prince Rupert on November 1. Once back in Prince Rupert, the weather was still quite mild, so I took a chance and headed east to Terrace

for a week and then to Hazelton. I had in mind that I wanted to be on the ‘Island of Artists’ for my birthday (November 22), but how to get back to Prince Rupert and then to Haida Gwaii safe and sound, with the least amount of wear and tear to my body and soul was the challenge. I decided to take the train. I was so happy that I wasn’t going to miss out on finally going to Haida Gwaii after all my other adventures on this trip that I affectionately dubbed the train:

‘The Train to Haida Gwaii’ A world of artists. Along my incredible journey, I met and discovered many national treasures. I refer to them all affectionately as, the passengers on my train to Haida Gwaii: Nathan Jackson, Ken Dekker, Norman Jackson, Marvin Oliver, Brita Alinder, Reggie Peterson Sr., Charlie Shockley Jr., Nicholas Galanin, Tommy Joseph, Dave Galanin, Willis Osbakken, Ed Malline, Gene Chilton, Doug Chilton, Brian Chilton, Sonny Grant, Anna Brown Ehlers, Percy & Ed Kunz, The Beasley Boys, Florence Sheakley, Donald Gregory, Lonnie Hodge, Wayne Price, John Hagen, Clifford Thomas, Greg Horner, ‘the three ladies from the gift shop at the Native Medical Center in Anchorage,’ Darlene C. Nichols, Diana Burton, Gloria Cunningham, Jerry Lieb Jr., Laura Wright, Franklin F. Matchian, Moses Wasslie, Julian Iya, Bryon Lloyd Amos, Jan L. See, Lisa L. Powell, Karen Pungowiyi, Rose Albert, Emma Hildebrand, Robin P. Fields, Dennis Pungowiyi, Lenwood Saccheus, (continued on page 361)

The Train to

HAIDA GWAII

by Christopher Best

2 ~ Publisher

Copyright 2015 Christopher Best All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without prior permission of the publisher or, in the case of photocopying or other reprographic copying, a licence from Access Copyright, www.accesscopywrite.ca, 1-800-893-5777 Warfleet Press 1038 east 63rd Avenue, Vancouver, B.C., V5X 2L1 www.warfleetpress.com All photos from the collection of Christopher Best unless otherwise noted.

Cover Photo: Cover design by Christopher Best Text design by Christopher Best Edited by Dr Robert S. Thomson Printed and bound in China Library and Archives Canada Cataloguing in Publication Best, Christopher 1949 The Train To Haida Gwaii ISBN

TABLE OF CONTENTS

1. Gateway to First Nation’s Tourism 2. How I Met Nathan Jackson 3. The Artists of Ketchikan 4. Grandfather, Learn To Carve This Don’t Let Our Culture Die 5. How Our Grandfathers Used To Do Things 6. Once We Were Warriors 7. The Ladies From the Hospital 8. The Freda Diesing School Of Northwest Coast Art 9. Origins Of The Volcano 10. The Train To Haida Gwaii 11. I Carve the Black Slate Called Argillite 12. Haida Watchmen!

13. Summary 14. Index

6 ~ Foreword

When a loved one dies we should all go to a place like Haida Gwaii. Along the way we should remember the people, places and memories that are important to us and let the people we meet guide us towards an understanding. This book is dedicated to my mother who passed away on July 4, 2009 at the age of 93, two months before I made this trip.

She was the last in our family of the greatest generation. I had wo uncles who fought in World War II, anotherr uncle was a shipbuilder, my dad was a policeman and my mother worked in a factory. Her passing was not unexpected but it triggered a flood of emotion that left me wanting to remember them all in some way. She loved to read and would have enjoyed reading about my adventures visiting the First Nations people of Alaska and Northern BC.

FOREWORD

I have always been drawn to Haida Gwaii. Maybe it is the romanticism of the name or maybe I lived there in a previous life. I do not know. I heard about the construction and opening of the Haida Heritage Centre at Kaay I’ Nagaay and I wanted to see it first-hand. Feeling excited and motivated to travel north and visit first nation’s villages, on September 27, 2009, I boarded an Air Canada Jazz flight bound for Prince Rupert, the first stop on what would soon become an incredible journey of discovery.

I always wondered where First Nations villages, cultural centers and totem poles were located on the westcoast of British Columbia and where the artists who carved those magnificent masks were born, lived and worked. No one had ever written a guide that inspired me to explore first nation’s tourism so I decided to write one myself.

This is how it all began. In 2008, I compiled a mock-up version off the internet. The next summer, I printed some copies and distributed them to a few galleries in Vancouver. They sold even in their rough

8 ~ Foreword

state. I wanted to write a living history guide that invited people to travel to the locations. Large color photos and historical content would add to its interest.

My trip was filled with wonderful people that I met along the way and I wanted to remember everyone. They all had a story to tell as they went about their daily lives. They were mostly artists. Their art comes naturally to them. In many cases it has been passed down to them through a long lineage. Some are not as well known as others but no less important. They live in a natural world and are a product of that world. I have tried to document a little of each of their stories.

A constant theme in all my books is having anchors in our lives, something that grounds us and protects us from the forces of the world that want to uproot us from our surroundings. In my book Island Harbours I talk about the need for safe anchorages throughout the Caribbean where ships and people seek refuge from the turbulence in their lives. In The King of Romania I talk about trying to lay down new anchors in Europe.

Establishing new roots. In this book everyone I met had many anchors in their lives: their heritage, the natural surroundings and most of all their art. I feel the northern coast of BC and Alaska is a very spiritual place for these reasons.

Other themes include First Nations tourism in Alaska and northern British Columbia. First Nation’s artists past and present who live(d)

FOREWORD ~ 9

and worked in the north. The towns I visited. Native culture which should be celebrated. All these themes help to introduce the reader to an amazing world. A world that hopefully will be with us forever.

We live in a time of proposed gas and oil pipelines crossing pristine wilderness to reach tankers on our majestic coast. Never take what we have for granted. The artists in this book exist because of nature and the natural environment in which they live. If the eco-system is harmed in any way it will greatly affect a centuries old way of life and a people who have lived in harmony with the land for thousands of years.

Foremost, this book is about families and the ties that bind . It weaves the people, places and milestones of my own family with the incredible family of First Nation’s artists I met along the way. Getting to Haida Gwaii became a pilgrimage for me although it did not start out that way.

It gave me the time to reflect and think about what was important to me.

Haida Gwaii is a spiritual place and I felt that spirituality everywhere.

The family of artists I met along the way helped me to understand and heal. I made this trip just a few short months after the passing of my mother at the age of 93. This is her story as well as mine. Now, I would like to share both of our stories with you.

The following is a detailed account of my incredible journey up north in the fall of 2009 to the land of the Tlingit, Haida, Tsimshian, Nisga’a and Gitxsan.

CHAPTER 1

The Gateway to First Nations Tourism My flight to Prince Rupert for the most part was uneventful as we flew above the clouds basking in the beautiful sunshine. It was my first time in a small 12 seater airplane and I was enjoying every minute.

Once we dropped beneath the clouds though it was a different story.

The westcoast of British Columbia is in a rain forest on the edge of the Pacific Ocean. It was touch and go for awhile before we finally landed.

There was so much turbulence I felt like a kid again on the carnival roller coaster. Once outside everyone made a mad dash for a small building as the rain came down sideways. A waiting bus took us on a short ride to a ferry which we drove straight onboard [PR airport is located on an island in the harbour a short distance from the mainland and is only accessible by small ferry]. The ferry held about ten cars and it departed immediately nce we were on board. When in an unfamiliar place,

12 ~ Highliner Plaza Hotel

always look at the locals. If they are not concerned then you shouldn’t be either. No one was pulling their hair out as the heavy rain and wind pounded and shook our bus. Within a few minutes we were on the mainland rolling along the highway a short distance from downtown Prince Rupert where the driver dropped us off one by one at our hotels.

I was not raised with the internet and I was probably the last generation to go through university without a computer. But I did book my flight online and it had all worked out well so I had gone ahead and booked a hotel with scenic views of the ocean in downtown Prince Rupert. ‘The Highliner Plaza Hotel,’ within walking distance of everything. At the edge of British Columbia’s coast lies the birthplace of natural beauty – Prince Rupert. A place where Pacific Ocean views stretch for as far as the eye can see, a place where whales, eagles and bears replace traffic, noise and pollution. I could hardly wait!

As it was my first time in Prince Rupert the lady at the hotel’s front desk was quite helpful. She was Haida. I struck up a conversation with her the next morning. She was originally from Haida Gwaii. When I asked her where I could find first nation’s culture in Prince Rupert she told me where there were some totem poles and a native Longhouse.

The Longhouse was home to the Museum of Northern B.C. My first Longhouse. I had only seen mock-up exteriors of Longhouses behind the Museum of Anthropology at the University of British Columbia in

PRINCE RUPERT ~ 13

Vancouver so this would be “The real McCoy.” Prince Rupert is not that big. It was still drizzling and overcast as I made my way down the road in front of the hotel. I took note of a Royal Bank and a supermarket inside a mall and came out the other side. I could see the Crest Hotel perched high on a hill to my left. Hotels often have interesting gift shops so I went inside. Two showcases in the lobby full of first nation’s art told me I was on the right trail. Masks, jewelry and other items were for sale in a three foot high glass showcase sitting at the end of a long check-in counter. The other showcase was sunk into a wall directly opposite. “Marvelous.” While it was not an entire gift shop, it was first nation’s art for sale which was exactly what I had hoped to find. I asked the desk clerk for the manager’s card and continued on my way.

Heading on a downward projectry it wasn’t long before I came to a grey, slightly weather-beaten, one storey, wooden Longhouse. It was beautiful! My first time inside a native Longhouse was both invigorating and exciting. I didn’t know exactly what to expect. Carvings hung on walls and a dugout canoe was perched on top of some cabinets. To my right was a gift shop and next to it a native man with his head buried in a book was sitting behind a reception counter. A doorway led to the museum’s showrooms and to my left was a rack of brochures awaiting the intrepid traveler. I went over and helped myself and then

14 ~ Museum of Northern B.C.

approached the man.

“Is this a Haida Longhouse?” I asked. He had paid me no notice until I opened my mouth, “Don’t go asking anyone else around here if this a Haida Longhouse,” he scolded, “Not if you want to get out alive.” “This is a Tsimshian Longhouse. The Haida are over on Haida Gwaii. Prince Rupert is Tsimshian territory,” he declared, ready to summon the warrior Nekt (1) or some Tsimpshian prince from the past. After realizing my mistake and with great determination not to make another, I apologized profusely and thanked him for educating me. “Is the museum director available?” I asked. I thought I might distract him from my lack of knowledge on matters first nations and re-direct his attention to the purpose of my visit which I quickly decided was to see the director.

It worked and he toned down his voice. “No, she is not here today,” he said and he handed me her card. I thanked him and departed, grateful to have gotten out alive.

I had to do better. I had just been taught my first lesson in first nation’s etiquette. Try not to insult anyone through a lack of knowledge and ask questions more directly, rather than assuming things. These (1) The warrior Nekt fashioned himself a suit of armour made of grizzly-bear skin lined with pitch and slate. During raids, his enemies mistook him for the mythical Grizzly Bear, who was invincible because of his impenetrable armour and his magical war club called “Strike Only Once”.

PRINCE RUPERT ~ 15

are a proud people with a history and heritage dating back thousands of years. I had a lot to learn and I did my best to do so over the weeks that followed. As I had not tried to insult the young man, I did not feel too bad. I did realize though that I would have to smarten-up if I was going to put together a serious guide to first nation’s tourism.

Heading on down the hill past a seafarer’s monument in a small park the waterfront below soon came into view. A sign read ‘Cow Bay.’ I wondered why it was called Cow Bay? There was a mural on the side of a building with black and white dairy cows boldly enblazened in paint.

Not very first nations I thought. Like I said, never assume anything! Just then the sun came out and it turned into a beautiful day. The waterfront area was quite attractive and had a gift shop, a couple of restaurants and a tourist bureau which interested me so I went inside.

I discovered more brochures on first nation’s tourism and a not so friendly employee. I helped myself to brochures on: Haida Gwaii, Terrace, Hazelton and even Alaska. There was a lady sitting behind a desk to my left. When I asked her a question regarding first nation’s tourism she curtly told me to go over to the main tourism office in the Longhouse complex and speak to Bruce Wishart, the Director of Tourism.

“He would be glad to tell you whatever you want to know.” Usually tourism officials are more than eager to greet guests but this one was the exception. It was past tourism season and I was the only guest in the

16 ~ All Native Basketball Tournament

bureau. I thought: maybe she didn’t want to say anything incorrect regarding first nation’s culture like I had done at the Longhouse or maybe she was just apathetic and lazy and didn’t feel like talking. Once outside, I decided it was the latter. It didn’t matter. I had enough brochures to tell me all I needed to know and more.

The road started to go back up the hill. I noticed a sign in a store window which read: All Native Basketball Tournament.’ I made a mental note of its location for future reference as it was not open. I guessed it to be a high school sports team using a vacant store front for its promotion. I will say it again, never assume anything.

I love totem poles and I soon found some marvelous ones in a civic square at the top of the hill. I have always been drawn to bright colors whether it is art (totem poles), houses (Portugese) (2) or flowers (roses).

Bright colors have an energy that dull colors do not. These were intricately carved and quite old. Their colors were not as brillant as they once were (weather beaten) but they were still magnificent. Spurred on by my find I saw a few more up a road to the left. These ones were every bit as beautiful as the first and just as intricately carved.

I didn’t see any first nation’s galleries on my journey but there were a few stores selling a few pieces first nation’s art. I was now on Main (2) Portugese fisherman’s houses tend to be very colorful dotting the seasdie in the small villages of Portugal like Caiscais

PRINCE RUPERT ~ 17

Street. I saw a jewelry store that had silver bracelets with first nation’s designs carved on them. A bookstore called Rainforest Books had a good selection of first nation’s books. Another store had first nation’s books, cards, a few prints on a wall and a display case with one or two carvings. There were a lot of empty store fronts which is never a good sign. Shopkeepers confirmed to me that the economy was not very good. One jewelry store did have a good collection of argillite (2) carvings but they were the owner’s private collection and not for sale. I was disappointed not to find any first nation’s galleries in Prince Rupert.

Had I made a mistake? Were there not enough first nation’s venues up north to fill a book? Often there is a reason why there are no books on a subject. Maybe first nation’s tourism would be better off left as a sub section in a more general touristm guide. These were questions I would soon all have answered.

I learned alot about Prince Rupert from the brochures. First, it is situated in the middle of several first nation’s traditional territories so it is the gateway to first nation’s tourism in the north. The Tlingit live to the north (in Alaska). The Haida live to the west on Haida Gwaii. The Nisga’a are to the north east. The Gitxsan to the south east and the Haisla in and around Kitimat. Prince Rupert is in the middle of Tsimshian territory as I had been told and there was only one first nation’s venue here of significants, the beautiful Tsimshian Longhouse (home to the

18 ~ Prince of Wales Island

Museum of Northern B.C.).

I had lots of time but the question was what to do next? I saw several options. I had never been to Alaska where the Tlingt live nor to Terrace (in the east) which had a few native galleries (according to the brochures). Hazelton had a historical park called Ksan. The Haida Heritage Center on Haida Gwaii still aroused my inner spirit and had certainly inspired my trip. But the brochure that really excited me was the one on Ketchikan. There were twenty first nation’s venues located in and around Ketchikan: two or three galleries (selling native art), a totem heritage center, a couple of museums with first nation’s artifacts, a totem park and a Potlatch Totem Park, a carving shed and a few other sites.

Furthermore, there was an Alaska Marine Highway Ferry arriving that night and departing the next morning. It was a six hour trip to Ketchikan and only cost $80 (one way). Weighing my options it seemed like my best bet. I wanted to go to Haida Gwaii but I felt it would be best left until my return trip. I wanted to immerse myself in native culture and etiquette for awhile to avoid making any more stupid mistakes so Ketchikan it would be. Even if the venues were not as billed or closed (as it was late in the season), I would still get to see Alaska. For $80 how could I go wrong. It turned out to be the best $80 I ever spent!

There are Haida in Alaska too. I told the desk clerk that I would be departing early the next morning. We talked for an hour about her home

PRINCE RUPERT ~ 19

on Haida Gwaii. She told me in the old days the Haida used to travel back and forth from Ketchikan to Haida Gwaii by dugout canoe. I learned that there were Haida still living in and around Ketchikan, mostly on Prince of Wales Island. I could feel the deep reverence she had for her people and their history as she spoke.

We make our own luck. It was raining outside and I was still feeling my timing might be off. The rain was pouring down sideways again and I was not looking forward to going out and finding a place to eat. I was content though in my decision to depart for Ketchikan in the morning.

Prince Rupert has interesting first nation’s points of interest (mainly totem poles) and I definitely wanted to see the Museum of Northern B.C. in that wonderful Tsimshian Longhouse but to make my guide a success, I needed to find towns that had multiple venues, otherwise it would not draw enough interest. People have an overwhelming choice of places to travel to (all over the world) these days. If my guide was going to have any hope of catching anyone’s attention, it had to have a lot to offer. I was lucky. I had the foresight to include the Alaska panhandle in my mock-up version so I had come prepared. You know what they say, “When preparation meets opportunity, seize the day,” and that was exactly what I intended to do. I used to attribute that quote to Ray Smith the CEO of MacMillan Bloedel but I then learned John F. Kennnedy said it as well. I doubt the two knew each other but one never knows.

20 ~ The Gilmore Hotel

The ferry to Ketchikan departed early the next morning at 7 a.m. so I needed to be at the ferry terminal at 6 a.m and up at 5 a.m. The desk clerk assured me that a taxi would be waiting to pick me up at 5:50 a.m. and not to worry as they were use to taking guests to the ferry at that time of the morning. Sure enough, the next morning when the elevator door opened in the lobby at 5:50 a.m. and I stepped out, the taxi was there to take me to the ferry. It wasn’t long before I found myself checking through customs and on board the ferry to Ketchikan.

Marine Highway ferries are wonderful. They are much smaller than their British Columbia counterparts but a very comfortable and appealing way to travel. Ferries are the main source of transportation for people living on and around Alaska’s inside passage. They take the place of a bus or a train (hence a marine highway). There are three levels. Inside, a main floor dining room is located at one end and an expansive lounge at the other. There is a lower level with sleeping births. For an extra $10 you get a room with one or two bunks. A great idea if you are travelling longer distances. I saw a couple of showcases displaying native art. A name plaque read: Nathan Jackson. The upper level of the ferry was a mix of game rooms and outside sunning areas.

The six hour trip to Ketchikan passed quickly and it seemed more like two hours rather than six as the ferry wound its way through Hecate Strait, past numerous Alaskan islands. It was still raining but not

PRINCE RUPERT ~ 21

sideways as in Prince Rupert, just a light drizzle and overcast. Ketchikan is the first stop on the marine highway up the Inside Passage. There were no whale sightings on this trip but often there is I was told. The beauty of the ocean and the lush green covered islands is just spectacular. A couple of times near the end of the trip we were close enough to land to see black or grizzly bears (if they were watching) but I didn’t see any. I guessed by now they were used to frequent ferry intrusions past their back doorstep.

I had booked a room online at a local hotel called the Gilmore. I was starting to feel more comfortable with the computer but I still refused to punch in my credit card information. That would come later. Situated on the waterfront in downtown Ketchikan the hotel is within walking distance of everything. Billed as an historic boutique hotel, I felt I might experience a bit of the charm of Alaska of the Gold Rush days.

As the ferry grew closer to the Ketchikan dock, I could see downtown Ketchikan to the right. One and two story buildings dotted the skyline which I guessed hadn’t changed much since the gold rush days.

Ketchikan lies along the water’s edge with a mountain or hill behind it, depending on your definition of a mountain. I had expected huge mountain peaks but this was the Inside Passage. It was different. There were lots of things about the Inside Passage that I did not expect. Once off the ferry, which docked on Revillagigedo Island, it was a short walk to

22 ~ Creekside

a commuter car ferry that took us over to the mainland. In ten minutes I was standing on Front Street waving a taxi down to take me to the Gilmore Hotel, just five minutes down the road.

PRINCE RUPERT ~ 23

12 ~ Nathan Jackson

CHAPTER 2

How I Met Nathan Jackson The Gilmore Hotel oozes with Alaskan charm. The lobby looks like an old western saloon. It has beautiful woodwork on the walls and there is a banister on a staircase leading up to a second floor. It really felt like Alaska in the Gold Rush days. Not very first nations though! I had to stay focused and remember I was not here for a holiday but that didn’t mean I couldn’t enjoy my surroundings. Once booked in and key in hand I proceeded up the stairs to my room. My plan was to leave my bag and head out to see what I could see before it got too dark. I always travel light. Generally only one bag. Years of travelling have taught me to down-size for many reasons. When I opened the door to my room I found it decorated in period style with big pillows, 19th century repro furniture and a big mirror. It had all the modern amenities that one requires and comes to expect when travelling: satellite television (to keep in touch with world news), refrigerator (for cold drinks) and central

24 ~ Arctic Spirit Gallery

heating. In fact, the room was so warm that the first thing I did was prop up the heavy old fashioned window frame with a stick on the window sill, I presumed left for the sole purpose of cooling down the room.

Then it was out the door and off to see what first nation’s venues I could find.

It was still drizzling and overcast and few people were on the streets.

At the first corner I turned left and noticed a store with a few first nation’s items in its window. I discovered several jewelry stores with what appeared to be first nation’s jewelry, but the names of the stores made me suspicious. They did not sound like first nation’s names I had ever heard. Further away from the waterfront I saw a small square with a totem pole, then another. Then to my left I saw a sign which read: Crazy Wolf Studios. That sounded more like it. It was a first nation’s gallery selling first nation’s art but it was not open. I would return tomorrow and continued on down the road. The smell of fish and the roar of a mighty river filled my senses as I crossed over the street to look at the second totem pole. I couldn’t think of anything else my senses were so overwhelmed. As I headed towards the source a sign above a boardwalk came into view: ‘Welcome to Creekside.’ When I looked down I saw the most amazing creek I had ever seen full of two foot long salmon swimming frantically against the raging current. The salmon were not very healthy looking. Some were discolored and others seemed to have

KETCHIKAN ~ 25

pieces missing. They were female salmon returning up the river of their birth, to spawn and die. What an an incredible sight!

This had to be a tourist destination! All along the backside of the creek were buildings built on stilts at water’s edge with the creek flowing under them. The buildings were all painted bright colors. As I made my way over the boardwalk (bridge), I walked along in front of the row of stores, looking inside. There were all different types of businesses but none were open. I turned to my left and went down as far as I could to the last one. To my surprise it was a first nation’s gallery called Alaska Eagle Arts. A sign in the window read: Owned by Marvin Oliver. “One of the northwest’s foremost contemporary sculptors and printmakers.” Wonderful, I would have to come back here tomorrow as well. Next, I came to an enormous mechanical structure which at first puzzled me. Looking skywards, I realized it was an outdoor elevator. I had seen them before in Europe. One I had encountered in Shanklin on the Isle of Wight. It took tourists down a cliff to the beaches below. The other was in Lisbon. It took tourists from the Barrio Alto up to the Barrio Chiada. As it was getting dark, I decided to wait until daytime to check it out. The wooden boardwalk hugged the creek closely as it weaved in and out. I tried to stay in the center as a parting of the clouds allowed the moonlight to guide me. Sometimes there would be a store between me and the creek. Other times there would only be a store on the hillside

26 ~ Saxman Village

affording me a magnificent view of the salmon as they struggled to swim against the current. More colorfully painted stores led me back to the street where I had started alittle further down. It was certainly a unique attraction. I had never seen anything like it. I spotted a couple of stores set back from the rest just before the corner and a sign on one read: “Carver at the Creek, Norman Jackson,” but it too was closed.

There were more stores down to my left. About a block down a sign protruded out over the walkway which read: Our Living legends, 100% authentic Alaska Native Art, a Native owned Co-op,” wonderful. My fourth native gallery. Heading back towards Front Street I saw a newer building on my right so I walked around to its front. A sign above it read: Southeast Alaska Discovery Center. “Travel through time and discover Haida, Tlingit and Tsimshian cultures.” The bigger question now in my mind was: would they all be open in the morning?

Back on Front Street, I saw something quite unexpected: a row of vacant store fronts. Most of the signs on the stores read: “Jewelry, Emeralds” and so on. These stores were located at the lower end of town on the waterfront where the cruise ships docked. I knew a lot of businesses in Ketchikan were only open during the cruise ship season because on a trip to the Caribbean a few years earlier I had met several jewelry merchants who told me they had stores in Alaska but they were only open during cruise ship season. On my way back to my hotel I noticed a

KETCHIKAN ~ 27

few more jewelry stores with miniature totem poles and other first nation’s replica items. “Those don’t look like authentic first nations items to me,” I declared out loud. A glance down a side street produced another sign which read: Arctic Spirit Gallery. “Northwest Coast & Alaskan Native Art”. This gallery had several wonderful ivory carvings and baskets on display. That made gallery number five. The Gilmore Hotel was just around the next corner and I was home.

A heated musical encounter. Half way up the stairway to the second floor (of my hotel) there was a small landing with a guest computer.

How convenient so I stopped and checked my emails. I was feeling a little tired so I decided to go back to my room for a nap before going out for dinner. The room was nice and cozy and it felt good as it was getting a little nippy outside. Dusk was falling and Alaska in the fall can be cool. An interesting feature of my room in the Gilmore was each room has an old fashioned radiator that hums and beats out its own tune. Mine certainly marched to the beat of a different drummer. The room was just about the right temperature due to my leaving the window open.

When I awoke, I went downstairs to enquire about dinner. “There is a Chinese restaurant down the street or we have our own dining room next door which has more Alaska style servings,” said the desk clerk.

Chinese my first night in Alaska didn’t sound appealing so I opted to eat in the hotel’s restaurant. It was just through an open doorway to my

30 ~ Edwin Dewitt

right. The food was great and the service was excellent and I highly recommend it. After dinner I stepped outside for a breath of fresh Alaskan air and then it was up to my room for a cozy sleep. Back in my room the radiator was going to beat the band so I left the window open all night which worked out just perfectly.

The next morning I was up early. After a light breakfast of tea and biscuits in the dining room I was on my way. I wanted to find some totem poles in a historical park and then in the afternoon see if any galleries were open. The two brochures that caught my eye were Saxman Village and Totem Bight State Park. It was still overcast and drizzling so not picture taking weather. I opted for Saxman Village. It would be better to visit the park on a sunny day when I could take pictures. It was an easy ride on the local bus down to Saxman Village from outside my hotel. I was not sure what to expect. I knew there were some totem poles and a few other buildings but that was about it.

Getting around Ketchikan is easy and inexpensive. There are three buses a red, a blue and a green bus and each has its own route. One goes north, one goes south and the other does a combination of residential areas away from the water and Front Street. The blue bus would take me south down to Saxman Village. I was given a bus schedule at the hotel and the bus was there precisely on time. The friendly bus driver informed me that probably nothing would be open at the Village but I

KETCHIKAN ~ 31

could walk around and look at the totem poles and a couple of other buildings. She would drop me off at the bottom of the hill where the totems started and I could walk up a block past the totems and catch a ride back with her to town. If I missed her it would be another hour before she would be back to pick me up.

It was still raining when I exited the bus where the totem poles were located. Monumental giants dotted both sides of the short block. It is an amazing site. Each totem is very distinct and different from the rest. At the top, I came to a road running in the opposite direction with a small grassy park on the other side. A colorfully painted Longhouse sits at the back of the park. There were three more totems to my right at the park’s edge and a story board telling their history. But no people! Some of the totems had carved animals perched on top. Others were only partially carved and empty past a certain point. All were amazing. To my right, on my side of the road, was a gift shop (closed) and further along facing me was a big rough wooden shed with a name above the door which read: ‘Edwin DeWitt.’ There was a road in front of the building running behind the three totem poles. I was disappointed that no one was around to tell me about this fascinating place. You find out much more by talking to people than you ever do from a story board. I could only imagine what it must be like in the summer months with people walking around, dancers on the lawn and interpretive tours.

32 ~ Nathan Jackson

Just as I was dreaming big dreams an old blue pickup truck darted past me and came to a screeching halt in front of the shed with the name Edwin DeWitt above the door. A short, curmudgeonly looking man dressed in tan work pants and a dark blue plaid shirt got out and proceeded to make his way to the entrance. Not knowing who he was but elated to see someone I blurted out the first thing I could think of, “Are you Edwin DeWitt?” He turned and looked at me like I was crazy, muttered something and went inside. Undaunted and excited at the same time, I proceeded over to the shed opened the door carefully and looked inside. In the center of the shed was a big open area full of logs and half finished totems. I saw the man standing beside a small illuminated totem pole which he appeared to be getting set to work on. A nearby lamp cast its brilliant rays down on the yellow cedar pole showing it off in all its glory. “Shut the door it’s cold out there,” he said when he saw me. I stepped inside and pulled the door shut behind me. Never one to shy away from an adventure, I carefully approached the man. I had encountered many people in my travels but this man seemed to have a sense of purpose about him like no other. His spectacles were balanced on his nose so he could see with or without them. Mine always fall off when I do that. His work clothes looked well used had no store creases visible. He had a carving knife in his right hand and was holding a piece of yellow cedar in the other. His boots were heavy work boots, exactly

KETCHIKAN ~ 33

what he needed to keep warm while he got the job done. He had a watch on his left wrist but that was the only luxury. I guessed he was about five feet eight and weighed 180 pounds. I am six feet three and weigh 200 pounds but I didn’t feel that big at the time. He looked short and stocky with his head cocked forward. The look on his face meant business.

Maybe ex-military at one time but now his hair was long and white. He was getting his tools out and preparing to start work on the cedar totem but instead, he sat down in a big chair facing me and started to listen to me answer his question as to who I was and what I was doing in Saxman Village. I remember thinking: I am not really sure why I am taking up his time because he doesn’t have a gallery to advertise, but it seemed like the right thing to do at the moment. When I started to tell him about my idea to compile and write a first nation’s tourism guide to the westcoast he said, “There was a fellow come through here a few years ago.

The office sent him over and told me to be nice to him. He was from a magazine back east in the U.S. I didn’t like him so I chased him away.”

My heart sank momentarily but feeling the strength of my convictions I carried on. After a brief time checking me out and making sure this white guy had the best interest of his people at heart, he began to warm up to my idea. I had my mock-up guide with me and I showed it to him. “Hey, this is not a bad idea but it should be about the artists and I mean the artists who are working true to tradition and form,” he said.

34 ~ Totem Bight State Park

“I notice you have one fellow in here who will hurt the credibility of your guide if big collectors who know a lot see him included. He doesn’t really know what he is doing and just does whatever he feels like with his art.”

I reassured him that I was only interested in including authentic first nation’s artists and those creating true to form (within stylistic guide lines). As I had not yet met the fellow he mentioned, I made a mental note not to visit him if I came across him later. Our paths never crossed.

“Can I keep this?” he said holding up my mock-up guide. “No,” I replied almost in shock, “I need to take it with me so I can show it to others up north.” “Well, when you get to Sitka you have to look up Reggie Peterson and in Haines be sure to visit Wayne Price. They will tell you who the others are who should be in your guide.”

Everything happened so fast I hardly realized my good fortune. A high table behind me had some business cards on it. Picking one up I said, “Are you Nathan Jackson?” “Ya, I am!” he replied in a loud voice and a big smile. “I know you!” I said. “I saw your art on the ferry coming up. I am happy to meet you, ” and with that I went over and shook his hand. I figured he must be someone if his art was for sale on the ferry. By this time he was like my grandfather, a friendly jovial soul who told me he danced as well and made jewelry, some of which he had with him. “I had to come in today to polish this bracelet for a fellow,”

KETCHIKAN ~ 35

he said handing me the piece. We talked for a while longer and he told me that the last cruise ship of the season would be in on Wednesday (two days away). Everything would open for one last day and then everyone would leave for the winter. “Everyone gets on the ferry and goes south for the winter. That is why we have all the empty store fronts,” he said.

I have never had any trouble talking to people I have just met. My father was the same way. He would talk to everyone. The mailman, the gas station attendant, any neighbours who made the mistake of coming out of their house when he passed by. I guessed it came naturally to me as well. My mother was the opposite. She was English. She had her close circle of friends and relatives and did not make casual acquaintances easily. Even in the senior’s home during her last years she said to me she would just as soon be up in her room as mingling in the lobby with people she didn’t really know.

As he talked I tried to figure out how I could include him in my guide.

He didn’t have a store so I couldn’t sell him advertising. Finally it came to me. I would take his picture (if it was okay with him) and give him a free artist profile. He graciously agreed to a photograph of himself working on his totem. I asked him if he had a bio (I figured he might have a small paragraph or two). He handed me twelve pages all neatly typed out. “I don’t need twelve pages,” I said but I took a look. Listed, were every work I guessed he had ever created back to 1950 and every

36 ~ Cape Fox Lodge

museum in Alaska which had ever commissioned his work (and they were all there). There were also museums in Europe and other places around the world. He was a much more important figure in the world of Alaskan native art than I had realized. If you do not know who Nathan Jackson is you soon will. “One page is enough,” I said and handed the rest back to him. “I will be dancing at a store on the waterfront downtown near the ferry terminal on Friday. You should come down and see us dance and get a picture for your guide.” “I would love to,” I said. As I was leaving I said to him, “I will send you a copy of my new guide when it is out.” He smiled and waved goodbye. I had the feeling that he could be a formidable character if one got on his wrong side. I knew someone growing up in Vancouver whose smile could melt butter just like Nathans but if you got on his wrong side he never forgot it. He could hold a grudge with the best of them and was in many ways a polarizing figure. He grew up in a different age and I only met him when he was 76.

He was an amazing leader though so whose to say if his public personna was too hard. He got the job done. With him it was an act that he could summon up at will. I had the feeling that Nathan Jackson was very much the same.

I was elated that I had met my first carver. Meeting Nathan Jackson turned out to be a turning point in the writing of my guide. His telling me which artists to look up in each town served as an introduction to other

KETCHIKAN ~ 37

artists along the way. Including free artist profiles worked out just fine as well. From that point on my focus shifted from selling advertising to promoting first nation’s artists. On the bus ride back to Ketchikan, the sun came out and it stayed out for the duration of my stay in Alaska. I am not superstitous but I took it as a good omen and a sign that I was on the right path. Once I discovered the right reason for doing what I was doing, everything seemed to fall into place, including the weather!

CHAPTER 3

The Artists of Ketchikan “Is it very far to Totem Bight State Park?” I asked the bus driver when she picked me up. “No, about ten minutes but it is on the other side of Ketchikan. You will need to catch a green bus.” I didn’t need to visit the galleries now until Wednesday and the sun was shining so back in town I hopped on a green bus and travelled ten miles in the opposite direction out to Totem Bight. “Instead of buying one-way tickets,” she said, “it is best to buy a day pass for only a dollar more, then you can ride the bus all day for the price of two single tickets.” It wasn’t long before I was walking down a pathway towards the open water at beautiful Totem Bight State Park. The sun shone through the leaves on the branches of the tall fir trees and little droplets of rain glistened all around. It was a beautiful day to be in Totem Bight. All around colorfully painted cedar monuments dotted the edge of the grassy park area forming a circle.

38 ~ Potlatch Totem Park

[Totem Bight State Park is situated up the coast from Ketchikan at water’s edge just north of town.]

Tlingit totems are very distinctive. Carved animals are often perched on top. One tall totem had an eagle on top and at the bottom a figure clutching two salmon. The area between was uncarved. Another totem was faded. In 1938 the US Forest Service began a program aimed at salvaging and reconstructing the large totems left behind by native communities when they moved to other areas where work was more plentiful.

They hired skilled carvers from amongst the older natives and younger artisans learned from them the art of carving totem poles. Some of the totems were repaired and others were duplicated. Fragments of old poles were laid beside freshly cut cedar logs and every attempt was made to copy them traditionally. They used natural substances such as clam shells, lichen, graphite, copper pebbles, and salmon eggs for the paints.

Totems in Alaska reflect the natural resources with symbolic characters carved on them and on community houses. One such community house is located at Totem Bight. The entranceway is through a small opening at the front of the house cut in a totem placed in the center. On either side of the totem, the walls are brilliantly painted with Tlingit designs. Welcoming posts are situated at both corners in the front with seated hatted figures at roof level to welcome guests and visitors. The park was in the old days a Tlingit village. Often villages were established at the edge

KETCHIKAN ~ 39

of the water where the land protruded out and formed a natural bay beside or behind. The original name of the area was Mud Bight but when the National Park Service took it over after World War II, the name was changed to Totem Bight: Bight meaning ‘a curve in the coast line.’ I spent a pleasant hour enjoying all the totems.

While waiting for the bus back to town I saw a sign in the distance which read Potlatch Park. I knew there was one other attraction near Totem Bight but I decided to leave it for another day. I wanted to get back and find a place for dinner outside my hotel.

There was a First Nation’s owned hotel called the Cape Fox Lodge which sounded quite nice located somewhere near the rear of the town.

I was surprised I had not seen it the night before. The smell of fish and the roar of water again filled my senses as I arrived at Creekside. I guessed the hotel must be further down. When I came to the mechanical cage, I was curious. I didn’t see any signs. I pushed a button and the cage door opened. When I stepped inside the door automatically shut behind me. Wherever it went, I was going to find out. As the elevator climbed the hillside a wonderous panorama of Ketchikan unfolded in the moonlight. I could see the town, the harbor and past several islands out to the open ocean. If it had been daylight I could have seen forever.

I would definitely have to come back during the day. In a few moments the elevator reached its destination. Turning around, to my astonish-

40 ~ Brita Alinder

ment, I found myself staring into the grand, rustic lobby of the Cape Fox Lodge. It looked like one of those grand old lodges from the thirties ie: Glacier Park Lodge in Montana. I had passed through Glacier Pass one summer on my way back to Vancouver from Montreal and had stopped at the Lodge. The only difference was these cedar posts and beams were much newer and brighter than the ones at Glacier. What a magnificent hotel. Directly ahead of me was a staircase leading up to a landing. Two glass display cases full of native masks and artifacts stood on either side of the staircase at the bottom. The stairs split off in opposite directions from the landing up to a second floor. On the back wall of the landing I saw a large carving. I went up to it and read the name card: Nathan Jackson (my friend from the carving shed). It was the largest carving by far in the lobby and it was in the most prominent position. I climbed the stairs up to the second floor. There was a six foot wide balcony all around that afforded me a bird’s eye view of the lobby below. On a far wall there was a collection of native art and artifacts. I was able to walk right up to the collection and view it first hand. Marvelous! Back on the main floor facing the hotel desk was a gigantic glass display case. This one was filled with Tlingit baskets and masks. Simply amazing! “The collection is known as the ‘Cape Fox Lodge Collection,” said the receptionist. “It was collected over the past 100 years.” It was definitely all museum quality.

KETCHIKAN ~ 41

“What is the cost of a room at the Lodge?” I asked. To my surprise the price was no different than what I was paying at the Gilmore. “All the hotels in Ketchikan are competitively priced,” she said. Everywhere I turned in Ketchikan there was a first nation’s connection. The Cape Fox Lodge is owned by the Cape Fox Corporation a local first nation’s tribe.

I wondered if each town in Alaska might have its own first nation’s hotel. If one is going to take a first nation’s tour of Alaska what would be more appropriate than to stay in a first nation’s owned hotel. I was happy at the Gilmore for the duration of this stay.

“Have you tried the hotel’s fabulous dining room?” asked the receptionist, turning and pointing to a doorway behind me on the right side of the elevator. “I was looking for a place to have dinner,” I said, “and from what I can see it looks just perfect.” The dining room at the Cape Fox Lodge is spectacular! A full length picture window greets you as you enter from the lobby and every seat is situated so as to take full advantage of the marvelous views. It was not crowded that night so I sat at a seat back from the window which would still have afforded me a great view if it had been daytime. The menu was varied and I had local salmon and greens. The perfect ending to a perfect day of first nation’s touring in Ketchikan, Alaska.

On Tuesday it was a sunny day so I decided to go take a look at Potlatch Park. Set back from the road (down a man-made gully) I saw a

42 ~ Ken Dekker

new cedar log house facing me and another building to the right which looked like a western saloon. There were lights on in the log house so I went down to have a look. Inside there was a carver (in the center of the room) working on a very long totem pole which stretched the entire length of the room. When the carver lifted his head and took off his visor protecting his face and eyes I discovered that he was a she. “Hello, I am Brita Alander.” she said. We chatted for a few minutes and Brita told me that she was one of only a few women carvers in Alaska.

“Alaska is my home,” she said. “I grew up in Ketchikan and Hydaburg listening to traditional Haida stories my mom and auntie told my sister, brother and me. It is very rural, very country, full of wildlife, eagles, ravens and abundant salmon, even today. I watched the carvers make stories come alive upon a red cedar log. It was like magic. I had the privilege of studying under the master carvers of southeast Alaska, which I did for several years before venturing out on my own. I now carve large totems for Potlatch Park. This one is 42 feet tall. It follows the stories I heard when I was young about the raven releasing the sun back into the world from the bentwood box where it was hidden. The totem also shows the raven finding a large clamshell on the beach where all of humankind were trapped inside until his powerful beak opened it up to the world. These are the kind of stories I now tell my two daughters upon a carved totem. This is my eighth totem for Potlatch Totem

KETCHIKAN ~ 43

Park.”

Dreams and aspirations of youth. Most talented people like to venture out beyond their own backyard. I wondered if Potlatch Park would be enough to hold a talent like Brita Alander. Vancouver was not enough to hold the dreams and aspirations of my youth after having spent three summers touring the capitals of western Europe. Fortunately for me Vancouver has changed and today it does fill alot of the dreams and aspirations of my youth. It also holds the memories of my youth, so for me, it is the best of both worlds.

I told Brita what I was doing in Alaska and showed her my mock-up guide. “Come on, I will introduce you to the owners they will be glad to meet you.” Brita was not the only surprise at fabulous Potlatch Totem Park. The western saloon was actually a gift shop full of first nation’s items as well as other gifts. In a far room I could see a vintage car from the 1920s or 30s being used for a display. Brita introduced me to the owner Tedi Brown and her son. Potlatch Totem Park has a lot to offer.

Besides Brita (who works in the carving shed year round) and the large gift shop, it is also home to an extensive firearms collection, kept in a separate room in the gift shop. I peeked into the room and what I saw took my breath away. There were two very rare Gatling guns set up in the middle of the room and other historical guns mounted on three walls: rifles, flintlocks, pistols and a double barreled shotgun. Tedi and her

44 ~ Norman Jackson

husband had been approached by two museums down south but they were reluctant to part with their extremely rare collection. I had seen antique firearms collections before in museums in London, England and this one was every bit as impressive.

Potlatch Park is also home to an amazing collection of vintage cars.

After talking with Tedi for a while and looking around, Brita took me outside and down a dirt road to see the rest of the park. Hidden behind trees and not visible from the road above are five miniature tribal houses. Brita took me inside the main tribal house. In the center of the room I saw four carved welcoming posts at each corner of what traditionally would have been a fire pit. No fire pit, just a rectangular space with a three foot cedar railing all around to keep visitors back. The end wall of the house was heavily designed and painted in the Haida style as were the welcoming posts and all the work had been done by Brita. The outside of each tribal house was heavily designed and painted as well. We continued on down towards the water. There was a large barn on our left.

Brita drew back the equally large doors (across the front) and revealed a row of vintage cars. There was a 1924 Stanley Steamer, a 1934 Ford Coupe and many more. It was an amazing collection. I guessed it reflected the varying tastes of the owners. It is not what one expects to find in the woods outside Ketchikan, Alaska. Brita was certainly a master carver. I just recently checked Tedi’s website and the 42 foot pole Brita

KETCHIKAN ~ 45

was working on is now up for all to see. It is placed directly in front of the main tribal house and can be viewed by all who come to visit fabulous Potlatch Totem Park.

I said goodbye to Brita, Tedi and her son back at the gift shop. Tedi’s son gave me two signed books of his own first nation’s lore. What an amazing morning it had been and I highly recommend to everyone when you are in Ketchikan to visit fabulous Potlatch Totem Park.

Another venue I wanted to see was the Totem Heritage Center. I was not sure what it was but I wanted to find out. It too was on the outskirts of Ketchikan but on the other side of town towards Saxman Village. Back on the blue bus. Soon I was dropped off at a corner and told to walk about one hundred yards down a hill towards a grassy park.

Sure enough a building came into view and a sign which read: Totem Heritage Center. The small parking lot was empty so I knew it was not open. I was able to walk along a porch and peek inside. I could see large totems, some lying on the floor, others standing upright in the back. It definitely was full of old totems but why? Hopefully, I would discover the answer tomorrow. If all these galleries and museums were open tomorrow, I was going to be pretty busy. I took my time walking back to town in the fresh Alaskan air and sunshine. That evening I went back to the Cape Fox Lodge for another splendid dinner and to again admire the Cape Fox Lodge Collection.

218 ~ Ken Dekker

On Wednesday morning, I was up early ready to visit the galleries. My first stop was Crazy Wolf Studios. When I arrived, I found the door wide open (the sun was shining) and a very large St. Bernard was stretched across the inside of the doorway blocking my access. I puzzled for a moment deciding what to do. He seemed to be quite content to lie there and bask in the morning sun. To the left, just inside the door, was a rather large man sitting painting an intricate design on a small drum.

“Oh! hello, don’t mind Roscoe,” he said. “He’s been with us so long we forget he is even there. Just step over him.” We talked for a while about his painting. His name was Ken Dekker. He was a Tsimshian artist and the owner of the gallery. Ken was a big man who comfortably filled out his chair when he sat. His grin always looked as if it was going to break out into a smile and often it did. He was in his fifties I guessed with a full head of hair which is more than I could attest to. “Not too many of us up here,” he said jovially. “It is mostly Tlingit country except for a few Haida.” I told him what I was doing in Alaska and he liked the idea (just as Nathan had) and called his wife Monica to come out from the back to meet me. Monica was from San Francisco. They had met, married and moved back to Ketchikan. San Francisco was a far cry from Ketchikan I thought. The phrase you can take the girl out of the city but you cannot take the city out of the girl came to mind. I learned they made trips back each year to The Bay area to compensate. Monica was as jovial if not

KETCHIKAN ~ 219

more so than Ken and I had a delightful time chatting with both of them about Ketchikan, the vacant jewelry stores on the waterfront, stories of a Tsimshian living amongst the Tlingit and a few stories about the Haida as well. They told me that Roscoe was well known to the cruise ship passengers and people would often stop by and tell them how they remembered the gallery with the big St. Bernard.

I met a Haida girl who was working for Ken and Monica. Her name was Gloria Churchill. She was from Haida Gwaii. “My mother is Holly Churchill and my grandmother is Dolores Churchill. They are weavers,” she said. “They are both down in Masset and I don’t know when they will be back but you should try to include them in your guide. I have many relatives down in Masset.” I felt she was maybe missing her family. I never did find out why she was working at Crazy Wolf Studios.

The season was over so she could just as well have been down there.

Something else must have been keeping her in Ketchikan. “I plan on visiting Haida Gwaii on my return trip to B.C.,” I said, “and I will look them up.” She was only too pleased to give me a list of names of people I should look up in Masset. I told Ken that I was going over to see if Marvin Oliver was in his gallery. “If you see him tell him I need to talk to him.” I included Crazy Wolf Studios in my guide, thanked Ken and Monica and carried on. Ken and Monica were very easy-going people and a pleasure to meet.

46 ~ Marvin Oliver

My next visit was to Marvin Oliver’s, Alaska Eagle Arts. I could see the door was not open as I approached Creekside. It was not yet noon so I hoped he would still arrive. There were people wandering around Creekside and on the street in front of Crazy Horse, so I knew the cruise ship had arrived. Ken told me that it gets pretty busy when more than one ship is in town. My next stop was the gallery at the other end of Creekside, Norman Jackson’s, Carver at the Creek.

I decided to take the ride up to the Cape Fox Lodge and see the view in the daylight which was amazing! Every tourist to Ketchikan should take the time to ride up to the Lodge (at least once) and if they are smart, stay and have lunch. The elevator is a tourist attraction in itself and free.

If it were down in San Francisco there would be a charge. I have been to San Francisco and don’t recall any elevators down there. Soon, I was back at Creekside and on my way to Norman Jackson’s, Carver at the Creek Gallery.

Carver at the Creek was open when I arrived. Inside, I saw a row of beautifully painted masks high up on a back wall. A man was working at a table to my right in front of a big window and a Japanese lady was in the back corner wrapping a parcel. Being from Vancouver I can tell the difference between Chinese and Japanese. Vancouver is at least forty percent Chinese as immigration from Mainland China at an all time high. They both smiled and greeted me. “I have to get this silver

KETCHIKAN ~ 47

bracelet finished so you will excuse me if I keep on working,” he apologized. “Are you Norman Jackson?” I asked. “Yes, I am and this is my wife.” I introduced myself and showed Norman my mock-up guide. He put his work down momentarily and thumbed through the guide. “That’s one of Dempsey Bob’s masks on the front cover,” he said handing it to his wife. “I wonder what he would say about this guide?” I told him I was including free artist profiles if he wanted to be included. His wife handed me a one page bio. “Let me know if you want to advertise the store as well,” I said. “My wife handles all of that. You will have to talk to her about it.” “Chris, have you started your first nation’s art collection yet?” Norman said to me getting up. I went over to the masks on the back wall and glanced up at the price tags: $12,000, $10,000, $9,000.

“Norman,” I said, “$10,000 buys a lot of hotel rooms but when I decide to start my collection I know where to come.” His prices were too high for me but I was sure he was a destination. He laughed and sat back down at his work table and continued to polish his silver bracelet. We talked for a while longer. His wife said they would think about the guide and get back to me regarding advertising. They were magnificent masks probably worth every penny, but I was on a quest to develop a guide and I needed to stay focused. I have never been materialistic by nature and do not feel the need to own things. You can’t take it with you. I was content to see Norman’s wonderful masks up close and marvel at his

48 ~ Mike Peters

master craftmanship. I could tell he was one of the best. Besides, $10,000 does buy a lot of hotel rooms!

Past a boutique hotel, an expresso coffee shop and a few other gift shops was Our Living Legends. There didn’t appear to be anyone around as I browsed through the cabinets. A consignment store for first nation’s art I wondered? Eventually I heard someone coming down a flight of stairs in the back. The stores on the street were older than than the ones on Creekside so I could hear the stairs creeking above as they came down.

Creekside was relatively new, made to look like the Alaska of old, but it was hard to tell. The reproductions are very well done! It was indeed an all native owned consignment shop. “The jewelry stores in town are all selling reproductions from Bali,” the proprietress told me. I thought they didn’t look like native art. She stressed the importance of putting native owned stores in my guide which I whole-heartedly agreed. I got the impression that she felt the other stores were taking away business because the tourists just bought the first thing they found. There is a big difference between the cost of reproductiions and “The Real McCoy.” She probably couldn’t afford a full time sales clerk for that reason. I told her I would include her in the guide for free because I knew consignment stores do not have an advertising budget, especially in a bad economy. I had owned an antique store once and they were pretty much the same thing so I knew. She thanked me and I departed.

KTCHIKAN ~ 49

My next stop was the Southeast Alaska Discovery Centre. This new facility turned out to be an interpretive center. Through the use of dioramas it told the story of the Alaska first nation’s people as well as other aspects of Alaskan history. They did have a lovely native display so I felt they would fit well in the guide. The director was Tim Fisher and when I showed him my mock-up guide he understood immediately. His eagerness to be included made me think that he wanted to be considered a native attraction. Maybe dioramas were looked at differently than regular museum exhibits. I wondered. No matter, they were interesting and fit the theme well in my opinion. It was 3:00 p.m. now and I still had one gallery to visit. I hoped to still get over to the Totem Heritage Center but first, back to Alaska Eagle Arts to try and catch Marvin Oliver.

The sun had disappeared and it was showering as I made my way back to Creekside. Alaska Eagle Arts was still not open so I stood under the eave for a moment with my back straight up against the door so as not to get wet. I was surprised that it was not open the last day of the cruise ship season. I was lucky. In a few minutes a short stocky man in his mid fifties came along, “Are you waiting for me?” he asked. “Are you Mr. Oliver?” “Yes I am, come inside before you get soaked.” “There that’s better,” he said turning on the lights and heat. “Have a look around.”

The small gallery was filled with beautifully colored prints all designed and painted by Mr. Oliver. He told me he didn’t spend much time in

50 ~ Elsie Gale

Ketchikan. He was a professor at the University of Seattle and only came up for a few days each summer. The rest of the time he had someone looking after the gallery. I got the feeling that he would prefer to be in Seattle. Maybe there were other reasons he had to come up. Long way to come for just a few days each summer. I showed him my mockup guide and he seemed quite interested. “Ken Dekker said to tell you if I saw you that he wanted to speak to you before you left town.” “Oh he did. Okay thank you.” Mr. Oliver said that he would think about the guide and get in touch with me after he returned to Seattle. He would be back at school then and he would give me an answer. I thanked him and left him alone in his studio. There was still enough time to get to the last gallery on Mission Street, Arctic Spirit. I hoped they had not closed early. The streets were pretty much empty so I guessed the cruise ship had departed at 4:00 p.m. as it was now 4:35.

I needed to hurry. Down the street past Crazy Horse Studios, Roscoe was still lying in the doorway and Ken was still in the corner painting his drum. I leaned over Roscoe and said, “I just left Marvin Oliver.”

“Is he in his studio?” “Yes!” “Thanks, I will give him a call.” When I arrived at the gallery on Mission Street my luck was holding. There were two gentlemen inside talking so I browsed through their wonderful collection of carved ivory and Northwest Coast masks hanging on the walls. After one man left the other dressed in overalls said to me, “My

KETCHIKAN ~ 51

name is Mike Peters. Let me know if I can help you. I am the owner of the gallery but I also work in construction. I have been building a porch, that is why I am dressed like this.” I guessed Mike had two masters: working in construction and his gallery. Good to have an alternative plan I thought. I liked Mike right away. He was very straight forward and friendly. Every Alaskan I had met so far was very friendly. I hoped it was because they liked what I was doing and I think maybe it was. I told Mike about the guide and he too was thrilled. “Great idea!” he said. I told Mike that I would be leaving on Friday for Sitka. “What do I have to do?” he said. “Just sign a contract. When I get back to Vancouver I will get in touch with you to send me either an ad or a photo.” “Okay, can we do it tomorrow? I am in a bit of a hurry. I want to get back and do a little more work on that porch before it gets too dark.” I thanked him and said, “I will drop by some time before 5:00 p.m. tomorrow.”

I always trust people who work hard for a living with their hands.

Often if I am standing in a line-up or out walking or in a crowd I look at people’s shoes. If they are wearing heavy boots I seem to give them more respect maybe because I feel I know what they have been doing all day. This respect for hard working people probably is because my family were all from the working class. It could also be because on my many trips to England in my youth we often stayed with working class families giving us a glimpse into their lives that was truly unique.

52 ~ Roscoe

On Thursday morning I was up early again. The front desk clerk told me there was another first nation’s gallery located on Front Street, a short walk north towards the ferry dock. It was called the House of Haida and was owned by Elsie Gale. I called Elsie and made arrangements to meet her at twelve noon. It was early, so I jumped on the blue bus and headed out to the Totem Heritage Center. This time there were cars in the parking lot. Inside, I marvelled at some old totems lying off in an area to my right. I guessed they were waiting to be restored. At the back, there were several totems standing upright. The ceiling was higher in that section to accommodate their height. The director told me the totems had been brought in from various locations in and around southeast Alaska for preservation so they would not deteriorate further in the forest. Some were badly in need of repair but with the climate controlled temperature inside, they would live on for generations. Cultural conservation in Alaska compared to British Columbia seemed miles ahead. Unless Kaay I’Nagaay had something similar, the only other facility in B.C. to do this might be the Museum of Anthropology at the University of B.C. or possibly the Royal B.C. Museum in Victoria. In any case they were multi-purpose facilities whereas this center was solely for the conservation of totem poles, a unique place indeed. I thanked him for showing me around. “Have you been to the Tongass Museum yet?” he asked. “It is just to the left of the entrance to Creekside.” “No, I guess I missed

KETCHIKAN ~ 53

it.” “Well you should drop in there as well and see their first nation’s collection. It is quite good, small but good. Talk to Mr. McNabb, he is responsible for this place and for the Tongass Museum. Hopefully he will include both of us in your guide.” It is important for us all to be masters of our own fate. I felt that this director would have put both his and the Tongass Museum into my guide but it was not his decision. I hoped he and Mr. McNabb were of the same mind. I thanked him and hurried off to catch the bus back to see Elsie Gale, more than confident I had definitely made the right decision to come to Ketchikan.

I arrived at the House of Haida at twelve noon just as Elsie was pulling up in her car. “Are you Chris?” a lady asked getting out of the car.

“Yes, I am.” “I’m Elsie,” she said. Come inside and look around while I get organized.” Elsie was a Haida weaver and had taken lessons from the Churchill family of weavers. All but one. “Delores Churchill was responsible for the revival of weaving in the area and her daughters Holly, April and Evelyn were carrying on the tradition. They are all standard bearers of the Haida Nation and have passed on the art of basket weaving over the years to their students and their students to their students and so on. Evelyn and April,” she said, “live on Haida Gwaii and Evelyn is a Chilkat weaver. I hope to take lessons in Chilkat weaving from Evelyn one day soon.” It seemed important to her to be accepted as one of her students. The lineage was important. It would mean a great deal

52 ~ Roscoe

to be the student of a master weaver. I told Elsie that I would include her on an artist profile. She said she would send me an ad for the store as well.

The rest of the afternoon I spent looking around downtown Ketchikan. I returned to Arctic Spirit Gallery and saw Mike Peters and then I walked over to try to find the Tongass Museum. As I neared Creekside my eyes gazed up to the left and sure enough, at the end of a small parking lot, there was a building and a sign which read Tongass Museum. I must have been too distracted by the creek to have noticed. The Ketchikan Public Library is located on the top floor and the museum is downstairs. I quickly went inside. An interesting dugout canoe at the back of the entrance hall caught my eye and then some artifacts and a mural painted on the wall depicting a native village scene further peaked my interest. The museum attendant was a young student and I talked with him for a while. I told him what I was doing and he was quite interested.

Mr. McNabb was not there that day so he handed me his card. I then went inside and had a look at the museum. It was small but very interesting and had lots of first nation’s artifacts and story boards on the walls about the Ketchikan first nation’s people.

I dropped by Crazy Wolf Studios one last time to say goodbye to Ken and Monica. Luckily, they were still open. “I am flying to Sitka in the morning,” I said. They wished me well. I left Roscoe lying in the door-

KETCHIKAN ~ 53

way as I strolled off down the street. I wanted to be in Sitka on the weekend so I would be ready to visit the galleries on Monday. I knew I would not be able to visit every first nation’s town up the panhandle so I would have to be satisfied with just stopping at the larger towns which had multiple venues. The smaller towns like Metlakatla, Kake, Angoon and Wrangell, I would include in my guide when I returned to Vancouver and visit them on my next trip to Alaska.

I had enjoyed my trip by ferry up the Inside Passage from Prince Rupert to Ketchikan but as I was now able to see my objective more clearly, I decided that I could not afford the time to travel further by ferry. Sitka was a short hour away by Alaska Air but twenty-four hours away by ferry.

40 ~ Reggie Peterson

Reggie Peterson

CHAPTER 4

“Grandfather, learn to carve this..... don’t let our culture die.”

Morning came early the next day at the Gilmore Hotel as I made my way down the hallway with my one suitcase. I was going to miss my cozy room with the musical radiator and the pleasant smiles that greeted me at the front desk each morning. As I reached the landing and the computer area, I hoped that my hotel in Sitka (which I had booked online the night before) would have a guest computer as easily accessible as this one. I had found a first nation’s owned hotel in Sitka called the Totem Square Inn so I wondered what treasures might lie in store for me in my next home away from home. As I passed the front desk, I helped myself to a couple of free home-made cookies from a jar on the

58 ~ Revillagigedo Island

counter, as I had done each morning and wished them all farewell as my chauffeur was waiting. The owner of the Gilmore Hotel, doubled as a taxi driver to drop guests off early in the morning.

The Ketchikan airport is located on Revillagigedo Island where the ferry docks just five minutes down Front Street, five minutes on the commuter ferry and then a short walk up to the airport terminal. Good thing I always travel light. Once inside the terminal I quickly checked myself through security and in a few minutes I was stepping into a large waiting room with several other people. My eyes were immediately drawn to an eagle on a far wall. It was a gigantic first nation’s carving. It must have measured ten feet wide by at least six feet high. As I approached it I looked for a name plaque. No name plaque. Surely it would not have been hung without some mention of the artist who created it. I was dumb founded! I was becoming more familiar with Tlingit art and specifically with the styles of the artists I had met. I wondered if it was by Nathan Jackson. It looked like a larger version of his piece in the stairwell at the Cape Fox Lodge. How disrespectful not to have a card mentioning the artist’s name. To make matters worse, there were tables and chairs set up within touching distance of the art for customers of the sandwich bar. Thoroughly disgusted, I went over to an airport attendant standing behind a counter and said, “Do you know who the artist is who carved that piece of art over there?” “What piece of art?” she answered barely

SITKA ~ 59

looking up. My mind went blank. I was stunned. I felt like I was on Jupiter talking to an alien. Her voice sounded high pitched. Her uniform looked scruffy. I just wanted to humiliate her like she had the artwork.

“That large carving on the wall,” I said raising my voice and pointing towards the carving. “Oh that, it’s been there so long I don’t even think of it as art anymore.” Now I really wanted to humiliate her, big time. It had taken a lot of work and skill to produce that carving and I told her so. Realizing what you cannot see you cannot appreciate, I went over to the lady at the sandwich bar and asked her about the artwork. She might be more sympathetic because she looked native American. I asked her if it was by Nathan Jackson, “I am not sure is there not a card on the wall?” I assured her there wasn’t. “You might be right, she said. “I think maybe it is one of Nathans.” Another lady came over and she didn’t know either. “Thank you for telling us, we will find out why there is no card because there certainly should be one.” At least she knew who Nathan was, maybe she would be able to sort it out. Walking back towards the carving I noticed another problem. At one end someone had placed a stand-up gum dispenser which covered about two feet of the carvings bottom left hand corner. Just then a voice announced: “All passengers going to Sitka please board at Gate B.”

60 ~ Totem Square Inn

I hope when I return to Ketchikan airport there will be a card with the artist’s name on the wall telling everyone about this magnificent carving.

I also hope that the table, chairs and gum dispenser have been moved a respectful distance away.

Sitka was the capital of Russian America before the Russians sold their holdings to the Americans in 1867. There were pictures of a domed church and other buildings with clearly Russian influences in the inflight magazine on Alaska Air. It looked intriguing. It was raining when my plane touched down in Sitka after an easy one hour flight. A short bus ride took six of us past the harbor and into the downtown area.

The Totem Square Inn is located right downtown and turned out to be a great choice. Unlike the Gilmore Hotel, the Totem Square Inn was brand new (built in 2009). I was quite impressed by its cleanliness. The dining area, while not large, was immaculate and during my stay people were cleaning it all the time. It was October (the off season) and it was not very busy. In front of the hotel stood a tall totem pole in a grassy square. On the other side of the square is Lincoln Street the main street of town. The hotel is situated in the harbour at waters edge and has its own marina.

My only connection to Russia and Lincolns is an uncle who was from the Ukraine. He was a potato farmer in Richmond, a suburb of Vancouver and he used to haul his potatos to market in the back seat of his

SITKA ~ 61

Lincoln. He owned his own farm. Needless-to-say his descendents today will be quite wealthy if the zoning ever changes. With real estate prices around Metro Vancouver skyrocketing it is certainly possible.

Sitka is beautiful, inexpensive and friendly. In the fall it also can be wet. The water can get into everything - shoes, my satchel, car - and generally I find rain to be a nusance. A result of having been brought up in Vancouver. Sitka is overcast for 6 months of the year. It is not as cold as the rest of Alaska further north. In contrast the summer is bright and beautiful. The flowers blossom and the birds sing and everything is golden or at least usually.

I was looking forward to exploring Sitka. I put my bag in my room and headed out to see the totem. It was quite tall and had a plaque which simply read: Commemorative pole. After a few moments, I headed off to Lincoln Street and the stores which were all open. Cruise ships do stop in Sitka but because it is on the outside of the Passage, not as often.

It is also by choice of the locals. The town government does not want Sitka to become a busy cruise ship destination fearing it might spoil the natural beauty of the town and its historic buildings and fort dating back to the time of the Russians. One can see the difference between Ketchikan (with its re-built gold rush charm) and Sitka which is more historical and natural. As a result, Sitka does not have the same problem with shops closing after cruise ship season, leaving the town half empty.

62 ~ Sitka Rose Gallery

The price of prosperity I guessed. The onion domed St. Michaels Russian Orthodox Church (I saw in the inflight magazine) sits smack-dab in the middle of Lincoln Street. The street separates around it and comes together on the other side.

As my trip progressed I found myself reflecting more and more on my own family and life. My mother had just passed away at 93 and it was the first time I had had to relax in years after writing several books and spendng as much time with her as possible. Some of the artists I met along the way seemed to remind me in small ways of deceased relatives that I had not thought about in years. I had a reason for making this trip but I couldn’t help wondering if there was not another reason for makeing this trip hidden deep down in my psyche.

The first gallery I saw was Fishermen’s Eye Gallery on Lincoln. It was located on the east side of the street next door to another gallery called Artist Cove. This was just a walk-through and I didn’t bring my mockup guide. Nevertheless, I decided to go inside. The gallery was full of masks and carvings (both big and small) and bentwood boxes. Counters were placed in a square to greet you when you entered. It was all very inviting. Several tables and displays were filled with smaller items from “all over Alaska” as well as from Sitka. Souvenirs for tourists. Artist Cove Gallery next door was not open so I carried on down the street. A little further down, on the same side, I came to a gallery called Devil-

SITKA ~ 63

fish. It was not open either so I continued on my way. There was a gallery in a cottage just past the next corner on the other side of the street.

It was called Sitka Rose and it was open, so I went inside and chatted with the owner. It was clean and bright and shiny and would have made the sun blush if there were a competition. The owner told me where the native attractions were in Sitka. “Further down Lincoln on the left side of the street is the former Sheldon Jackson College (now boarded up) and a little further down you will find the Sheldon Jackson Museum.

The Museum houses an amazing collection of first nation’s artifacts and a great gift shop. Past the Museum and around a curve in the road is the Sitka Indian Cultural Center.” Some of the carvings in the Sitka Rose Gallery were carved by an artist named Willis Osbakken. A plaque outside identified the cottage as originally being the Osbakken House. I asked if they were one and the same. “Yes, it was the Osbakken House years ago,” he replied. “Willis is a descendent. He married a Tlingit woman, retired and now carves these amazing bentwood boxes, paddles and other items.” Willis needed to be in my guide for sure. It was now raining heavily so I decided to go back to my hotel room and look over the brochures I had picked up at the airport.

I found a computer in a comfortable corner of the lobby for guests.

There was also a hot water maker for making tea or coffee. Because of the frequent rain, the coffee and tea were always welcome. After

64 ~ Sheet’ka Kwaan Naa Kahidi Community House

checking my emails I returned to my room with a nice cup of hot tea.

It may seem funny that here I was 60 years old and I had never traveled to Alaska. I had done lots of traveling but mostly in Europe and the Caribbean and across Canada as well. It was not that I had not wanted to come to Alaska, the opportunity had just never presented itself.

There are several first nation’s venues in and around Sitka. The most interesting are the Sitka National Historical Park and the Southeast Alaska Indian Cultural Center. The latter is located in the Sitka National Historical Park. It is Alaska’s oldest federally designated park, established in 1890. [It became a national monument in 1910 to commemorate the 1804 Battle of Sitka fought between the Tlingits and the Russians. All that remains of this last major conflict between Europeans and natives of the Northwest Coast is a clearing at the site of a Kiks.ádi Fort.] The park also includes a collection of Northwest Coast totem poles along a scenic trail in the back.

Another interesting brochure was on the Sheldon Jackson Museum. The Museum’s collection has been called the jewel in the crown of Alaska ethnographic collections. It includes objects from each of the native groups in Alaska: Tlingit, Haida, Tsimshian, Aleut, Alutiiq, Yup’ik, Inupiat and Athabascan. The museum itself is a historic landmark dating back to 1897. It was time for dinner.

Just past St. Michaels Church I found a restaurant that was open.

SITKA ~ 65

The food and service were great and I left the restaurant feeling quite satisfied. Actually the portions were huge, something I learned is typical throughout Alaska. On the street there was a pickup truck parked with fresh halibut for sale. A fisherman had just come in with a fresh catch of the largest halibut I had ever seen. Unfortunately, I had no way to cook it at the hotel. Too bad! His prices were excellent! My uncle had been a fisherman. Whenever he went out on the Lazy Lady (his boat not his wife) we always got fresh salmon steaks. Our best summer meals were always new potatos from my Ukrainian uncle’s farm, fresh peas from the farm next to my cousins in Ladner during threshing season and fresh salmon from the mouth of the Fraser River.

The next morning I was out by 10 a.m. and back to Fishermen’s Eye Gallery. There was a young lady behind the counter this time when I entered. “Hi, I am working on a first nation’s tourism guide,” I said showing her my mock-up guide. “Oh this is interesting,” she said thumbing through the pages. “My name is Ruth Culp. She wore a skirt and a blouse that any woman would have loved. Her hair was pulled back, to keep it out of her way, and her hands were neatly manicured for showing jewelry. “My husband Vern and I own the gallery. Let me give Vern a call.” Soon, Vern appeared from the back wearing overalls. I wondered if he too had two masters. “You will have to excuse my clothes but I am building a house on one of the islands in the harbor.” Ruth handed

66 ~ Bill Holms

Vern my guide. “This is interesting. We represent a lot of local artists here in the store. Here is one now.” I turned around just in time to see a 40 something native man of medium height walk in the door. “This is Ed Malline,” Vern said.” Ed was wearing blue jeans and a green t-shirt with some kind of animal on it that I couldn’t recognize. His hat was broad to keep the sun off his neck and his hands were big like those of a carver. “We promote Ed’s art in our gallery.” “Hello!” he said with a smile and then he went off with Ruth to check his artwork. “How long will you be in Sitka?” asked Vern. “About a week. I want to keep to my schedule and be in Juneau next week and then Haines the following week. I am not sure where I will end up.” “If you have time I would like to invite you to our house on the island for dinner. It is still rustic and in transition. You can stay overnight if you like in our extra room.” “That would be very nice. Maybe later in the week. I would like to visit as many artists as I can over the next few days.”

“There are lots of artists around Sitka. Do you know who you want to visit?” “Reggie Peterson for one. Nathan Jackson said I should look him up.” By this time Ruth and Ed had returned and were listening.

“You met Nathan Jackson?” asked Ed enthusiastically. “Yes, at Saxman Village in Ketchikan.” “He is about the best we have,” Ed said. “Nathan told me who I should look up and include in my guide on my trip up the Inside Passage.” “Reggie Peterson’s wife Gayle used to work at the

SITKA ~ 67

Sitka Cultural Center but she left last year. She would be a good contact for artists in the area. Nancy Douglas is the new director of the cultural center,” added Ruth. Just then some customers came in and Ruth scurried over to greet them. “This goes on all the time,” said Vern. “Drop by later this week and tell Ruth when you can come over for dinner.” “I will,” I said and with that Vern too went off to greet a customer. “Would you like to be in my first nation’s guide?” I asked Ed, handing him the guide.

“I am afraid I am not of the calibre of the two carvers you mentioned.

All my life I have been surrounded by artists but I paid little attention.

I wanted to know how things worked so I studied electronics. Then one day in 1980, I awoke from a dream that changed my life. I began to study my heritage with the goal of becoming a wood carver. I knew I was a Tlingit and a member of the Kag wan taan clan. There is a picture of my great, great, great grandmother in the Sheldon Jackson Museum.

She was Katlian’s sixth wife. That is why I carve Kag wan taan style.

My brother Alex Jackson taught me how to make carving tools and between the two of us we have invented a new way of sharpening tools.

After a year of making tools I began to carve learning how to do it safely and accurately. I was told not to try to carve for speed and instead concentrate on accuracy, speed comes later. I borrowed designs from my brother Alex and furthered my studies from the carvers bible, Bill

68 ~ Sitka National Historical Park

Holm’s “Northwest Coast Indian Art - An Analysis of Form. (3) After wearing out two copies I am still learning from this book. Within the limits of the formline system you are expected to be creative and original. This is a journey of knowledge that will last a lifetime.” Ed looked up at me and smiled. I admired his sincerety. “If you leave your bio with Vern and Ruth,” I said, “I will include you in the guide on a free artist profile. I think Ed was happy that he was going to be in a guide with Nathan and Reggie. I said goodbye to Ed and headed out the door.

There was still no one around at Devilfish Gallery. A sign in the window said the owner was Nicholas Galanin. The rain was starting to subside and the walk was becoming more pleasant. I had already been in the Osbakken House so I continued on past three quaint historical homes until high up on a hill to my left, I saw several barracks style buildings: The former Sheldon Jackson College. A similar building set back from the road soon appreared. It was painted the same milk chocolate brown.

A sign near it read: The Sheldon Jackson Museum.

Inside, there was a gift shop to my left and the entrance to the museum on my right. The quality of the items for sale in the gift shop was supurb. Everything was very well designed. “Who is in charge of marketing?” I asked a lady behind the counter. “The director is away right now on a trip but I can give you her card.” The museum was started by the Reverand Sheldon Jackson who during his career travelled about

SITKA ~ 69

one million miles (1.6 million km) and established over 100 missions and churches in the Western United States. He is best remembered for his work in Alaska during the final quarter of the 19th century. Many of the artifacts in the museum were originally collected by Reverend Jackson on his travels through rural Alaska.

The rain was coming down hard now but I still wanted to see the Sitka Historical Park. After a stretch of sparse forest around a curve, a parking lot came into view with a long building behind it. As I got closer I could see a tall totem pole standing in a patch of grass between the parking lot and the building. The totem was carved and straight, without any additional figures on top. It was not as colorful as others I had seen in Ketchikan but rather grey and left in its natural state. A sign on the building read: Sitka National Historical Park so I went inside. The interior was huge. It had an open floor plan and the walls rose well over two stories high. To my right was a uniformed park ranger standing behind a reception counter. His broad brimmed hat and brown uniform gave him away.

The building was constructed of rough wood and left in its natural state.

A wall of windows to my right, behind the ranger, faced out to sea and several totems stood along a back wall directly behind me. “Welcome to the Sitka National Historical Park,” said the ranger. “Over there through those doors (he pointed towards where I had entered) you will find the Southeast Alaska Indian Cultural Center. Outside through that door

70 ~ Tommy Joseph

(pointing to the right) there is a pathway which will take you to the park trail and all the totems. Now what can I do for you?”

“Is Nancy Douglas around?” “Come on, we’ll see,” and off we went towards the cultural center. The ranger reminded me of John Cleese of Monty Python fame. Through a door and down a long narrow corridor I followed the ranger until he ducked into the first doorway on the right.

“This is her office,” he said looking around, “but she is obviously not here. Come on.” Feeling like Watson following Holmes we soon came to another room with a glass window. Inside were several artists working. “There she is,” he said. A young lady saw us, got up and came outside. “This gentleman is looking for you my dear.” “What can I do for you?” she asked with a beautiful smile. Her voice was soft and friendly and hung in the air as if it were waiting for an answer. I told her what I was doing in Sitka and for the next half an hour she told me about the Southeast Alaska Indian Cultural Center. “The SAICC was established in 1969 to impart the cultural values of Southeast Alaska Native Culture to students and visitors. The center provides a place for local Sitka Tlingits to teach themselves about their own culture while also helping park visitors understand the native people whose history is part of the park history. Although it is housed in the park visitor center, SAICC is an independent, non-profit native organization.

Come on, I will introduce you to one of the artists working today.

SITKA ~ 71

This is Kai-Gani Karver Charlie Skultka Jr. Charlie uses multi-medias including argillite, ivory, wood, precious metals and digital imagery to create priceless museum quality pieces in both his traditional and contemporary work.” “Do you know what this is?” Charlie said to me holding up a shiny piece of copper. “It looks like a shield. I have seen them in historical photos around Sitka.” “That’s right! It is a replica of an original Tlingit shield.” The craftsmanship was beautiful and it was amazing to think that someone was still doing such intricate work and design in this day and age. I told Charlie about the guide and he said he would send me whatever I needed. “Come on, I will show you where our resident wood carver, Tommy Joseph works.”

“The SAICC offers both students and visitors the opportunity to learn about Northwest Coast native art. Park visitors can view artists working and can talk to them about their craft and culture. SAICC also offers courses in traditional Tlingit art such as beadwork, weaving, bentwood box making, and box drum making,” she said. “How many artists work here at one time?” I asked. “It varies. Sometimes two or three sometimes more, sometimes only one. It depends on their schedule and what they are working on and if there are any deadlines. Here we are, this is Tommy Joseph’s studio.” I could see several masks in various stages of completion. One finished mask was very impressive! “Tommy is away in New Zealand on an exchange with Maori artists. They come

72 ~ Brown Bear Sanctuary

up here and we go down there every so many years. There is a similarity between the craftsmanship of our cultures.” I had no idea.

I thanked Nancy for the tour. “Have you seen the totem poles outback?” she asked. “No, not yet but I want to take a walk around when it isn’t raining.” “Good idea. When you do, be careful to keep an eye out for bears. They usually stay away but sometimes they come down into the park.” “What kind of bears?” “Brown bears! They only come down when they get hungry or before the snow starts but it is always a good idea to keep your eyes open.” “No doubt!” “There is a brown bear sanctuary here in Sitka that you might find interesting as well.” I thanked Nancy for the cautionary warning and headed back to the main building where the ranger was located.

It was raining again, pretty hard and I didn’t relish the idea of walking back to my hotel but off I went. As I reached the curve in the road, I could see the sea to my left and the wind swept beach below. It was a beautiful sight. Just then I heard a voice, “Do you want a ride?” It was Nancy in her car! “Sure,” I said and jumped into the front seat beside her. “You should have told me you weren’t driving. I would have given you a ride back to your hotel.” “Oh, that’s okay. I’m used to walking. In fact I enjoy it. It breaks up my day. It’s like taking a stroll with an old friend.” “That’s a good way of looking at it. Do you want to see some of the outskirts of Sitka?” “Lead on madame.”

SITKA ~ 73

We spent a good half hour or more driving down one road and up another. It was a chance for me to see a part of Sitka that I would never have seen on foot. Nancy took me past the Brown Bear Sanctuary and told me someone had been killed there recently by a bear. The poor soul had climbed into the bear cage. He might have been drinking, they didn’t say. She told me her boyfriend was away on a fishing boat. I asked her how long she had been at the cultural center, “Just since the beginning of the summer. I am really a school teacher and will probably be going back to teach next year when a position comes available. I enjoy the cultural center but I enjoy teaching more. We are trying to build up the cultural center and get more artists working there on a regular basis. All the artists are very high calibre. The cultural center gives them a place to work and a place to sell their art.”

Nancy had a nice, pleasant personality and was very friendly and open. I could see that she would be very popular with kids and make a wonderful teacher. Soon, we were pulling up in front of the Totem Square Inn and I thanked her again, this time for showing me around.

The rain had stopped and as it was early, I decided to go siteseeing.

I discovered a fort on a hill with a sign which read: “This is a replica of a blockhouse that separated Russian and Tlingit sections of Sitka after the Tlingits moved back into the area twenty years following the 1804 battle.” The view of the harbor from the fort was marvelous. I could

74 ~ Gayle Peterson

see in the distance island-studded waters and stately spruce forests reaching to the water’s edge. Sitka is considered Alaska’s most beautiful seaside town. I did not know much about the Russian history of Sitka so I did some investigating that night on the internet.

In 1867, U.S. Secretary of State William H. Seward (during the administration of President Andrew Johnson), negotiated the Alaska Purchase from Russia: a huge territory, with 20,000 miles of coastline.

I also learned quite a lot about Reverend Sheldon Jackson. He founded numerous schools and training centers that served the native people. In 1885 Jackson was appointed General Agent of Education for the then newly acquired Territory of Alaska. Jackson undertook a policy of deliberate acculturation which forbade the use of indigenous languages.

In 1888 he wrote, “No books in any Indian language shall be used, or instruction given in that language to Indian pupils.” In a letter to newly hired teachers. It is the purpose of the government in establishing schools in Alaska to train up English speaking American citizens. You will therefore teach in English and give special prominence to instruction in the English language…. Your teaching should be pervaded by the spirit of the Bible. The legacy of Jackson’s educational policy is clearly evident in the now moribund state of Alaska’s indigenous languages. Decades of punishment for speaking native languages resulted in greatly decreased transmission, with the result that few indigenous

SITKA ~ 75

Alaskans still speak indigenous languages in the 21st century. It seems that Jackson’s policies were very successful but controversial and responsible for one of the major native issues of our day.

Back on Lincoln, when I reached Devilfish Gallery it was open. “Hello,” a young fellow said from behind a counter when I entered. He was busy working and wore a jeweler’s visor on his head. “Are you the owner of the gallery?” I asked. “Yes I am. What can I do for you?” he asked as he continued his work. I told him who I was and what I was doing and he didn’t appear to be too interested. “You should give my dad a call,” he said. “He should be in your guide. His name is Dave Gallanin. He is a silver carver.” He wrote down his father’s phone number and handed it to me. Then he said, “If you would excuse me I am very busy. I have to finish this piece before I leave tonight.” I apologized for interrupting him and left. He said he would think about sending me something on himself for the guide.

The next morning I was up early and downstairs for a quick breakfast before 10:00 a.m. The Inn was very clean. I was always running into someone cleaning the walls or vacuming the floors. It was such a lovely new building, I guessed they wanted to keep it that way. After breakfast it was up to my room to make arrangements to visit three of the local artists.

Reggie Peterson was first on my list. I managed to reach his wife

76 ~ Reggie Peterson

Gayle by phone and tell her that Nathan Jackson had said to look up Reggie when I was in Sitka. Gayle was interested in my guide and said to come over to their house later that morning. Then I called Willis Osbakken. “Sure, come on out,” he said. “I would be glad to talk to you and show you my artwork.” With two artists lined up, I needed to find a local taxi. The lady at the front desk gave me a card and said, “She knows everyone in Sitka and will get you there quickly.” ‘Nina’s Taxi & Courier Service, fast, friendly, clean and non-smoking.’ I gave Nina a call and made arrangements for her to pick me up in a half hour.

It was pouring again as I stood under the eaves at the front of the hotel waiting for Nina to arrive. It wasn’t long before a car pulled up.

“Are you Chris?” “You must be Nina.” “So where is it you want to go?”

I handed Nina the address and got in the passenger’s seat. “Reggie and Gayle Peterson,” she said. “You do know everyone in Sitka.” “I sure do.

They are wonderful people. Sitka is not that large and everyone knows everyone.” Nina pulled out of the parking lot and on to Katlain Street. “I am not sure how long I will be at Reggie Petersons, maybe an hour and then I will need you to take me to Willis Osbakken’s house.” “No problem, you have my card, just give me a call. Consider me your personal chauffeur while you are in Sitka.” “Okay, I will! I will probably need you again tomorrow. There may be a couple of more artists I would like to visit.” “Okay, just call me in the morning and let me know when

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you will need me. Sort of like a reservation but not so formal. I try to accommodate everyone who calls but I like to arrange my trips so that I am not running in all directions.” “I understand.”

My dad was a taxi driver. He worked the nightshift in Vancouver. He also owned half a taxi. It is a very stressful way to make a living and it took its toll on him. When he was driving in the sixties, taxis were affordable. Today, the licences alone cost a small fortune. He would probably have loved driving taxi in a small town like Sitka where he would know everyone on a first name basis.

Ten minutes later we were pulling into a residential driveway not far from the hotel. I thanked Nina, got out and made my way up to the Peterson house. I could see a face in a small window in the garage door straight ahead peering out at me. When the door opened, an elderly, slightly stooped man with long grey side-burns appeared. He wore a brown leather vest on top of a plaid blue shirt and when I told him Nathan Jackson had said to look him up, a big smile appeared on his face from one side to the other .“Come on in,” he said, “How is Nathan?”

“Fine, I met him in his carving shed in Saxman Village the first day I arrived in Ketchikan. He liked what I was doing, writing/compiling a first nation’s tourism guide to Alaska but he told me it had to be done the right way and for the right reasons. Foremost it should promote the artists and their work and only include artists whose work is true to the

78 ~ Ed Kasko

correct principles of formline.”

“Yes, that is good,” Reggie said. “Nathan is very special. He is the one who kept us all going, over the years, through the hard times. When we were all beginning this life journey with our art it was easy to get side tracked by one thing or another. He carried on carving totems and making jewelry through the good and bad times and the rest of us followed his example. He kept our culture alive. For myself, a two decade journey has resulted in the knowledge that ‘one’ lifetime is a scarce amount to begin to truly embrace this unique art form. Over the years, whether cedar or precious metals are the canvas, the interest and devotion to the art has become a movement that has grown and gained instant recognition worldwide. I am glad to be a part of the building excitement the art creates.”

Reggie reminded me of my uncle Hugh when I was growing up. .

Hugh was short in height but tall in stature. He was a Scot and fought in the war. Neither of my uncles who were in the war ever talked about those days. Whenever we came to visit him and my aunt at their house in Richmond he would be working in his shed just like Reggie. He always had a smile or a grin on his face.

Reggie was working on a small totem. The beautiful features he was carving seemed to jump out of the yellow cedar canvas. Just then a woman entered the room. “Hello! I didn’t know you had anyone with

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you.” “This gentleman is compiling a first nation’s art directory.” “Oh, you must be the fellow I talked to on the telephone this morning. I’m Gayle, Reggie’s wife.” “You didn’t tell me anyone called.” “I haven’t had a chance, it wasn’t that long ago that he called. Anyway, you have met him now.” “That’s true,” said Reggie with a big smile.

Both Reggie and Gayle had worked on and off at the Sitka Cultural Centre over the years. Reggie had been invited in 1977 to apprentice under Ed Kasko as a wood carver at the center. He became the wood carving instructor in 1978 when Ed retired. Reggie’s goals at the center were to be the best instructor for his students that was possible and to provide visitors with the priceless value of authenticity in demonstrations and interpretation of the Tlingit, Haida and Tsimshian cultural art forms. Over the years, Reggie continually challenged himself to learn more and improve his skill at replicating the art of his ancestors. He provided original designs for the other instructors, including Louis Mi-

nard and Esther Littlefield. Esther, a respected elder who by lineage is a grandchild of Reggie’s clan, charged Reggie to carve a Raven’s rattle as ancestors had carved them prior to western contact: “Grandfather, learn to carve this...don’t let our culture die.”

Reggie got up and went over to a bookcase and brought back a picture book. “Have a look at this,” he said. As I thumbed through the photo plates I could see a full page photo of a young Reggie Peterson. There

80 ~ Willis Osbakken

was another full page photo of a young Nathan Jackson. Other photos were of Freda Diesing, David Boxley and Roy Henry Vickers. “Back in the 1970s,” Reggie said, “when we were all starting out, a German photographer came over from Germany with a writer and put this book together. It was all about up and coming artists to keep an eye on. It is out of print now (available on Amazon) but it is interesting how many of us are still working and developing as artists.” “This is fascinating,” I said as I thumbed through the pages. I knew who Roy Henry Vickers was and he certainly was well respected.

Reggie also brought out a Raven’s rattle which he had made. The intricacy of the design was amazing and the respect to detail so apparent.

“Have you met Terri Rofkar yet?” asked Gayle. “Teri has been weaving baskets and ceremonial robes since 1986, usually in the traditional Tlingit styles with techniques passed down to her by her Elders.” “No, I haven’t but I certainly would like to meet as many artists as possible.”

“Teri is one of our foremost weavers. How about Dolores Churchill in Ketchikan. Did you meet her” “No, unfortunately she was down in Haida Gwaii visiting relatives. I met one of her family members at Crazy Wolf Studios in Ketchikan.” “Oh yes, she was probably visiting Evelyn, her daughter; Evelyn Vanderhoop. She is someone you should meet as well.” “I plan to go to Haida Gwaii on my way back to Vancouver, I would like to spend my birthday visiting the new Haida Heritage Cen-

SITKA ~ 81

tre at Kaay LLnagaay in Skidegate.” “Well, then you should try and meet Evelyn. She is in Masset. They have a large family. You should also meet Holly Churchill, another daughter. She lives in Ketchikan as well.”

I thanked Reggie and Gayle for their hospitality and called Nina. “I will be in touch with you when I return to Vancouver,” I said. I took a photo of a smiling Reggie leaning over the totem he was carving. Soon I was in Nina’s taxi on my way to meet another amazing artist.

I was looking forward to meeting Willis Osbakken. Nina said she would return in an hour, which seemed to be the amount of time I needed for my interviews. Willis’s house was up high and had a porch that extended across the front. After climbing the stairs, I knocked on the door a couple of times but no one answered. I then walked over to the front window and knocked again. I could see a big man with grey hair sitting in an oversize easy chair inside. He noticed me right away and motioned me to go back to the door. Soon the door opened and he said apologetically, “I am sorry. My legs are not very good anymore. It takes me a while to get over to this door.” “No problem, I understand.” The entrance room was full of native carvings. Colorful paddles hung on a dining room wall and a couple of small painted bentwood boxes sat on top of a china cabinet. “Let’s go in here,” he said motioning me into the front room with the easy chair. “I am Willis Osbakken,” he said

82 ~ Sitka Tribal Tours

extending his hand. “You sure have a lot of beautiful carvings.” “Keeps me busy. They take me quite a while to do. I research every one of them.

They have to be authentic yet still display originality.” “How long have you been carving?” “Funny thing, not too long. I worked at the Sitka Magnetic and Seismological Observatory in Geophysics for 28 years.

When I retired, I worked as a fisherman but fishing is seasonal. I drove my wife crazy being around her all day in the wintertime. ‘Go into the basement and make something,’ she said to me one day and that is how it all started. My wife is a Tingit native from Yacutat. I developed an interest in my wife’s and children’s heritage and that led me to study the language, culture and art of the Tlingit. Living in Sitka all my life, also nurtured in me a respect and knowledge of the Tlingit arts.

“The Osbakken House downtown is that where you used to live?”

“Yes, it is where I was born. I am one quarter Aleut. My father was fullblooded Norwegian and my mother was a Sitkan of Aleut and English ancestry. Our family history goes back to the Russian occupation of the Sitka area. My mother was born in Sitka in 1900. My grandparents were Nicolai Smakov and Anastasia Simeonova. They were married in Sitka in 1846. I told Willis what I was doing in Alaska and ask him if I could take a photo of him holding some of his artwork for the guide. He agreed and I brought over a few pieces from other areas of the room for him to hold. “Are you going to Anchorage?” Willis asked. “I am not sure if I

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will have time.” “Well if you do, be sure to visit the ladies at the Alaska Native Medical Centre Hospital. They have the best collection of native art in Alaska. It is really something.” I had not heard of the Alaska Native Medical Center and it was not in any of the brochures I had seen so far on Anchorage.

Willis reminded me of another one of my uncles. Uncle Roy was a mink rancher and he too lived in Richmond. I never thought it was strange to have an uncle who was a mink rancher but I now realize it was unique. Our families history on my dad’s side in Richmond began with my grandfather and grandmother who owned a farm in Richmond.

They had three daughters, my aunts Ruth, Lolly and Helen and two boys, my dad Elmer and Carl. Ruth was married to the mink rancher, Lolly was married to Hugh and Helen was married to Myron the Ukranian potato farmer who took his potatos to market in his Lincoln. One big happy family or so the story goes. My grandmother died before I was born and I never knew my grandfather because he and my dad had a falling out and didn’t speak to one another. They all lived on small acreages in Richmond except for Helen who had a large farm as I mentioned. My Uncle Roy always wore overalls as did Willis. I recall he was always smiling and seemed quite happy.

I spent a delightful hour with Willis listening to him talk about his life and art. I was beginning to see the commitment the artists had to

84 ~ Naa Kahídi Dance Performance

their art. I found it intriguing how Willis started carving. If someone told me to go into the basement and make something, I guarantee it would not be world-class. There must be something in their family genes that awakens when it is called upon. An in-born artistic talent, passed on through their native heritage. Carving definitely came naturally to him.

He certainly had a high level of intelligence to begin with to have had a 28 year career in geophysics. Maybe a good mind and natural ability go hand in hand. Given the lengthy research and careful study he put into each piece it all seemed to work. Whatever the reason, it continued to amaze me how incredibly talented all the Alaskan native artists were who I had met.

Back in town, I decided to check out three stores across the street from my hotel. Tonia Rioux was the operations manager of Sitka Tribal Tours and she was only too glad to tell me about the tours. “What we offer are actually Tlingit Cultural Tours. They are a way of showing past and present Tlingit culture to everyone. Tlingit Indians have lived continuously in Sitka since the end of the last Ice Age- an unbroken course of civilization that stretches the very definition of “history.” Seen through the eyes of the Tlingit, Sitka’s history is a steady drumbeat, a rhythm, a song ten thousand years old. It ended at the Historical Park.

At Sitka National Historical Park, you have the option to enjoy the park independently or join your guide on a short exploration of the

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rainforest. While walking to historic Indian River, your guide will cover a variety of topics, including: edible and medicinal plants of the rainforest, totem history and significance, salmon cycles, and rainforest ecology. The walk will lead into the park museum exhibits where you can learn about the battle of 1804, when Tlingit Kiks.ádi fought an unsuccessful battle against the Russians to retain their ancestral home. The adjacent Southeast Alaska Indian Cultural Center allows you to visit with Tlingit natives while they create traditional artwork.

The Naa Kahídi Dance Performance will leave you with a lasting impression of the Tlingit people. Held in a traditional style Tlingit Clan House, the performance is both educational and entertaining. The sound of a resonating box drum and the aroma of burning cedar fills the room as you are invited to experience native culture as it has been for generations. Tlingit dancers enter with beautiful regalia, to mesmerize you with songs handed down through the generations.”

“Sounds like a wonderful tour.” I said. “How long does it last?”

“It is about two and a half hours long. Have you seen the community house down the street?” “No not yet.” “I think it is open if you want to have a look.” Tonia liked my guide but warned me that nothing happens quickly in tribal organizations. She would present my guide to the council and be in contact with me later in the year after I returned home.

I thanked her and continued on my journey.

86 ~ Made In Sitka

In traditional Tlingit society, there is a community house that provides a place for clan families to gather during special occasions. In the tradition of the Tlingit people, the Sheet ‘ka Kwaan Naa Kahidi is the community house for the people of Sitka. It is an ideal meeting place for clan families, the Sitka community, and anyone who needs a unique and inspiring location for their event. The Sheet ‘ka Kwaan Naa Kahidi is utilized by Tlingit groups to share their native culture through dance, story telling, and other traditional events. The building helps to perpetuate the language, values and customs of the Tlingit people.

My first glimpse of a Tlingit community house was inspiring! On the back cedar wall of the house were several raven heads painted blue, red and black. They reached from the stage floor all the way up to a peaked roof. The house had soft yellow cedar beams throughout and yellow cedar panneling on the walls. In the middle was a dance floor. There were three rows of collapsible chairs at either end (The chairs could be removed to offer further tiered space for more performers). Soft hallogen lighting above could be adjusted for different performances. I saw on top of a yellow cedar box two white ermine furs with carved dark blue and orange Tlingit masks (sitting on top). These were ceremonial masks and furs for the dancers in the performances. Now I understood what Tonia meant when she said the building perpetuated the language, values and customs of the Tlingit people. How wonderful the perfor-

SITKA ~ 87

mances must be with all the colorful regalia, resonating drums mesmerizing the audience with ancient songs and rhythmns handed down through the generations.

My last stop was Made In Sitka. It was full of native items, drums and products such as Devil’s Club ointment and much more. The girl behind the counter was Susan James. We talked for a while. The store, the tours and the community house all belonged to the Sitka Tribe which is a federally recognized government for over 4,000 tribal citizens primarily of Tlingit, Haida, Aleut and Tsimpsian heritage in the Sheet -‘ka area of Southeastern Alaska.

The next morning I was up early again and down for another quick breakfast. The rain had stopped and I could see the islands in the harbour from the dining room window. Sitka is situated in a beautiful location on the ocean behind lots of islands. Some of the islands have houses on them. One island had a house on it which took up most of the island. I wondered if it was Vern and Ruth’s house but then I realized this house was finished. It was Thursday. I wanted to try to see Dave Galanin and Terri Rofkar today. Later, I needed to drop by the Fishermen’s Eye Gallery and let Ruth know I could come on Friday for dinner.

I called Dave Galanin. I knew Nick had mentioned me to his dad because when I called he was very enthusiastic. His dad was a master silversmith. His son obviously thought a lot of him so I was looking

88 ~ Dave Gallanin

forward to meeting Dave. Unfortunately, Teri Rofkar was in Washington DC receiving the National Heritage Fellowship Award for 2009 from the National Endowment for the Arts. I was sorry that I had missed Teri but happy for her success. I had so far only met one weaver since Delores Churchill was away on Haida Gwaii. I called Nina to pick me up at noon and take me to Dave Galanin’s house.

The next stop on my trip would be Juneau. There were lots of small towns with one or two venues. Wrangell was one that had several but the air schedule from Sitka to Wrangell was difficult so I would have needed to take the ferry. The ferry would have taken too long. I wanted to be at my next destination by Sunday and the flight from Sitka to Juneau took only one hour. I was not sure how far north I might get, it largely depended on the weather. I kept expecting to see snow any day but the weather continued to be mild, like Vancouver. The Inside Passage does not get as much snow as the rest of Alaska I discovered.

Usually the first snowfall in Juneau comes on Halloween. It was only the end of the first week of October.

At exactly 11:50 a.m., Nina pulled into the driveway. “I could set my watch by you,” I said as I got into her car. “It is not always like this. It is the off season so I am not as busy as in the summer. In the summer, if I am on a trip, customers have to wait, usually not very long. Dave Galanin is a nice guy,” said Nina. “I met Nick at Devilfish and he told

SITKA ~ 89

me about his father.” “Nicholas Galanin is doing quite well. He is one of our up and coming new contemporary artists. He has Shows in Vancouver and travels to the Lower 49 to do shows there as well. He is someone you should keep an eye on, him and Tommy Joseph.” “Tommy is away in New Zealand on an exchange tour I was told.” “He is well thought of as well and very busy,” said Nina.

“Enjoy your visit with Dave!” Nina left me standing alone on the street in front of a row of duplex homes. I had never met a master silversmith so I was looking forward to my visit. When I knocked a voice from an upstairs window said, “I will be down in a minute.” Dave was a big burly, good looking guy in his early fifties with grey hair. He had high cheekbones characteristic of many Tlingit. He showed me around his silver studio and then we went upstairs. Dave was born into the Eagle Nest House of the Kogwaantaan Clan and was given the name Kindaa. He came from a family of carvers which included his grandfather, brother and now his son. “I have been influenced by them all,” he said. “I began carving in 1982 and studied under master silver carver and Tlingit elder, Louis Minard. My artwork currently combines traditional and contemporary design. I have created my own style using copper, silver and gold. Most recently I have been carving in jade, bone and ivory through an artist cultural exchange. Besides carving I have taught at the University of Alaska, Southeast, as part of their Northwest Coast

90 ~ Fisherman’s Eye Gallery

Coast Native Arts program. In 2003, I teamed up with Maori silver carver Alex Nathan providing a workshop in hand engraving techniques to Maori artists inTologa Bay, New Zealand. My family and I spent 14 months living in the Bay of Islands region of New Zealand on a working holiday. We returned for another two years in 2006-08 to Tairawhiti.

My company is called Galanin Silverworks. As well, I demonstrate my artwork for visitors at the cultural center and at the Sheldon Jackson Museum and lecture for museums, universities and public schools. My work is commissioned by private collectors as well as corporate businesses. I told Dave that I had met Nathan Jackson in Ketchikan. “Nathan was my instuctor at the University of Alaska Sitka’s Northwest Coast Native Arts Program. He mentored many of us.”

I saw a guitar on a wall and asked, “Do you play?” “I sure do,” he said and went over to the wall, picked up the guitar and began to play. “I like to play my guitar and sing. I have a good time when I am playing.”

His music was quite good and I could see he was enjoying himself. “We play weekends, just for fun.”

Dave showed me some of the silver jewelry he had made. It was amazing! The intricate carving of the animals and the fine attention to detail was wonderful. I could see why he was designated a master carver. HONK, HONK! “Oh that must be Nina,” I said. I have her trained to pick me up in an hour. I thanked Dave for telling me about himself. I

SITKA ~ 91

told him that I would include him in my guide and we both walked back downstairs.

I hadn’t been in a duplex in years. My other uncle who fought in the war, Uncle Jack, lived in a duplex with my aunt Olga again in Richmond.

Richmond had much cheaper home prices than Vancouver in the early days, not like today with its influx of Asian buyers from Hong Kong.

My uncle Jack was a machinist after the war. He had one son Gary who was older than me and raced motorcycles at Westwood in Coquitlam (a suburb of Vancouver). Everyone thought he would probably die in a motorcycle accident but he died from an accidental drowning mishap at Cultus Lake while still quite young.

The sun was shining brightly when Nina dropped me off back at the hotel. With no other artists lined up, I decided to look around Sitka some more more before going over to the Fishermen’s Eye Gallery. I put my satchel in my room and headed out once more to explore wonderful downtown Sitka.

Some interesting gift shops on Lincoln Street caught my eye. Eventually, I found myself walking around the perimeter of the town on a walkway beside the sea. Off Meridian Street in Crescent Harbour Park I found a dugout canoe. It looked like it was in pretty good shape. I knew the Tlingit typically built fast and seaworthy craft. This model was never intended to leave the showroom because it was too thick. An origi-

92 ~ Arnie Johnson

nal Tlingit canoe would have been much thinner and would not have survived the years. It was such a beautiful day. I could see why Sitka had been inhabited for the past 10,000 years. Sitka has enjoyed booms, whether in furs, fish, gold, or oil but it has never owed them its existence. Incredibly, much of the historical landscape remains unchanged.

As I neared Fisherman’s Eye Gallery, I could see Ruth in the window.

“Hi Chris,” she said as I entered. “How is your guide coming?” “Pretty good,” “I met Reggie and Gayle Peterson and Willis Osbakken and Dave Galanin.” “That’s pretty good,” she said. “Teri Rofkar is down in Washington D.C. receiving the National Endowment for the Arts award for 2009 so I will not be able to meet with her this time. I want to be in Juneau on Sunday.” “Vern and I thought maybe tomorrow night, Friday, would be a good night for you to come over to the island for dinner if you still want to come.” “That would be great,” I said. “Meet me here tomorrow night then at 5:00 p.m. and we will go over together by boat.

We keep a little row boat with a motor on it down at the dock. It takes about ten minutes to get to the island.” “Sounds great! I will bring a bottle of wine.” “Oh, that would be nice but not necessary. We have lots of everything. You like seafood I hope?” “Yes, I eat just about anything.”

A customer entered the store so I said goodbye to Ruth and left. It would be a unique experience seeing what life was like on a small Alaskan island.

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Back at the Totem Inn that evening, it was back to my brochures. I still saw nothing on the Alaska Medical Centre gift shop that Willis had mentioned. I even went down to the computer in the lobby and googled it but nothing came up. I guessed Willis was exaggerating his praise for the little gift shop. I was not looking for gift shops anyway but larger galleries. Anchorage did look interesting though. I saw several first nation’s venues including museums and small galleries. There was one called the Wells Fargo History Museum. Wells Fargo played a big role in the history of the wild west but I wasn’t sure how it related to Alaska and first nations. I had to be careful to only include first nation’s venues.

Anchorage is on the cruise ship route and it is the last stop before the ship turns around and heads south again. I hoped I would have enough time to visit Anchorage. It would also depend on the cost. It is quite a distance from the Inside Passage to Anchorage by air and I reckoned fairly expensive. I would have to check the fares before making any final decision. But first, I needed to get to Juneau.

The next morning the sun was shining brightly when I came down for breakfast. The ladies were cleaning the tables and they all greeted me warmly. The hotel did not have a lot of guests the week I was there as the off-season is not very busy. The hotel manager, Arnie Johnson said it was a challenge to keep the hotel occupied. Sometimes if there was a convention or another event, it would fill up, but those were few and

94 ~ Sheet’-ká Kwáan

far between. I had no artists lined up so I decided to go back out to the Sitka Historical Park and see the totems, keeping an ever watchful eye out for bears.

It was a nice walk past the Osbakken House and the museum to the historical park. I wondered what I would find on the two miles of scenic coastal trails where the totems stood (I hoped not bears). The park buildings were right on the edge of the forest. The narrow pathway on my right, paralleling the sea, looked dark and foreboding as I gazed down between the tall fir trees. It was the same spot that Emily Carr portrayed in one of her paintings from the turn of the century. I doubted the totems were the same though. I had read somewhere that the original totems were brought from Prince of Wales Island before 1910. Many of these were probably replicas of the original totems. These ones were in too good of shape to have been here at the turn of the century. Sure enough, on the first totem a plaque read: “The Yaadas Crest Corner Pole, is one of the many replica totem poles on display at the Sitka National Historical Park. The figures (from top to bottom) are: the Village Watchman, the Raven in Human Form, the Raven, and a Bear. It was magnificently carved and the blue and black and brown colors stood out marvelously on the yellow cedar log. The park had been created at the mouth of the Indian River on land where the Tlingit fort Shis’kí Noow once stood.

The fort was the site of the Battle of Sitka in 1804, when the Kiks.ádi

SITKA ~ 95

(Frog/Raven) Clan of Sheet’-ká X’áat’l (Baranof Island) of the Tlingit nation fought agents of the Russian-American Company assisted by the Imperial Russian Navy and their allies the Aleut. Their naval escorts bombarded the Tlingit fort Shis’kí Noow mercilessly, driving the natives into the surrounding forest where I was now standing. The Russian victory was decisive, and resulted in the Sheet’-ká Kwáan being permanently displaced from their ancestral lands.

It felt like a very spiritual place as I walked through the forest amidst towering spruce and hemlock trees (keeping an ever watchful eye out for bears). There were several totems placed strategically along the path.

Soon I came to a clearing where there was another totem. The plaque on this one read: The Tlingit K’alyaan Pole was erected at the site of Fort Shis’kí Noow in Sitka National Historical Park to commemorate the lives of those lost in the Battle of Sitka. This one was very colorful and had a raven’s head at the top. There were many totems dotting the two mile scenic pathway. Their vibrant red, blue and orange colors a testimony to the rich lives of the original Tlingit inhabitants. Some were Haida totems and some were Tlingit but all were amazing!

Vancouver has a similar park called Stanley Park. It is bigger and as well, rich in First Nation’s history and sites. Unfortunately the sites in Stanley Park are not marked for anyone to see. Hopefully one day they will be.

96 ~ Vern & Ruth

I only met one other person on the path that day, a gentleman walking his dog. I asked him if he had seen any bears and he replied, “No, but I heard a bear was spotted in the park this morning. I wouldn’t worry though as long as there were no warnings posted at the entrance of the park by the Rangers, you will be okay.” “I didn’t see any,” I said.

He wished me good day and continued walking his dog until he disappeared around a curve. As I stood pondering my fate, my mind began playing tricks. I didn’t think there was a poster at the entrance. If there was I certainly hadn’t seen it. I wondered if I had missed the notice. I was about three-quarters of the way down the trail so I decided to hurry and finish my walk as fast as possible. After about a ten minute brisk walk, I could see the edge of the cultural centre coming into view. I had walked in a half circle starting at one end of the building and coming out at the other. When I reached the trail exit, I noticed a piece of paper on a tree which read: A bear was seen in the park this morning please do not enter the park today until further notice. Signed: Park Ranger.

I couldn’t believe it! They put the notice at the park exit. Why hadn’t they put it at the beginning of the coastal route? Or was this the beginning and I had entered by the exit. I felt very lucky to have made it out alive but also annoyed that the notice had not been posted at both the entrance and exit of the park. Again, I was lucky!

It was too early to meet Ruth so I spent the next couple of hours

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looking around the stores and visiting a couple of galleries I had frequented earlier. After a quick snack of tea and biscuits, I headed over to the Fishermen’s Eye. Ruth was outside when I arrived, locking the door.

“Looks like I just made it in time,” I said, “No, I was coming back. I have to go and pick-up some fresh fish for dinner tonight. Seeing as how you are here we can go get the fish together.”

We stopped at the fish market and Ruth picked up an assortment of prawns and other delicacies. “That should do,” she said, putting the fresh prawns on the back seat of her car. “Vern has been working on the house all day with John, his friend who helps him out. John has to come back tonight, so if you decide that you do not want to stay, you can return with John.” I had a lot to do tomorrow before departing for Juneau on Sunday. She told me I was welcome if I wanted to stay. Soon we were down by the marina and heading out along the dock to Vern and Ruth’s boat. ”Which island are we were going to?” She pointed to a large island a little over to the left. The island was heavily wooded.

“Are there any bears on the island?” I asked. “No, I don’t think so unless one decides to swim over.” After my earlier experience in the day, I wasn’t in a joking mood where bears were concerned.

We passed a couple of small islands on the way to their house and the ride was quite nice. It was dark by the time we reached the boat dock.

Grabbing everything we made our way up a narrow pathway between

98 ~ Goldbelt Hotel

the trees. The incline was quite steep. “Do you bring everything up by foot?” I asked. “Pretty much or by jeep when one is avalable.” It was about a ten minute walk up the hill to their house and it wasn’t long before we could see lights in the distance and hear men’s voices. “That’s Vern,” Ruth said. He is always working.” Sure enough when we got to the house there was Vern. “Hi, welcome to our island paradise,” he said. They were building a large rustic cedar wood house which looked quite nice. Vern showed me around the outside and introduced me to his friend John. It was now dark and starting to cool down so we didn’t stay out for long. Inside, Vern showed me the layout. It was a nice big house with picture windows that afforded a great view. Vern took me over to a room and told me this was my room if I decided to stay the night.

The room had its own bathroom so I went in and freshened up. Ruth was preparing dinner and Vern was pouring the wine. Soon dinner was ready and we were all sitting down to a dinner of fresh prawns, salad and home-made bread. There was still lots of work to do on the house so it would not be finished for a while. I would have to come back on my next trip and see the end result I said to which everyone agreed. A few hours passed before John said he had to get back. I looked outside and it seemed pretty dark. There were no lights on the pathway up to the house and I had not seen any lights on the boat so I asked John how he would get back without lights. “My trusty flashlite,” he said reaching into his

SITKA ~ 99

coat pocket and pulling out a shiny new one. By now it had started to rain and the pathway was already muddy when we arrived. What would it be like in the rain? I decided to go back with John and thanked Ruth and Vern for their hospitality.

The pathway back to the boat was slippery and muddy in the rain so John pointed his flashlite down at my feet so I could see where I was going. Soon we were at the dock and John had the motor running and we were on our way back to Sitka. I was given the job of sitting up-front and shining the flashlite out on the water. “Not to worry,” He said, “I have done this a million times. I don’t really need the flashlite but I thought you might feel more comfortable,” and he was right!

I said goodbye to John at the dock and made my way back to the Totem Inn. It had been a pleasant evening and I was glad I had gone but I was also glad that I had not stayed the night. I needed to find a hotel in Juneau on the internet and make my reservation and I didn’t want to leave it to the last day. Within the hour I was on the lobby computer searching.

I was hoping I would find a first nation’s owned hotel in Juneau but I wanted it to be near several venues: museums, galleries, cultural centre, and downtown if possible. I saw an advertisement for the Goldbelt Hotel which read: Juneau’s finest hotel offering outstanding full-service accommodations, including complimentary airport transportation. Lo-

100 ~ Cape Fox Lodge

cated facing the waterfront in downtown Juneau, the 105-room hotel is in close proximity to most major attractions. The hotel lobby features a permanent display of museum-quality traditional Alaska Native artwork. Exactly what I was looking for and it had its own permanent display of native art just like the Cape Fox Lodge so I booked myself in for a week.

Prince Rupert seemed a world away. I always thought if my guide was meant to be, it would happen. I remembered what Nathan had said, “Do the guide for the right reason (to promote native artists) and it will come together.” Ever since then, everything had worked out fine.

SITKA ~ 101

70 ~ Anna Brown Ehlers

CHAPTER 3

How Our Grandfathers Used To Do Things!

My plane landed safely in Juneau, late on Sunday afternoon after a short one hour flight from Sitka. Juneau is the capital of Alaska. After retrieving my suitcase, I went over to a row of hotel advertisements, called the Goldbelt Hotel and a van was sent to pick me up. I saw a gift shop called Hummingbird Hollow near the front entrance of the airport so I went over to have a look while I waited for the van. Soapstone, ivory and argillite carvings filled its window display. What a great shop!

I left my suitcase by the door (thinking I would check for the van every five minutes) and went inside. “Are you the owner of the shop?” I asked a lady behind the front counter. “No I am not. The owner is Jim O’Donnell.” He will be in on Tuesday.” I told her about my guide. “I am sure Jim will want to talk to you,” she said. “I will be in town all week

104 ~ Goldbelt Hotel

and will drop back on Tuesday.” Still no sign of the Goldbelt van. It was starting to rain and the temperature was colder than it had been in Sitka. “Can I leave my suitcase behind the counter?” I asked. “Of course,” the lady said and off I went to explore Juneau airport. There was a huge mural around a nearby corner which covered an entire wall.

It was not by any particular artist but a diorama depicting native dancers in colorful robes (some Chilkat and some red and black with designs and sequins). It was very colorful. There was nothing of interest past the mural so I turned around and came back to the gift shop. Still no sign of the van so I took the escalator (opposite the gift shop) up to the second floor. Upstairs, I discovered a cafeteria. Back downstairs, having seen the airport, I grabbed my suitcase and went outside to wait for the van. I hoped the driver had not missed me. Fears turned out to be liars when a few minutes later a white van with Goldbelt written on the side, entered the driveway. I met the van half way up the driveway and was greeted by a friendly local. “I am usually in charge of the front desk,” he said, “but sometimes I drive the van. I apologize for being late. I could not get away from the hotel.” The Goldbelt Hotel is located ten minutes south of the airport. For the most part, the scenery into town was uneventful until we got nearer to the hotel. Then the buildings of Juneau began to appear. “That’s it ahead,” the driver said pointing towards downtown Juneau.

JUNEAU ~ 105

I had done a bit of traveling in the US as a kid. My parents used to take my brother and I down to Birch Bay each summer in the fifties for two weeks with shopping trips to Bellinghm on the side. Birch Bay was amazing in those days! There was an amusement park with rides, horse back riding at a ranch on a nearby hill, a roller rink across from the beach, a golf course and rows of cabins for rent on the other side of the beach road. There were also trailer parks that Uncle Jack and Aunt Olga used to park their trailer at when we were down for summer vacation.

We always stayed in the same cabin called North By Northwest. They all had names. As we grew older we travelled further afield to: Spokane, Cour d’lene, Idaho, Wenatchee and Lake Chellan.

The lobby of the Goldbelt Hotel is wonderful. It was full of first nation’s carvings. I could see over on a far wall one that looked familiar. Even from a distance I could tell it was by Nathan Jackson.

Nathan was everywhere. His work was in every town I had visited.

There were carvings of plaques, masks and other artwork. “What a wonderful collection,” I exclaimed. “Yes, it is,” agreed the driver as he went behind the front desk. “Are you the only desk clerk?” I asked.

“Only between shifts until the night clerk arrives and here he is now.”

A young man wearing a white shirt and dark trousers entered the lobby.

“I will leave this gentleman for you to take care of,” the driver said and disappeared into the back. “Checkng in?” “Yes, I would like a room

106 ~ Tripp’s Mt. Juneau Trading Post

facing the back and high up with a view (Usually there is less traffic noise in the back). “Traffic won’t be a problem,” he said, “it is after the weekend and the off season. He knew his stuff and handed me a key.

“Seventh floor in the middle at the back. What brings you to Juneau?”

“I am writing a first nation’s tourism guide to Alaska,” I said proudly. I was getting braver with each new town I visited. It was now a guide to Alaska rather than southeast Alaska. Was that subliminal or a slip of the tongue? My guide had just tripled in size along with my confidence, or so it appeared. “That is interesting,” he said pausing for a moment. “I am looking for first nation’s artists to include in the guide and visiting galleries and museums and cultural centers.” “There are lots of artists in Juneau, the Beasley brothers, the Chiltons (there are three of them), Percy and Ed Kunz. They are all well known. Ask our controller in the morning she knows them all and will give you their numbers.” I thanked him, picked up my key and went over to the elevator. Before long I was entering a long, spacious room high up on the seventh floor. At the far end of the room, by a large window was an equally large bed. There was also a refrigerator and a table below the window. The view was not spectacular. There was a mountain about 200 yards away. I could see houses and buildings to the left and right (if I stretched). As I wasn’t planning on spending a lot of time in my room, I was happy.

I had noticed a restaurant downstairs but it was not open. After

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freshening up, I headed out for dinner. Both gentlemen were at the front desk when I came down so I asked if they knew of any good restaurants that were open on Sundays. “Yes,” the night clerk replied, “Outside to the left, go down to the first intersection and cross over to the right. A little further down you will see the entrance to the Merchant’s Wharf Mall. You will find the Hangar located in the mall. It is a local hang-out and has the best food in town.” “Sounds great! Thanks! I will check it out,” I said and headed out the door.

At the intersection of Main and Egan I checked my time. It was only 5 p.m. A little early for dinner so I headed up Main Street. Crossing over an empty parking lot, I arrived at Front Street. There was a McDonalds Restaurant across the street that I thought might come in handy for breakfast in the morning if the hotel’s restaurant was still not open. I followed Front Street around a curve until I reached Franklin. There was a bookstore on the corner but it wasn’t open. Kiddy-corner to the bookstore and a few doors down was an old fashioned trading post.

Traffic was minimal with few cars so I walked across the street. The name of the store was Tripp’s Mt. Juneau Trading Post. Its windows were filled with first nation’s carvings, prints, jewelry and much more.

What a great store! A sign in the window read: “Southeast Alaska’s largest collection of hand carved native artwork.” Another sign read: “Southeast Alaska’s largest collection of Northwest Coast and Eskimo

108 ~ The Hangar

Artists.” I would definitely have to come back tomorrow.

There were lots of stores all the way down Franklin. A few had first nation’s items in their windows but they looked similar to the shops I had seen in Ketchikan catering to the cruise ship market. Juneau is a major port for the Alaska cruise ships just like Ketchikan. This area of Juneau looked the same as Ketchikan in the off-season so I didn’t go any further.

I was now feeling hungry so I headed back to Main and Egan. Inside the Merchant’s Wharf Mall there was a plaque near the entrance to the Hangar which read: This building was the home of Alaska Coastal Airlines in the 1940s. “This seaplane hangar is a landmark in aviation history. Famous pilots such as Will Rogers used to land their aircraft in front of the Hangar during their great northern expeditions.”

The Hangar turned out to be a pub full of happy Alaskan locals. What a treat! As I soaked in the atmosphere, a friendly waitress showed me to a booth and handed me two menus. One menu read: “Serving Alaska’s freshest seafoods, hearty entrees and ice-cold Alaskan beers, the Hangar is a local gathering place with great food and an awesome atmosphere - not to mention the view.” The other menu was the beer list and it was amazing. “Over 100 beers to choose from, over 20 on tap and a full service bar with the friendliest bartenders and staff Juneau has to offer. The Pub has a wonderful menu that features great fish burgers, beef burgers

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and appetizers served all day and all night. “What a great place.” I loved it! It was open all the time so I could eat as late or as early as I wished.

The meals were Alaskan style, big and hearty, which I might need if the weather changed. I knew I would eat here more than once during my week in Juneau.

It was my first time in Alaska so I wanted to eat Alaskan food. I ordered a large Pale Alaskan Ale and a very Alaskan dish, Alaska King Crab legs. Dinner was great and so was the beer and certainly not expensive. Afterwards, I left the wonderful atmosphere behind, with its friendly waitresses and went outside into the cool night air. It was raining lightly but the meal and the large pint of ale warmed me to the bone.

Another short walk this time down Egan and alittle more exploring and I would be ready for bed. It felt good to stretch my legs after that wonderful meal. A block down Egan, I saw a mural on the opposite side of the street. It was on the side of an office building and looked similar to one I had in my mock-up guide. The office was the Sealaska Heritage Building. I wondered what the heritage meant? I would check it out on the internet and started back to my hotel. When I returned the desk clerk greeted me like an old friend and we chatted for a few minutes. He was a student just working nights. I then headed up to my room for a good nights rest.

My mother was born in a small Saskatchewan town in 1916. Her

110 ~ Juneau-Douglas City Museum

father brought his family to Vancouver when she was still in her teens because the weather would be better for his health. He died soon afterwards and my mother had to quit school (John Oliver High School) to support the family. She was the eldest. Next was Merrill (Jack) and then Grace. My mother worked for the same company until she retired in the 1970s rising to the position of head of the payroll department.

I had a lot of brochures on Juneau to look through and the hotel also had an in-room copy of Juneau magazine. The Goldbelt Hotel is one of three or four venues run by the Goldbelt Corporation. There is also the Goldbelt Heritage Foundation, the Mt. Roberts Tramway and a marina. They advertised a native gallery at the top of the tramway as well. A shop called Urban Eskimo also caught my eye. It was in the heart of downtown. I couldn’t tell if it was first nations but it sounded like it might be. There were a couple of museums: the Juneau-Douglas City Museum and the Alaska State Museum that looked promising.

That would be plenty to keep me busy for a while so I put the brochures down and went to bed. The beer was starting to have the desired affect.

I was up early the next morning ready to explore Juneau. The dining room was still closed so I headed over to McDonalds. One of the museums was located on the corner of Main and Fourth so after breakfast I headed up the hill. Soon, I was standing in front of the Juneau-Douglas City Museum. Local Tlingit culture, natural history, and the impact of

JUNEAU ~ 111

the discovery of gold on the area’s development is how their brochure read. I checked out the Tlingit cultural section and found it quite interesting. They had a Montana Creek Fish Trap on display which had first been spotted on the banks of Montana Creek in Juneau. Radiocarbon dating indicated the trap was 500-700 years old. The director was not in so I had a look around and left. I walked over a block to Seward Street and proceeded back down the hill. “Ah, here it is,” Urban Eskimo. I thought it was around here.” A mask and some mocassins in the window were enough to draw me inside. Several more items were in a long display case and posters with native designs were on the walls. On a shelf were several colorful Pendelton Blankets. A man came out from the back and I introduced myself. “John is not in today,” he said. “He will be in tomorrow. You will need to talk to him.” We chatted for a bit and he told me, “Our specialties are eclectic, historic, vinatge and antique.

We also have the largest selection of Pendelton blankets in Alaska.” I told him alittle about my guide, said my goodbyes and headed out the door. Back down Seward, I soon arrived at Front Street. The bookstore was open. “Do you have any books on first nation’s art?” I asked the clerk. He pointed to a shelf with several colorful coffee table books.

Most of the books were similar to ones I had seen in other bookstores but they did have some books specifically on Tlingit art which were very interesting. Next stop, Tripp’s Mt. Juneau Trading Post. There was

112 ~ Sealaska Corporation

so much to see inside the Trading Post that my eyes couldn’t settle on any one item. It was mesmorizing. This store has the largest and most diverse selection of native art I have ever seen. I looked around for a few minutes at the beautifully painted masks on the walls. In two or three glass jewelry cabinets I noticed the name Chilton. All the pieces in the cabinet were by Gene Chilton. I remembered the desk clerk said there were three Chilton brothers but it appeared these were all by Gene Chilton. The artistry was amazing. The silver items were all highly polished and glistened under the rays of the halogen lighting. Bentwood boxes, paddles, miniature carvings, figurines, ceremonial items and eskimo carvings in stone and jade adorned the shelves of the rest of the store. Some of the carvings were made of whale bone, others of whale teeth. There were rugs and knives and mocassins and mukluks as well.

Reminding myself why I had come in (and that I was not a tourist), I went over to the front counter and explained to the cashier what I was doing in Alaska. “You will need to talk to the owner, Jack Tripp. He is away on a business trip for a few days and will be returning at the end of the week.” I thanked her and she handed me his card. “I love your store,” I said, which put a big smile on her face. I spent another half hour looking around and then departed. Down Franklin Street past all the small stores (I had seen the night before) I finally reached the end.

Some stores were open but many were not. These definitely catered to

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the cruise ships. Up Franklin, on the other side of the street at Ferry Way, I saw a small store called Peer Amid Beads. A glass case full of colorful masks drew me inside. The owners name was Gema Thomas. I talked to Gema for a while and told her about my guide. She wanted to be included but told me to come back later in the week because she was in a hurry. I offered to bring my camera and take some photos. [Sometimes I felt like a cross between Christopher Columbus and Edward Curtis (discovering places I had never seen before and photographing native artists and their art).]

As a child growing up in Vancouver my grandmother on my mother’s side lived with us until I was about eight or nine and then she died. I remember her more than any of my other grandparents. She was a very reserved English lady and had never worked outside of being a house wife. My mother took good care of her in her later years. Too good in some respects maybe. We had a cocker spaniel named Taffy. One day we were told he had to be exiled to Spuzzum in the Fraser Canyon to live out the rest of his days. We were never told why. We learned later that grandmother had developed an allergy to dog hair.

At Front and Franklin, I turned left and walked through the small parking lot (it was full of cars this time as it was a work day), and proceeded over to the office building (I had seen the night before) the Sealaska Heritage Building. Inside the foyer I was surprised to find several

114 ~ John Archambeault

pieces of first nation’s art on the walls. There was actually quite alot: wall plaques with amazing blue, red and black designs, a totem pole in the corner, a waist high glass display case with brightly covered Tlingit ceremonial hats and brightly coloured carved masks. On a back wall there were three yellow, black and white Chilkat robes (one above the other) that reached up to a vaulted ceiling two floors high. A plaque read: “Sealaska Heritage Institute is a regional non-profit organization founded for the Tlingit, Haida and Tsimshian people of Southeast Alaska. It was founded in 1981 by Sealaska Corp., a for-profit company formed under the Alaska Native Claims Settlement Act, SHI, formerly Sealaska Heritage Foundation, administers Sealaska Corp.’s cultural and educational programs.” The reason for the Sealaska Heritage Building was to promote local first nation’s cultural programs. [I would google it for sure that night and learn more.] The totem pole in the corner was carved

by Nathan Jackson. Not surprisingly he had also carved one of the wall plaques. The versatility of Alaska’s native artists is truly amazing.

It was 4:00 p.m. so I picked up some snacks and headed back to my room at the Goldbelt Hotel. This time I was greeted by a new face behind the counter, her name was Alissa. When she saw me her face lit up with a big smile, “Welcome to the Goldbelt Hotel,” she said. She had beautiful black hair accentuating a deep brown complexion. I told her I had already checked in the night before and then we started talking.

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She was just out of high school and only working part time. She wanted to go back to school the following year but until then she was enjoying her part time job at the hotel. She was Tlingit and had a lovely inquisitive personality. “You would do well in the hotel business,” I told her.

She got quite excited when I told her what I was doing in Alaska and wanted to know more about my guide and my travels. She had never been out of Alaska so the whole world was at her doorstep and she wanted to see it all. “My uncle is staying in the hotel,” she said. “He is visiting from Wrangell. I would like you to meet him sometime.”

While my mother adored her father, my father’s falling out with my grandfather was precipitated by him not wanting to take over the family farm and fish trawler docked in Steveston or at least so we were told.

The farm was eventually either split up between my three aunts or my youngest aunt and uncle inherited it outright. I am not quite sure of the details. They never spoke to each other again. The only time I remember ever even seeing my grandfather was one time when we were invited to my aunt’s house for a family dinner. We were quite young. My brother asked who the old guy was sitting at the end of the table. It was our grandfather. He never said a word to us. We were too young to understand. He was just a stranger to us. I realize now the sadness of it all.

After a brief rest in my room, I went back downstairs to find the hotel manager. “Hi Alissa.” I said. She was looking a little bored.” Her face

116 ~ Alissa’s Uncle John

always lit up when she saw me. “Is the manager around?” “Let me go check.” In a moment she returned with the manager. “Hi, I’m John Archambeault.” John was a 40-something, caucasian man of medium height and build who always wore a white shirt and tie befitting his position. I told him about my guide and complimented him on the wonderful art collection in his lobby. “Yes, we are quite proud of the collection. How do you like our hotel?” he asked. “Whenever I am in Juneau this is where I will be staying.” “That’s what we like to hear. I will check with our marketing department and let you know if we can go in your guide. You will be here all week?”

“Yes, probably until Sunday.” “We also have a tramway and they might be interested as well.” “I noticed in the brochures a first nation’s gallery located at the top of the tram?” “There used to be one but it has closed. It is probably just us and the tramway that would be interested.” I thanked John and he departed. “Is that computer for guests?” I asked Alissa seeing a desktop against a nearby wall. “It sure is, help yourself.” I spent the next half hour checking my emails and looking up a few things.

Then I returned to my room to freshen-up for dinner.

On Tuesday morning I wanted to start calling artists and make appointments to visit them. First on my list was Anna Brown Ehlers, another artist whom Nathan had told me to call. Also I wanted to check with the controller in the morning to see if I could have the phone numbers of

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any artists she knew. The Alaska State Museum was located around the corner so I would pay them a visit as well.

I had enjoyed my dinner the night before at the Hangar so I decided to go back (maybe it was the Pale Ale). Alissa was still on the front desk when I came down. “How far away is the Alaska State Museum?” I asked, but she didn’t know. A short walk before dinner and maybe I could find it. At Egan Drive and Willoughby, I turned right. At the end of the street I came across two totem poles. The totems were on either side of a large mural of an eagle and a raven. They were very well carved but because it was too dark to see them properly I decided to turn around and head back to the Hangar. I would check them out tomorrow. Jumbalaya was on the menu and I had been looking forward to it all day!

The atmosphere in the Hangar was electric. I like consistency. Everyone was enjoying themselves and having a real good Alaskan time.

I ordered Jumbalaya along with my favorite Pale Ale. When I left the Hangar I was again feeling full and content. It had been a nice day in Juneau with no rain. Sitka was much wetter being on the outside of the Passage. Alissa was talking to someone when I returned to the hotel and when when she saw me she motioned for me to come over. “This is my uncle John,” she said with a big smile. “Hello,” I said, “Alissa tells me you are from Wrangell?” “Yes, I hear you are writing a first nation’s guide to Alaska. That is an admirable venture.” “It is a work of love.”

118 ~ Anna Brown Ehlers

I feel privileged to be meeting all the artists and seeing their wonderful artwork. I always wanted to know where west coast first nation’s art came from and who created it. I had never seen a reader friendly guide so I figured I would write one.” “It is a wonderful thing. Have you been to Wrangell?” “No, I only have time to travel to the larger towns on this trip. I want to travel as far north as possible. I have included Wrangell in my mock-up guide though and you are welcome to look it over and see if it is accurate.” “I would love to,” John replied. He gave me his email address and I assured him that I would send him the content on Wrangell when I returned to Vancouver in late November. “That is quite a trip,” he exclaimed. “We will see. I would like to spend my birthday on Haida Gwaii on November 22. I am not sure if I will get there but so far so good.” “You will get there!” Alissa said showing her confidence in me. “After I met Nathan Jackson in Ketchikan (at Saxman Village), the guide started to come together.” “That is one of Nathan’s pieces over on the wall,” John said pointing. “Yes, I know. His art is everywhere.”

“Nathan is pretty special,” proclaimed John. “Everyone knows who he is....he is a living legend in these parts.” “I am beginning to understand.”

I told John how I met Nathan and how he had told me who to meet on my trip and how to put the guide together. “Maybe it was meant to be,” John said philosophically. Alissa was hanging on to every word. “You have a wonderful niece,” I told him. “She has a great personality.” “She

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does!” agreed John. “We are quite proud of her.” John was just heading home to Wrangell so I wished him a safe trip. “Thank you for introducing me to your uncle,” I said to Alissa after John had gone. “He is a nice man.” We talked for a while longer and then I went up to bed. She told me she would be on the desk again in two nights so I said I would look forward to our next visit. Tomorrow, I would start visiting artists.

I like people with personality. I taught school for several years and the students I got along with best were the ones who displayed unbridled optimism like Alissa. No telling what they might become because the truth betold they could probably be anything they wanted. They were usually the smartest of the bunch. Unfortunately, as a teacher you have to meet all your students expectations which is maybe one reason I no longer make my living as a teacher.

The next morning I called Anna Brown Ehlers. “Nathan Jackson told me to look you up when I was in Juneau,” I said. Anna offered to pick me up and take me back to her place for an interview. An hour later, she pulled up in her car and we drove off into the hills above town. Her bungalow was on a hillside overlooking downtown Juneau. Anna is a Tlingit Chilkat blanket weaver locally born and raised. Her blankets are made of hand-woven cedar bark and wool and incorporate totemic clan designs. She makes leggings, bibs and vests all the way up to full-size blankets. Inside her house there was a large chilkat blanket hanging on

120 ~ Sonny Grant

a wall just to my left. The predominant color was yellow but there was also blue and of course white and black. Anna went into a back room and came back with an identical Chilkat blanket of the same size and color and wrapped it around herself. “If I stand in front of the one on the wall will this do for a photo?” she asked. Just one Chilkat blanket takes along time to weave and a lot of expertise. For her to have made them both was quite exceptional I thought. Anna had the classic Tlingit features: wide cheek bones, dark eyes and black hair. Wrapped in her ceremonial blanket with only her head showing she was the perfect picture of a stoic Tlingit maiden. As well, she had an outgoing personality. She earned her way by exhibiting her craft on the cruise ships. “That will do splendidly,” I said. She also had a nice broad smile. It was obvious that she was happy when she was showing and talking about her textiles.

“Nathan is my cousin you know.” “No I didn’t know.” “Second cousin or third I am not sure. Anyway, we are related. I guess we are all related somehow.” “What do you do when the cruise ships are not in town?” “I work on my art and give demonstrations at museums around the world.

I have won a few awards. Nathan and I sometimes find ourselves competing against each other. He usually wins but not always. I sometimes teach in universities and at indian youth cultural camps and cultural centres. Like most of us and especially Nathan, I am dedicated to passing on our traditions.” Soon we were finished and back on the road heading

121

RIGHT: Two totems on the main street in Prince Rupert

BELOW: The Tsimpshian Longhouse and Museum of Northern BC, Prince Rupert

122 ~ Creekside

LEFT: Totem pole on way to Creekside, Ketchikan, Alaska..

BELOW: Creekside, Ketchikan, Alaska

123 RIGHT: Cape Fox Lodge Collection, Cape Fox Lodge, Ketchikan, Alaska.

BELOW: Baskets in the Cape Fox Lodge Collection, Ketchikan, Alaska

124 ~ Saxman Village

LEFT:: Totem pole on the walk up to Saxman Village, Ketchikan, Alaska

BELOW: Saxman Village with totems and Lodge House behind the park, Ketchikan, Alaska

125

RIGHT: Longhouse in Totem Bight State Park, Ketchikan

BELOW: Inside a longhouse in Potlatch Totem Park, Ketchikan

126 ~ Brita Alinder

LEFT: Outside of a longhouse in Potlatch Totem Park, Ketchikan

BELOW: Brita Alander with her totem in Potlatch Totem Park

127

RIGHT: Commemorative pole in park outside the Shee Atika Totem Square Inn in Sitka, Alaska

BELOW: The Sheldon Jackson Museum in Sitka, Alaska

128 ~ Sitka Historical Park

RIGHT: Totem out front of the Sitka Historical Park

BELOW: Inside view of the Sitka Historical Park & Cultural Center

129

LEFT: Ed Malline in Fisherman’s Eye Gallery in downtown Sitka, Alaska

BELOW: First totem on the walk through the Sitka Historical Park

130 ~ Dave Galanin

ABOVE: The former Sheldon Jackson College, Sitka BELOW LEFT: Dave Galanin,, Tlingit artist BELOW RIGHT: Willis Osbakken

131 RIGHT: Charlie Shutka Jr. Tlingit, In the Sitka Cultural Centre with one of his replica copper shields which he created

BELOW: A totem in the Sitka Historical Park

132 ~ Gene Chilton

ABOVE: Mural and two totems to the raven and eagle on Willoughby in Juneau BELOW LEFT: Mural Inside the Alaska State Museum oin Juneau

BELOW: Totem by Nathan Jackson outside the Centennial Hall & Visitors Center Juneau

133

ABOVE LEFT: Downtown Juneau and the mountain where the Mt. Robert’s Tramway goes ABOVE RIGHT: Gene Chilton with his jewelery in Tripp’s Trading Post in Juneau BELOW: Mural on the waterfront below the Sealaska Building in Juneau

134 ~ Rick & Mick Beasley

ABOVE LEFT: Percy and Kunz, Tlingit, in their home in Juneau 2009 ABOVE Right: Rick and Mick Beasley in their workshop in Juneau 2009 BELOW: Totem outside the library at the U of ASE carved by Joe and TJ Young

135

ABOVE: Donald Gregory in his office at Sealaska Institute in Juneau ABOVE RIGHT: Totem outside the University of Alaska SE BELOW: Showcase in the library at the University of Alaska SE

136 ~ Old Fort Seward

ABOVE: Mural on an inside wall at Juneau Airport

RIGHT: Totem on the mezzanine level of the library at the University of Alaska Southeast, Juneau

137

ABOVE LEFT: Totem on waterfront in Downtown Haines ABOVE RIGHT: Totem and mural at oudoor stage on the parade Ground at Old Fort Seward BOTTOM: Officer’s Row at Old Fort Seward, Haines

138 ~ John Hagen

ABOVE LEFT: Greg Horner at Alaska Indian Arts ABOVE RIGHT: Clifford Thomas, Tlingit Carver at Alaska Indian Arts 2009

139

ABOVE: Don Hatch, Carver at Alaska Indian Arts 2009 ABOVE RIGHT: John Hagen, Tlingit Master Carver at Alaska Indian Arts 2009 BELOW: The Lighthouse Restaurant on the edge of Lynn Canal in Haines, Alaska

140 ~ Chilkat Indian Village LEFT: Welcoming Pole and mural inside the Longhouse at the Chilkat Indian Village in Haines, Alaska

BELOW: Two houses in Klukwan Village with two memorial poles for band members killed in military service.

141

ABOVE LEFT: Peter Lind Jr. at the AFN Show in Anchorage 2009 ABOVE RIGHT: Percy C. Avugiak at the AFN Show in Anchorage BOTTOM: Lela Ahgook at the AFN Show in Anchoarge 2009

142 ~ Ursula Paniyak

ABOVE: Umara at the AFN in Anchorage ABOVE: Sonny Grant at the AFN Show in Anchorage BELOW: Ursula Paniyak at the AFN in Anchorage

143

ABOVE: Brian Chilton, Tlingit artist, at the AFN Show in Anchorage

ABOVE: Doug Chilton, Tlingit artist, at the AFN Show in Anchorage

144 ~ Alaska Native Heritage Collection

ABOVE: Heritage Collection showcase in the Alaska Native Medical Center BELOW: The Ladies from the Hospital, Agnes Coyle, Karen Vogeler and Jeanne Dougherty, Anchorage

145

ABOVE: Public Art in the Ted Stevens Internatinal Airport in Anchorage BELOW: The Heritage Museum at Wells Fargo in Anchorage

146 ~ Geo McKay

IGHT: Geo McKay (Nisga’a artist)

BELOW: George Little House (Terrace)

147

LEFT: Todd Stevens, Nisga’a artist BELOW: House of Sim-oi-Ghets in Terrace

148 ~ Kitselas Canyon

RIGHT: Totems near House of Sim-oi-Ghets outside Terrace

BELOW: Two totems at the entrance to the Terrace Arena carved by graduates of the Freda Diesing School

149

LEFT: Boardwalk down to lookout at Kitselas Canyon

BELOW: Site of ancient villages in Kitselas Canyon

150 ~ Alver C. Tait

ABOVE: Lookout at Kitselas Canyon

BELOW: Longhouses at Kitselas Canyon National Historical Site

151

ABOVE: Model of new Greenville Museum BELOW: Master Carver Alver Tait and an apprentice working on a dugout canoe, Greenville, BC.

152 ~ New Aiyansh

ABOVE: Sign welcoming you to New Aiyansh

BELOW: Nisga’a Government building in New Aiyansh

153

LEFT: Four totems in New Aiyansh

BELOW: Building in Kispiox Village

154 ~ Kinkolith

RIGHT: Community Centre in Kinkolith

BELOW: Nisga’a design on floor of community centre in Kinkolith.

155

LEFT: Newly constructed building in Kinkolith with totem in front

BELOW: Nisga’a design on floor of community centre in Kinkolith

156 ~ Ksan

RIGHT: Longhouse in ‘Ksan Historical Village, Hazelton

BELOW: Row of Longhouses at ‘Ksan facing the river

157

LEFT: Longhouse and totem Ksan

BELOW: Longhouse at ‘Ksan, Hazelton

158 ~ Kispiox Village

RIGHT: Totem in Kispiox totem park

BELOW: Totem Park Kispiox Village

159

LEFT: Totem in Kispiox Totem Park

BELOW: Kispiox Totem Park, in Kispiox Village BC

160 ~ Rob Sebastian

RIGHT: Ron Sebastian in his studio/ gallery in Hazelton

BELOW: Kispiox Band Office in Kispiox Village

161

ABOVE: Showcase in the Crest Hotel BELOW: The view from my room at the Highliner Hotel in Prince Rupert the day after the snow storm and the morning I flew to Masset.

162 ~ Christian White

RIGHT: Sarah’s Haida Art & Jewellery in Old Masset

BELOW: Totems outside a municipal building in Masset

163

LEFT: Christian White, Haida artist

BELOW: Teri Russ, Haida weaver

164 ~ Reg Davidson

RIGHT: Robert Bennett, Haida box maker

BELOW: Reg Davidson with his apprentice Cori Savard

165

LEFT: Joyce Bennett, Haida artist

BELOW: Georgia Bennett, Haida artist

166 ~ Merle Anderson

RIGHT: Merle Anderson , Haida weaver

BELOW: Carrie Anne Vanderhoop Bellis, Haida weaver

167

LEFT: Christine Carty, Haida weaver

BELOW: Cooper Wilson, Haida carver

168 ~ Haida Heritage Centre

RIGHT: Marlene Liddle, Haida weaver

BELOW: James Sawyer, Haida artist

169

LEFT: Totem by Reg Davidson in the foyer of the Haida Heritage Centre

BELOW: Hallway in the Haida Heritage Centre

170 ~ Haida Heritage Centre

RIGHT: Dolly Garza

BELOW: Loo Taa (Bill Reid’s canoe)

171

LEFT: Haida totem in Skidegate Village

BELOW: Totems in front of longhouses at the Haida Heritage Centre

172 ~ Gladys Vandal

RIGHT: Val Malesku

BELOW: Gladys Vandal (Haida weaver)

173

LEFT: Wendy Malesku

BELOW: Wayne Wilson (Haida artist)

174 ~ Nelson Cross

RIGHT: Norman Price (Haida Carver)

BELOW: Nelson Cross (Haida artist)

175

LEFT: Tom Greene Jr. (Haida artist)

BELOW: Billy Bellis

176 ~ Garner Moody

RIGHT: Victoria Moody

BELOW: Garner Moody

177

down to the hotel. I thanked Anna for the ride and told her how much I had enjoyed meeting her.

There is a similarity between the towns of the Alaska panhandle and the towns along the coast of Western Washington between Whidbey Island and the Olympic Peninsula. All the towns were built on a hillside in front of the open sea. In order to grow most of the them had to be literally carved out of the mountain behind. Port Townsend especially comes to mind.

When I asked to speak with the controller at the hotel, the desk clerk went into the backroom and returned with a piece of paper with several artists names and telephone numbers on it. It had already been prepared for me. I thanked the desk clerk and hurried back to my room. Taking a closer look the list it read like a who’s who of Juneau’s best native artists: Rick and Mick Beasley, Percy and Ed Kunz, Doug, Brian and Gene Chilton, Donald Gregory, Florence Sheakley, Sonny Grant and Anna Brown Ehlers. “This is great!” I decided first to call Percy and Ed Kunz.

They lived near the hotel. Florence Sheakley was also nearby. Percy and Ed were at home when I called and they invited me to drop by that afternoon. Florence was at a community centre around the corner so she too invited me over. I tried to reach the Chilton’s and was told Gene would be at the Trading Post later in the day. Doug and Brian were not around.

Sonny Grant’s aunt said that he was around and she would try to locate

178 ~ Florence Sheakley

him. Rick and Mick Beasley lived outside of downtown Juneau and I would need to take a bus to visit them so I made arrangements to drop by the next day. Donald Gregory worked at the Sealaska Foundation and he too said to drop by anytime.

The community center where I was to meet Florence was just past the building with the mural and the two totems. The mural had on it a raven and an eagle (one back view and one front view). The totems had a raven at the top of one and an eagle at the top of the other as well as images of a coho salmon, bear and wolf. One of its creators was Edward Kunz. The totems honored the Raven and Eagle clans of the local Aak’w Tlingit Tribe. The mural told the story of a great man or shaman passing into the spirit world. There was an art show underway at the community centre when I arrived so I enquired at the office for Florence. Soon, a short grey haired lady appeared wearing glasses and a big smile. She wore her hair long like many older native woman do. “Hi, I am Florence,” she said, “You must be Chris.” “I hope I have not come at a bad time,” I asked. “No not at all. In fact it is a good time. Come, let’s sit over here.” Florence told me: “I learned to bead at an early age from my mother Emma Marks, a well known bead artist. Emma created the White Raven, a totemic design and piece of at.oow (clan property), for the Mark’s family. I now make this design for her family. I also have an extensive background in education and teaching and I am the Tlingit

JUNEAU ~ 179

language instructor at the University of Alaska Southeast in Juneau. I am as well a self-employed artist. In the past I worked with the JuneauDouglas school district as a teacher and as a lecturer at the Sheldon Jackson School in Sitka. My beadwork has been exhibited in State museums across Alaska.” I told Florence about my guide and that I would include her on a free artist profile for which she thanked me very much.

At the show several jewelry pieces in a display case caught my eye.

“Hello,” I said to a young lady. “I see you are from Hoonah.” “Yes, it means ‘village by the cliff.’ It is located 40 miles southeast of Juneau on Chichagof Island. It is where Icy Strait Point is located. Icy Strait Point is a cruise ship destination that opened in 2004. It was built solely for the cruise ships. It has brought life back into the wilderness area of the island. It is located about a mile down the road from Hoonah. It is also Alaska’s largest Tlingit village and is centered around a historic cannery facility. Its mission is to show off the best of Alaska culture, nature and history without unduly impacting the lands of our people.” I told her about my guide and she wanted to include her new store in Hoonah.

“We feature Northwest Coast art work designed and created by myself Lisa Andersson (Yak x waan tlaa’), Pauline Andersson (Stewatine), and Jeffrey Skaflestad (Sei ya’ eesh), and other locals. I have an occupational endorsement from the University of Alaska Southeast in Northwest Coast Art with an emphasis in basketry.” “That’s great!” I said and I

180 ~ Alaska State Museum

took her card. I told her I would be in touch with her when I returned to Vancouver. I wanted to get over and see Percy and Ed Kunz before it got too late so I said goodbye to Lisa.

Percy and Ed lived one street over on Village Street. It wasn’t long before they were welcoming me into their living room and I was sitting in a nice easy chair listening to them tell me their stories: “I was born in Sitka in 1937,” said Percy, “I lived there until I was 15. I lost my parents so I had to move to Juneau where I lived with my older sister Rachel Johnson. She taught me how to bead. Cecelia Kunz taught me how to do button blankets and mocassins. I then learned how to do Raven’s Tail Weaving and how to make cedar bark baskets and hats. I just got back from Teslin in the Yukon with my teacher Della Cheney. We went to teach cedar bark weaving. She was the teacher and I was her helper.”

When Percy finished Ed told me: “I was born in Juneau in 1938. Cecilia was my mother and my father was named Ed as well.” “Then it would have been your father who worked on the two totems and the mural on Willoughby Street?” “Yes, that’s right. I am actually Ed Jr. but everyone calls me Ed now. I took a carving class at Mt. Edgecumbe with Horace Marks and leatherwork and metalwork with A.P. Johnson. When I was younger I sat with my dad when he was carving and he let me sand the poles he had made. After, he let me handle knives. I only carved small poles and plaques until I was about thirty. I was introduced to silver

JUNEAU ~ 181

work by Smith Katzeek up in Klukwan and since then gold and silver have become my main medium.” As Ed and Percy told me their stories I found myself again marvelling at how multi-talented these artists all were. They not only carved in wood but worked in jewelry design as well as in gold and silver. Ed told me he began carving while living in Haines. His mentor was the late Ed Kasko. Although most silversmiths use an engraver’s block, Ed uses wax to hold the strip of silver to a modest-sized, wooden board. When he began engraving the Tlingit design into the silver, he said he wanted an engraver’s block like he’d seen other silversmiths use, but with all of its accessories it came close to $100; then a few years later when he thought he could initially afford an engraver’s block, the price had risen to almost $500 so he said forget it.

I told Percy and Ed that I would include them in my guide on free artist profiles. I thanked them for their hospitality and departed. There was still enough time to go over to the Alaska State Museum which was very close on Whittier Street. I could then follow Whittier back to Egan and quckly be back at the Goldbelt Hotel.

The warmth the artists showed towards me was the same as I had experienced on many visits to my country cousins house on River Road in Ladner when I was young. Every weekend when I was between the ages of ten and thirteen my mother would bundle my brother and I up into the old Ford and head out to Aunt Grace’s house on River Road. It was a

182 ~ Gene Chilton

wonderful old two storey house with a wood burning stove in the kitchen, a pantry for cooking and a parlour with a formica glass stove front that danced miraculously whenever there was a fire inside. My uncle had been a shipbuilder during the war. By the time I was ten, he was working on a dredge in the Fraser River and was the captain of the Lazy Lady (salmon trawler). I also found the same warmth in the homes of the British working class families we stayed with on my many trips to England in my teens. There was a genuine warmth in all their homes.

The Alaska State Museum was founded as a district museum and library in 1900, today it is the official repository of the state’s history and home to over 27,000 artifacts, works of fine art and natural history specimens. It was a short walk down Whittier to the museum. The building itself was quite contemporary built in the mid sixties and had a modern sculpture out front called Nimbus. Inside it was dimly lit in order to protect the artifacts. I admired the Tlingit Potlatch exhibit to the right as I entered. It was very colorful with maniquins dressed in Chilkat blankets like I saw at Anna Brown Ehler’s house. Displays of clothing, regalia and tools portrayed the many culturally distinct people dependent on a subsistence lifestyle of hunting, fishing and gathering. There was an eagle nesting tree in one area displaying one of Alaska’s most prominent wildlife species. There was also a museum store operated by the Friends of the Alaska State Museum that offered a variety of Alaska native

JUNEAU ~ 183

handcrafted items, art and jewelry as well as Alaska books. After about an hour I left the museum and headed back to the Goldbelt Hotel. I asked if the museum’s director(s) were available but they were away travelling. Back on Egan Drive I came to a building at the corner of Egan and Willougby that I had not noticed before. It was called the Centennial Hall & Visitors Centre and it had a tall totem standing at one end. A plaque read: Wooshkeetan Totem Pole and it too had been carved by Nathan Jackson with the assistance of Steven C. Brown. It is a splendid pole depicting a shark, murrelet, bear, wolf, sea bear, Good Luck Woman and Spirit Man. I wanted to go back and see if Gene Chilton was at the Trading Post.

The leaves on the trees glistened gold and brown in the sunlight as I made my way over to the Trading Post through the sparse traffic. When I arrived at the Trading Post there was a man standing by the showcase with the silver jewelry. It was Gene Chilton. We talked for awhile. Gene told me: “I am a member of the Deisheetaan, Beaver clan from the Raven House, Yeil Hit of Angoon, Alaska. I was born in Juneau but I grew up in Angoon up to age seven and then I moved back to Juneau. As a young man I commercial fished in southeast Alaska. I began my career as a silver engraver in 1978, studying under master carver Ed Kasko of Klukwan, Alaska. I am certified in stone setting and repair by the Gemological Institute of America. As Gene was talking I gazed again at the

184 ~ Bill Ray Jr.

silver jewelry in his case. What a marvelous collection. “Your work is amazing,” I said. “It represents a lot of work and time,” he said. I asked Gene if he had a bio and he pulled out a resume and handed it to me. “I have two brothers as well who are artists Brian and Doug. They should be in your guide.” “Yes, I know. I have been trying to find them but so far I have not been successful.” “I will see if I can find them and have them call you at the Goldbelt.” I thanked Gene and complimented him again on his wonderful silver jewelry. I was doing pretty good finding artists. Hopefully I would be able to find his brothers before it was time to leave.

Mom and dad were married on January 15, 1940. During the forties they must have kept in pretty good shape. We grew up on tales of them bicycling down to English Bay from their home in east Vancouver after work on Fridays, taking the ferry over to Ambleside Beach in West Vancouver, biking up to the foot of Hollyburn Mountain (now Cypress Bowl) and then hiking up the mountain to a friend’s cabin with backpack and skiis in tow for a weekend stay. On Sundays they would do it all again.

Don Gregory was in his office when I arrived at the Sealaska Heritage Building. It wasn’t long before he too was telling me all about himself. “I’m a Tlingit from Southeast Alaska of the Raven Moiety and the Deisheetaan clan, my crest is the Raven/Beaver, and I come from

JUNEAU ~ 185

the Deishu Hit (End of the trail House) in Angoon, Alaska. My Tlingit name is Héendeí which translates as, “In the water” and it was given to me by Deisheetaan Elder Héendeí David Smith of Angoon. I was first inspired by the art world as a child, and thus began a lifelong passion for art. My tutors and mentors include Amos Wallace, Ray Peck, Michael “Mick” Beasley, Richard “Rick” Beasley, Ed Kunz, Walter Bennett and Barry Smith, all well-known Tlingit artists from Southeast Alaska. I also studied form line and silver engraving under master artist Steve Brown from Washington State.” I told Don about my guide and that I would include him on a free artist’s profile. Don was a nice fellow and happy to be included. He wished me good luck! With my afternoon pretty much filled I decided to walk around town alittle more. I dropped back into Peer Amid Beads and took a couple of photos. I also dropped into the bookstore to see if I had missed anything the first time. Feeling I had successfully completed my business I headed back to the Goldbelt Hotel to freshen up before returning to my favorite dining spot in Juneau, the Hangar. I knew I was going to miss the Hangar when I left for Haines on Sunday. But first I needed to look up Haines on the internet and see just exactly where it was located.

[Haines is about 90 miles north of Juneau at the north end of America’s longest fjord, the Lynn Canal, and it is surrounded by 20 million acres of protected wilderness. Glacier Bay National Park is less than

186 ~ Mick & Rick Beasley

25 miles by air from downtown Haines. Haines is home to the Sheldon Museum and historic Fort Seward, Alaska’s first fort that was created following border disputes between Canada and the U.S. The village of Klukwan located 22 miles north of Haines is one of the area’s oldest known Tlingit settlements. Tlingit culture and artwork can still be seen around Haines today.] Sounds interesting I thought as I took a break from the computer for a moment. Alissa was talking to someone at the counter so I couldn’t strike up a comversation. I discovered there were two ways to get to Haines: by ferry or by small plane. I was in no hurry, I had all day Sunday to get to Haines so I decided to take the Haines Ferry about a five and a half hour trip. We are all faced with multiple choices each day. Which we choose will influence the future of our lives. My deciding to take the ferry was the right choice as you will discover in the next chapter. It sounded like a good trip. I wondered what Fort Seward would be like. While not on the right side of first nation’s history, I would also soon discover that it deserved a major spot in the Haines section of my guide.

In the mid 1940s, mom and dad bought a house on the eastside of Vancouver on east forty-fifth avenue across from MacDonald Park. There were alot of good times in that house growing up. Every Thanksgiving all the relatives on my mother’s side would gather at our house.

At Christmas we would all gather at aunt Grace’s house. Then on New

JUNEAU ~ 187

Years we would all gather again at our house. That house cost my parents four thousand dollars. There were other houses in the same block that they could have bought as well but people didn’t buy houses to rent in those days. It wasn’t until the 1960s that people bought houses to rent. In the early days they just bought a house in which to live and raise a family.

After another splendid dinner at the Hangar I went back across the street to have another look at the mural. It was the same mural I had in my guide. I had looked it up on the internet and found out it is called Raven Discovering Mankind in a Clam Shell painted by local artist Bill Ray Jr. in 1988. It is based on a Haida Legend of the creation of mankind. [It was part of a public art display around Juneau that also included about twenty totems.] At the time of this trip (2009) there was not a lot of public native art around Metro Vancouver. That changed in 2010 when Vancouver hosted the Olympics. A native public art display was sponsored and works were commissioned at Olympic sites and community centres around Metro Vancouver which remain to this day. The Vancouver International Airport (YVR) has been building a public art collection of native art now for several years. It is all on display in the various terminals throughout the airport.

I was up early the next morning and down to McDonalds for a quick breakfast before departing by bus to find Rick and Mick Beasley’s

188 ~ Mt. Robert’s Tramway

house. I tried again to locate Sonny Grant and Doug and Brian Chilton but still, no luck. The bus ride to Rick and Mick Beasley’s house took about 10 minutes and the bus driver dropped me off a few doors away.

I was surprised to discover when they both appeared in the doorway that they were twins. Both are well known Juneau artists. Rick did all the talking: “I am Tlingit, a Raven of the Coho clan from Juneau. I began carving in the eighth grade through the Indian Studies Program of the Juneau School District and continued through graduation from Juneau-Douglas High School in 1976. I graduated from the University of Washington with a Bachelor of Fine Arts in metal design in 1988 and have since specialized in the study and implementation of classic Tlingit art forms, including totem poles, masks, canoes, jewelry, limited edition prints and fabrics. I am a featured artist at the University of Washington campus library art gallery and I am represented by Legacy Ltd., in Seattle, Wash. [Legacy specializes in museum quality contemporary and Northwest Coast Indian Art.] I have taught several classes at the University of Southeast Alaska, in the Juneau school district and in the community. Mick, my brother is a graduate of JDHS. He received a Bachelor of Fine Arts Degree from the University of Washington specializing in metal design. Throughout his artistic career, Mick has mastered the art of carving in traditional woods and metals and in two dimensional formline design. His work is renowned throughout Southeast Alaska, as

JUNEAU ~ 189

well as internationally. Both Rick and Mick were very enthusiastic and quite jovial as they talked about their art and later my guide. They struck me as a couple of guys who liked to have a good time and didn’t take life to seriously, except where their art was concerned. Like many of the artists I had met they were more than versatile and competent in multiple art forms.

My dad held several jobs throughout his working life. There may have been a problem with authority figures stemming from his relationship with his father. The jobs he had that I am aware of included: gold prospector in the Yukon (there was a piece of a Mastadon tusk in a drawer in our basement for the longest time which he had brought back from the Yukon and a rock with fools gold in it that sat as a doorstop in our livingroom for as far back as I can remember), policeman, sporting goods salesman (brand new fishing lures and flies in their original boxes from the fifties were in a drawer in his workbench in the basement) , TV repairman (tubes, resistors and other parts were in the same drawers) and taxi driver.

My next stop was the University of Alaska Southeast (Juneau campus). The William A. Egan Library at the university has a wonderful native art collection in its interior foyer and on its interior walls. The university opened in 1990 and long before it opened the Alaska Percent for Art committee began recommending artwork for the library. 14 art

ist proposals were solicited representing $72,114 in art commissions.

All of the artwork is from the Northwest Coast region. It is a short ride out to the campus of the University of Southeast Alaska and before long I was strolling the grounds on my way to the Egan library. I discovered a tall colorful totem pole laying on the ground at the back of the library.

It had been brightly painted in red, black and white the previous summer by two artists from Prince of Wales Island, Joe and TJ Young both Haida from Hydaburg. Joe is the oldest and TJ his younger brother. They learned to carve from their grandfather and TJ had an association with artists Don Alander and Dan Wallace. It was a beautiful pole about 36 feet long and must have taken a while to carve. Inside the library and up on the mezzanine I discovered what everyone had been telling me, it is a beautiful collection. Everything was carved in yellow cedar and was simply breath taking. All the artwork had been done by master artists. I looked around and I could see Nathan’s name on at least two pieces and one by Wayne Price (whom I hoped to meet in Haines). There was also a Ravenstail robe and apron and several baskets in display cases. I hadn’t seen a collection like this since the Cape Fox Collection in Ketchikan.

I was glad I had taken the time to visit the campus. Anyone coming to Juneau should be sure to make the trip out to the university to see this fabulous collection. It is well worth the effort.

Back at the Goldbelt Hotel, I talked to Alissa for awhile. Then it

was up to my room to freshen up before dinner. Tonight I would try dining at the Westmark Baranof Hotel on Franklin Street. It had looked quite nice when I passed by earlier in the day. [The Westmark is an established chain of hotels in Alaska (since 1987).] I loved the contrast between its regal charm and the ruggedness of Alaska. However, I changed my mind before I went inside and headed back to the Hangar. Why not! I loved it.

It had everything I wanted and the atmosphere was contagious.

The next morning, Saturday, I was up early again. It was my last full day in Juneau. I tried to reach Sonny Grant and Brian and Doug Chilton again but still I got no answer. I guessed I would not be able to include them in my guide which was too bad. I had met several artists in Juneau and everything had come together splendidly. I dropped back into the Trading Post and had another look around. The owner Jack Tripp was back in town so the cashier called him and told me to go outside, down a few doors and up the stairs to his office. When I opened the door to his office a girl told me she was his assistant and that she would help me. I told her about my guide and what I was doing and said, “I hope Mr. Tripp will put his wonderful store in on a page.” She would check with him and get back to me. Alaska is along way from Vancouver and I didn’t expect to hear from her. You need to speak to the owner if you want to be successful selling advertising to small businesses.

I discovered on the internet that night that there are no hotels in

Haines. There was one motel however that sounded inviting: The Captain’s Choice Motel is one of Alaska’s finest motels. Located in magnificent Haines, Alaska, our motel enjoys fantastic panoramic views of the ocean water of the Lynn Fjord, North America’s longest fjord.

Our beautiful rooms are luxurious, quiet and very comfortable. The panoramic views of the Lynn Fjord, Portage Cove with its small boat harbor, Fort Seward and the dramatic backdrop of the Cathedral Peaks will make a lasting impression. Our motel is AAA recommended. It is centrally located in Haines, within walking distance from all shopping and dining facilities. How could I go wrong so I booked myself in for a week starting the following night (Sunday). The Haines ferry departed in the morning and I would arrive in Haines in the late afternoon.

There was one thing however that my father enjoyed doing more than anything and he was really good at it: building things with his hands. He should have made his living as a carpenter. Our summer trips to various US destinations ended in the early sixties when mom and dad purchased a vacant lot at Boundary Bay on the American side, two blocks from the beach. Our summers would now be filled with building a summer cottage or more precisely helping my father build a summer cottage.

I had enjoyed my stay in Juneau and all the people I had met: Alissa and her uncle, Anna, Percy and Ed, Florence, Gene Chilton, Rick and

Mick Beasley and Donald Gregory. I also enjoyed the Hangar where I seemed to wind up at at the end of each day. The food was good but I think it was the atmosphere that I loved the most. Everyone was happy and having such a good time. Beware it is definitely contagious! Juneau is very scenic and situated on the side of a mountain. Sitka is scenic with ocean views and Ketchikan has gold rush charm. I liked them all yet they were all quite different. I wondered what Haines would be like.

I had never seen a fjord so I was looking forward to that part of the journey as well. It would be nice to be back on the ferry. My last night in Juneau, you guessed it, I went back to the Hangar for another splendid Alaskan style meal.

CHAPTER 4

Once We Were Warriors

I was up early Sunday morning and off to McDonalds for breakfast as usual. I had said goodbye to Alissa the night before and told her when I returned I expected she would be the assistant manager. She told me she was looking forward to going back to school and laughed. My taxi arrived on time and soon we were cruising down Glacier Highway (north of town) past the Juneau International Airport, the University of Southeast Alaska, Auke Bay to our final destination, the ferry terminal.

The ferry was the same one that had brought me to Ketchikan. Haines and Skagway were its last stops up the Inside Passage before it returned to Rupert.

194 ~ Sonny Grant

Haines is built on the narrowest part of a peninsula. Because it started as a US Army fort the location afforded the best vantage point to watch both channels for unwanted visitors. On the voyage to Haines you pass Chilkat Islands State Park and Chilkat State Park.

The ferry felt familiar and inviting. No customs this time. Everyone just bought a ticket and walked on board. I headed to the upper viewing deck to get a good seat. It wasn’t long before a stranger struck up a conversation with me as we departed. He had been down in the Lower 48 and was returning home. We talked for awhile about Juneau and what he did for a living and I told him what I was doing in Alaska. “There are some carvers working in the dining room,” he said. After we had finished talking I went to the dining room to find the carvers. Artists often work on board the ships to pay for their fares. They set up a few pieces of their art on an unused table and hopefully pay their way. I knew I was on the same ferry because Nathan’s carving was on the same wall. In the dining room I found a young fellow carving soapstone figurines on a table at the back. “Hi, I’m Sonny Grant,” he said to my surprise when I approached. I couldn’t believe it. “I have been looking for you all week,” I said. “My aunt told me someone was trying to reach me but I was out of town. What was it about?” “I am writing a first nation’s tourism guide and I wanted to include you on a free artist profile.” A broad smile appeared on his handsome face. His features were well chiseled.

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You could tell he spent a lot of time outdoors. “That is very nice,” he said thanking me. “You should go to the AFN Show in Anchorage. There will be lots of artists there you can put in your guide.” “I am not familiar with the AFN Show. What is it?” “The Alaska Federation of NativesArts & Crafts Show. It is held every year in October in either Anchorage or Fairbanks. Artists come from all over Alaska for the week long event. That’s where I’m going.” “When does it start?” “Next week. We are going up early because we are driving up from Haines. It is cheaper than flying. Doug Chilton is in the gift shop. You should put him in your guide as well.” “Doug is on board and his brother Brian? I have been looking for them as well. I met Gene at the Trading Post but he didn’t know where you were.” “We were all together,” “No kidding.” “What do you need from me to put in your guide?” “Just some background information to use as text.” “No problem, I will write something up and send it to you. Here is my card.” Sonny sat back and took a break from his carving for a moment and told me alittle about himself. “My grandfathers and father taught me to remember the stories and the traditional ways of life as a Tlingit. With a love of the outdoors I focused on the natural sciences and computer graphics in college. I lived in San Francisco, working as a freelance graphic designer. I moved back to Alaska with a deeper understanding of myself, appreciating the natural beauty of my ancestral home.

196 ~ Doug Chilton

At home I decided to focus only on stone carving. I apprenticed with master sculptor Simon Koonook, an Inupiak Eskimo from Point Hope for three and a half years. I learned the traditional art of Alaska stone carving in the mediums of soapstone, alabaster and marble. In Anchorage, I studied with Simon’s teachers George John of Saint Mary and Patrick Mezzena of King Island, both Inupiak Eskimo carvers. With their careful instruction, I learned many styles and techniques. My style of carving is partly a result of my apprenticeships and experiences of working with other artists in different mediums. In the course of my study of sculpture, I have traveled and lived in Washington, Oregon, California, Arizona, New Mexico, Yukon Territory, British Columbia, Quebec, Mexico, Belize, Germany, Czech Republic and Italy.” While Sonny was telling me about himself I was thinking I should seriously look into going to Anchorage after my week in Haines. It would be a great opportunity to meet so many artists from all over Alaska.

I thanked Sonny for telling me about himself and told him I was happy we finally met. I left him to continue his work while I headed off to find the gift shop and Doug and Brian Chilton. There were no artists selling anything in the gift shop when I arrived so I asked the girl behind the counter if she knew Doug Chilton. “Sure, he is sitting right there,” she said. I turned around and a young dark haired fellow in his thirties was sitting resting in a nearby booth. “Everyone knows Doug,” she

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said, ”He is one of our best and foremost silver artists.” By this time Doug had over-heard our conversation and was looking in our direction smiling. I went over and introduced myself. I told him about trying to find him and his brother and Sonny for the past week in Juneau and he laughed. He was taking a break from his silver engraving and had found a quiet corner in which to relax.

In 1979 Doug told me, he began his wood carving apprenticeship under Ray Peck who was like himself a member of the Deisheetaan (Beaver) Clan of Angoon, and an established carver of totemic and panel carvings. Later he began working under the direction of Walter Bennett, also a local well known carver. In 1990, he began to work with silver and gold engravings, under the watchful and expert eye of his brother, Gene Chilton, Sgunax yaa. He has since begun developing his skills independently. All of his works-of-art are original. Each totem, mask and plaque are all unique treasures. Doug told me he takes great pride in continuing his Tlingit ancestral art. He was recently commissioned to carve a traditional, full-size, Northwest Coast ocean-going dugout canoe for exhibit at the Smithsonian National Museum of Natural History in Washington, D.C. “That experience must have really been something,” I said. “Yes, it really was. The trip alone to Washington D.C. was amazing and then to actually leave a piece of our culture there for everyone to see for generations to come was just mind blowing.” I continued to

198 ~ Captain’s Choice Motel

marvel at the commitment the artists showed towards their craft and culture. Their deep sense of pride and ownership was always present. “My brother Brian is around here somewhere,” he said. “He should be in your guide as well.” “Hopefully our paths will cross,” I said. “Are you going to the AFN?” Doug asked. “I am thinking about it.” “I have to check my schedule in Haines and see if I have enough time.” I said goodbye to Doug and headed back to the bow of the ferry. I had fretted for nothing. I should have let fate take its course. If Nathan was truely guiding me on this journey I should have known he would find a way for us to meet. I remembered what Willis Osbakken had said to me in Sitka, “If you get to Anchorage be sure to look up the ladies at the Alaska Medical Hospital.” Maybe I would get a chance to see what he was talking about after all. I still hadn’t seen any brochures on the gift shop so I still felt he was likely exaggerating. First I needed to find out how far Anchorage was from Haines and then how to get there. Skagway was the last portof-call so I guessed I would have to fly to Anchorage and how much would that cost?

The whole family jumped into building the cottage at Boundary Bay including our relatives. The first order of the day was to clear the lot of long grass, debris and blackberry bushes. All my aunts and uncles came down and took turns cutting and clearing and making a day of it. My dad drew up the plans and once the lot was cleared he went about placing

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the corner stones upon which the floor beams would sit. It was a small cottage but we built it on weekends and it certainly was a labour of love.

It was a lovely ride up the fjord (Lynn Canal) to Haines and the scenery was stunning. I highly recommend it. Alaskan ferries are such a liesurely way to travel and not nearly as crowded as the B.C. Ferries back in Vancouver but then it was the off-season. Apparently it was much busier in peak season.

In no time-at-all we had the walls to the cottage up and the roof completed. My dad built a small cabana at the back to keep his tools and cutting equipment in and the next order-of-the-day was a fireplace. We managed to salvage some old bricks from a fifteen cent store that had just been demolished at 45th & Fraser in Vancouver and we borrowed my uncle’s trailer and hauled them down to The Bay as many as we could at one time. We were a pretty happy family back in those days.

Nothing like a project to keep everyone involved.

The Haines Ferry docks north of downtown Haines and the only way to get into town is by taxi so I hailed one for the 15 minute ride to the Captain’s Choice Motel off second Avenue. It turned out to be a great choice. I guess the Captain was right. The view as it had been described online was breathtaking. You could see the Lynn Canal in all its glory as well as most of downtown Haines which at first glance appeared not

200 ~ Brian Chilton

that big. I discovered otherwise over the next few days when I had to walk everywhere because there is no public transportation. Haines is surrounded by 20 million miles of protected wilderness. I could have rented a car but I preferred to walk.

The Captain’s Choice is situated on a hill and is built on two levels.

My room was on the left at the end in the back. After putting my bag in my room I went out to find a restaurant for dinner. I hoped I wasn’t too late. There was a restaurant on the opposite side of the street and it was open. Inside, at the back of the room were Sonny and Doug having dinner with a third person who I assumed was Brian. “I hear you have been looking for me,” the stranger said. “I’m Brian Chilton.” “Hello, I hoped our paths would eventually cross.” “You want to put me in a book?”

“Not exactly a book, a native art guide along with your brothers and Sonny.” “Sounds great! I will send you a one page resume.” The boys had already finished eating and I knew they would be leaving so I sat at a table nearer the door. After a few minutes a waitress came by with their bill. “I’ll take that,” I said. She went over and told the boys. They all waved and thanked me with big broad smiles. As they went by on their way out they thanked me again. “If you decide to come to Anchorage,” said Sonny, “be sure and look us up. There will be alot of people in Anchorage and it might be hard to book a hotel room. I would make up my mind as soon as possible.” I thanked Sonny for the advice and said I

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would definitely look them up if I made it to Anchorage. I felt they really appreciated me picking up their bill. It wasn’t the money so much as the gesture.

The next morning I was up early and ate breakfast in the hotel dining room. It afforded a great view of the fjord. I hadn’t seen any first nation’s owned accomodation in Haines on the internet. There were a couple of motels and some lodgings further out of town which would not have suited my purpose. I needed to be in town with easy access to everything. As my motel didn’t have any computers I needed to find the library which had the only public computer in town. I had a map that I had picked up at the motel so today would be an orientation day. I would just wander around and see what I could see. I did want to have a look at Old Fort Seward. The photos in the brochures looked fascinating. It appeared very much like an Old West fort that you might see in Montana consisting of several white, two storey buildings forming a square around a parade ground where soldiers would have assembled for drill and other activities.

There was lots to do for us kids at our cottage at The Bay. We were only two blocks from the beach so the first thing we would do is walk up to the beach when we arrived. There were two stores that sold beachware and confectionary items. One was called Clarks and the other Whalens.

Whalens had been on the beach since the 1930s. Years later I

202 ~ Sheldon Museum & Cultural Centre

learned that there had been a dance hall on what was now a vacant lot beside the store. Vancouverites would all come down on the weekends and dance to the latest bands. I remember American chocolate bars were different from Canadian ones. Mars Bars, Milky Way, Three Musketeers, Baby Ruth were the names of some that I recall. We learned you had to be careful if it was the beginning of the season because the stores might still have last years stock on display hoping to sell a few before the fresh stock arrived.

The Sheldon Museum was located on Main Street. A sign read: The Sheldon Museum and Cultural Center, an educational institution of the Haines Borough, committed to collecting, preserving and interpreting the history, art and unique blending of diverse cultures within the Chilkat Valley region. We feature two galleries full of exhibits on native and non-native settlement of Haines and the Chilkat Valley area. We also have a rotating display of local artwork. Our permanent exhibits cover all aspects of Tlingit native culture including their highly prized Chilkat blankets, spruce root basketry and beadwork. Native culture was what I was looking for so I went inside.

Several Tlingit Chilkat blankets were hanging on a back wall above photos of early natives dressed in regalia. Placed side by side on the floor under the photos were several small display cases. It was a wonderful museum. The collection had been donated by the Sheldon family to

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the borough by the daughters of the original owners (their mother and father Steve and Elizabeth Sheldon). Both parents had been interested in collecting. While Steve gathered all sorts of interesting things, Mrs. Sheldon concentrated on Tlingit baskets, beadwork and blankets. [There is no relationship between the Sheldon Museum and the Sheldon Jackson Musuem in Sitka.] I spoke with a lady in charge and told her about my guide. She said she would think about advertising and ask the board (who made those decisions). It was really a beautiful collection and well worth a visit when you are in Haines.

At the end of Main Street by the Canal, there was a beautiful totem in a look-out standing guard over the fjord. From here, I followed Front Street all the way up to Fort Seward. [There are about ten totems located in public places all over Haines.] Across the Haines Highway and up Mud Bay Road, I could see the fort buildings in the distance. At the next cross street, I turned left and arrived at the corner of the parade ground.

A row of buildings about a block long stood in front of me and another row was on my right. On the other side of the parade ground stood another and the last row was behind me to my left. It is quite an impressive sight. I could imagine how it would have looked with soldiers in residence, everything shiny and new. Officers in bright blue dress uniforms.

There probably would have been horses in the old days as well. It would have been quite spectacular. Later in its history around 400 soldiers

204 ~ Fort Seward

were stationed at Fort Seward with maybe 20 officers. The houses at the top made up what was called Officer’s Row. As I started to walk up passed the houses to my right, I saw the former Commanding Officer’s Quarters, the Bachelor Officer’s Quarters and the Captain’s Quarters.

Half way along the top row of houses a sign read: Silver Cloud Arts Center. I knocked on the door but no one answered. On the opposite side a sign on one house read: Alaska Indian Arts. It was the former fort hospital and was much bigger than the rest. Each house had its own number.

House number 1 was formerly the Chief Surgeon’s house but it was now a bed & breakfast. The large barracks building where I ended my walk used to house half the Fort’s enlisted men. It was amazing!

There were several things I needed to look up on the internet at the library so off I went in search of the library. The Fort would have to wait.

How far away was Anchorage? What was the cost to fly from Juneau to Anchorage? (I doubted there would be a flight from Haines so I would probably have to take the ferry back to Juneau.) Everything worked out!

Anchorage is 500 miles northwest of Juneau. The cost of the flight from Juneau to Anchorage was $300 one way. The dates of the AFN were October 22 through 24. It was being held at the Dena’ lina Convention Centre in downtown Anchorage. I had all the information I needed to make up my mind. Would I carry on further north or head back to Haida Gwaii? Ultimately it turned out to be an easy decision. When I had fin-

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ished I looked up Fort Seward to see what else I could learn about its history.

In 1902, Capt. Wilds P. Richardson was sent to Alaska for his second tour of duty. He was designated as quartermaster to build a new fort on the Lynn Canal, near Haines, Alaska. The new fort was to be a showplace - a symbol of the Army’s strength in Alaska. It encompassed 4,000 acres of spruce forest. Foundations for the buildings were cut from local granite by Italian stone masons imported for the purpose. Cedar siding was placed on building exteriors over diagonally laid pine boards.

Originally there were 85 individual buildings. Units of the 3rd Infantry assisted Capt. (now Major) Richardson in the completion of the fort and in the building of a rifle range. The post later became the home of the 7th, then the 4th, then the 32nd Infantry. The well known 30th Infantry band was stationed here in 1912-13.

Officer’s homes had the very latest in appointments and conveniences with indoor flush toilets, 6-ft. claw-footed bathtubs, and marble topped wash stands. Although there was no central heating, there were stoves in each room. The living and dining rooms each had coal burning stoves set into a tile faced fireplace graced by an oak mantelpiece. Enlisted men were assigned to keep these fires going, empty the ashes, clean up kitchens, and at times, help with parties. These men were variously known as “strikers!’ or ‘dog-robbers.’

206 ~ Wayne Price

Each of the houses had a kitchen and a butler’s pantry. There was no electricity, but fine kerosene lamps provided illumination. A builtin sideboard with a pass-through insulated the officer and his family from kitchen noise and smells while dining. Enormous sliding double doors separated the dining room from the parlor. The parlor area could be enlarged by sliding back another door leading into the foyer. All the luxuries of home. “CLOSING TIME!” I was brought back to reality by someone announcing it was time to go as it was 5 o’clock.

Back at The Bay, it wasn’t long before we had the fireplace all finished. My brother, the artist, painted a cartoon of Snoopy and Peanuts on it outside which was still there the last time I visited Boundary Bay. My parents loved Boundary Bay and their cottage. It had notty pine in the living room and kitchen area and in the bathroom my mother collected sand dollars from the ocean and embedded them in the cement in the shower to give it a beachy feel, which it certainly did. Both I and my brother loved our cottage as well and it became known as the Bay to one and all. However, as we got older our interests started to turn to other things. It was the mid-sixties. The Beach Boys with Good Vibrations were leading the California scene. The Vietnam War was escalating and protest and civil rights movements were everywhere.

I was looking forward to meeting Wayne Price. I remembered Nathan’s words. “They will tell you who should be in your guide.”

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Wayne was the artistic director of the Silver Cloud Art Center. The next morning I called Wayne and arranged to meet him at 1 pm. I also called Lee Heinmiller who was the director of Alaska Indian Arts. Lee said he would invite all his carvers to come in to meet me.

Wayne Price is a Tlingit wood carver and Silver Cloud promotes sobriety lifestyle using tools of native culture, art, ceremony, and community. Wayne has carved 27 traditional totem poles and several nontraditional poles. He is held in high esteem for his mastery of traditional Tlingit design, providing original art designs for public indoor and out door usage space, native corporations, private commission, and more.

I met with Wayne inside his house and studio in Fort Seward. He greeted me warmly at the big old door to one of the former Officer’s Quarters he now calls home. His smile was strong yet humble. “Come in,” he said.

“We can sit in here and talk,” he ushered me into one of the big parlour rooms. I noticed the stove and oak mantlepiece so I guessed it was the dining room. I could see the enormous sliding doors as well. “What’s it like living in a piece of history?” I asked. “Oh it’s a wonderful house. A little cool in the winter but we love it.” Wayne’s artistic creations cover a broad range of traditional design and artifacts, including totem poles, canoes, masks, paddles, clan hats, and jewelry. Some of his creations adorned the walls of his home. “So Nathan said to look me up.” “Yes he named you and a few others and told me I must be sure and look them

208 ~ Lee Heinmiller

up. He said you would each tell me who are the others in your area that should be in my guide.” “Well that’s easy, John Hagen, for sure and Clifford Thomas they are both over at Alaskan Indian Arts.” “I am going there next,” I said. “We all started there you know, Nathan first and John and me and many others. Then we branched out and went our separate ways. We are all committed to preserving Tlingit art, culture, and traditions. Nathan however was the one who held us all together during the hard times. It wasn’t easy. Things have gotten better I guess as we have matured our art has gotten better.” I asked Wayne about the sobriety lifestyle Silver Cloud promotes.

“Once we were warriors. We were free from booze and drugs. Knowledge was passed down and oral history was kept alive. Traditions were kept. Everyone had a role in the village and everyone knew what that role was. Unity and honor, as well as your word, had value. We lived in harmony with nature. This was the way for thousands of years. Much has changed in the last one hundred and fifty years. Booze, drugs, disease, loss of identity, and introduction of foreign religion were forced upon us. Our land, our freedom, and our way of life were gone forever.

Gangs, guns, law enforcement, and court systems, overwhelm us. A person that is not trained in this new way will be overwhelmed at best, with death by suicide the ultimate worst. This happens way too much. Jail, attorneys, halfway houses, government programs, therapists, and ways

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that don’t make sense do the rest. Once we were warriors!”

Wayne had just returned from the Yukon where he had been working with Yukon first nation’s youth in a sobriety lifestyle carving culture camp. Besides being an elite grand master of this ancient art he now lived his life as a role model for native youth. I could see why Nathan said to be sure and include Wayne Price in my guide.

It was a short walk over to Alaska Indian Arts. When I arrived Lee was waiting for me. He too ushered me inside and showed me a small room with some native carvings and prints for sale. “My dad Carl Heinmiller started this place,” he said, “back in the late forties after the second world war. He was one of a group of ex-servicemen who came together and bought Fort Seward from the U.S. Government for $100,000.

Each one started their own business. My dad decided to try and revive native culture. It was at a low point at the time and he gave a lot of local native youth a place to come and learn traditional Tlingit carving. He also revived their dance culture. Eventually the younger artists learned from the older ones and it still goes on today. Come, I will introduce you to some of the artists that are working here now.” He took me down a long narrow hallway to the rear of the house where the carving shed was located. Along the way we met Greg Horner in a small room off the hallway. A life-long Alaskan, Greg was introduced to carving at Alaska Indian Arts in 1974. Apprenticed to some of the finest native and non-

210 ~ John Hagen

native artists in Alaska, he developed a foundation to further explore this art form in wood, metal and print media. Greg was given a Tlingit name, “Skin Dei,” at a Potlach memorial in honor of his mentor Tlingit elder George Lewis. When we reached the door to the carving room I saw a huge shed like building before me with tall ceilings and great long totems in waiting lying in the middle partially carved. There were two or three carvers working on various pieces in different parts of the room. “This is John Hagen,” Lee said as we approached the first man.

John was a tall fellow with a slight stoop, acquired legitimately from leaning over totems while carving. John greeted me with a hearty, “Hello,” and continued his work. John had been working here since the early days when Nathan was here. “John oversaw apprentice carvers Wayne Price, David Svenson, Greg Horner and Clifford Thomas in the carving of the Founders Pole at the Pilchuck Glass School near Seattle in 2001,” said Lee. The next fellow Lee introduced me to was Don Hotch. Don was a Tlingit of the Raven clan Gaanaxteidi of the Salmon Hole House Ishka Hit and was from Klukwan. Klukwan is a traditional Tlingit village twenty miles north of Haines. “This fellow is putting together a native art guide to Alaska,” Lee announced to everyone in the room.

“He wants to include everyone in the book on free artist profiles.” “You should go up to Klukwan,” Don said, “there are lots of artists up there.”

“I am not familiar with Klukwan.” “They are opening the Chilkat

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Indian Village soon. You should try and include it in your guide as well.”

The last fellow in the room Lee introduced me to was Clifford Thomas.

“Clifford was involved in creating a 40 foot yellow cedar pole at Haines Elementary School some 28 years ago. “The person you want to contact regarding Klukwan is Evangeline Willard-Hoy. They have hired her to promote and market their new Chilkat Indian Village,” said Lee. Back in Lee’s office we sat down and Lee told me the story of his dad and Alaskan Indian Arts. “When dad arrived here at Port ChilkootHaines in 1947 fewer than a hundred members remained of two Tlingit villages that at the turn of the century numbered around 3,500. They couldn’t cope with 20th century progress. They lapsed into poverty and renounced an artistic heritage considered to be the richest and most highly developed of any aboriginal group in North America. My dad had worked with tribesmen in the Fiji Islands and he befriended the Tlingits.

He formed a boy scout troop to give the children something to do. He got them to learn the dances and ceremonies which expressed their tribal history and mythology. He persuaded the elders to teach the young the ancient and almost forgotten skills of dance and art which would have perished when they died. They became known as the Chilkat Dancers and performed for tourists travelling to Port Chilkat from Juneau and Skagway. They soon achieved nationwide fame for the unusual beauty and authenticity of their performances and costumes.

212 ~ Sue Foletti

In creating their costumes, the young Tlingit had to learn to carve the wooden masks by which various roles are symbolized. Their extraordinary aptitude led dad to start a program to teach craftmanship to the unemployed and handicapped natives of the area. In 1957, Alaska Indian Arts was formed with funds from the Indian Arts and Crafts Board. By 1972 over 40 natives had learned valuable skills in the program of these a gifted half dozen have developed into artists of amazing ability. Their output ranged from totems to block prints. By achieving such a high degree of expertise, the tribe’s elders say their work equals the work of master carvers of bygone years.

The best examples of Tlingit art are in Russian collections. My dad started another project reproducing northwest coast art from Russian collections. The Russians owned Alaska from 1741 to 1867. Their explorers collected amazing collections during a time when aboriginal art was at its peak. Alaska Indian Arts wanted to reproduce these masterpieces. My dad got a grant from Humble Oil & Refining Company and he set about selecting seven masks and a halibut hook from collections in Russia. In total there were 12 pieces when they had finished. The collection was exhibited throughout Alaska and was on display in museums in the lower 48 for several months. “These people are born artists,” my dad said, “all they need is a chance.”

Lee’s story was mesmorizing. Standing afterwards looking out over

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the parade ground I could imagine the Chilkat Dancers performing and the crowds of tourists watching. “What a great day to be in Haines,” I thought as I walked back to town. I felt very humble.

In the mid-sixties in Vancouver, every kid seemed to be in a garage band and we were no exception. It was the golden age of community bands and there were no less than five community bands around Metro Vancouver that one could join and go on marvelous trips all over the world. My mother loved music and started my brother and I on piano lessons in grade five. My brother continued on piano but when the high school band director came to my elementary school in 1961 recruiting kids for his high school band the following year, I switched to the saxophone.

On the way back to my motel I noticed a store that I was sure was a native art gallery. It was called Chilkat Valley Arts. The owner was Sue Foletti but she was not in so I took a quick look around and departed.

I found a wonderful place to eat on the water’s edge called the Lighthouse. One night I met John Hagen there and we got talking about Haines and native art. I told him I was thinking of going to Anchorage for the AFN Arts & Craft Show and he too said to me, “If you do, be sure to visit the ladies in the Craft Shop at the Alaska Native Medical Center. They probably have the best collection of native art for sale in Alaska.” At that moment I made up my mind to go to Anchorage. I

214 ~ Evangeline Willard-Hoy

had to see that craft shop. I had been leaning towards going anyway. It was too good an opportunity to pass up, meeting over 100 native artists all in one room at the same time. “Also be sure to visit the Wells Fargo History Museum,” John added. “It is supurb!”

The next morning I called Evangeline Willard-Hoy the marketing person for the new Chilkat Indian Village in Klukwan and told her what I was doing. She said she would drive me out to Klukwan but not until the next morning. She also said she would show me the Chilkat Eagle Preserve which was on the way. I needed to go over to the library and use the computer to book a hotel in Anchorage. I remembered what Sonny had told me that there would be lots of people in Anchorage for the AFN. I also needed to book my flight to Anchorage on Alaska Air. But before heading over to the library I asked at the front desk where I could find Keet Gooshi Tours. “Right here!” the front desk clerk said to my surprise. “I book the tours for my husband.” “They are heritage and cultural tours,” she said, “to the Tlingit village of Klukwan, in the heart of the Eagle Preserve. You can learn about the native way of life and view totems.” As I was already going to Klukwan with Evangeline the next day I thanked her and said maybe another time.

Evangeline pulled up in front of my motel the next morning in her SUV at exactly 10 a.m. and off we drove to Klukwan and the Valley of the Eagles. “The Tlingit Natives were the first known human inhabit-

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ants of the Valley of the Eagles,” she told me. “The great gathering of eagles has occurred at least as far back as Native man’s earliest memories of the area. The people of Klukwan, the “mother village” located next to the gathering, have always lived in close relationship to the eagle, an important part of Tlingit culture.” Evangeline was a beautiful 30 something lady with dark hair and seemed to be able to handle herself in the wilderness. “I am not sure how much they will let you see,” she said. “They can be quite strict and they are not really open for visitors yet. We can walk around the new village and see the buildings and I can probably take you into the Bentwood Box Gift Shop.” Klukwan was the original settlement of the Tlingits and translates into ‘Eternal Village.’

Klukwan Tribal Tours is the best way to see the village and its people as they process salmon in the traditional way, carve totem poles and much more.

I loved playing the saxophone. In 1962 I started grade eight at John Oliver High School and joined the Jayo Band. Band trips to Rossland, Lillooet, Jasper and Edmonton followed. A couple of years later I was good enough to join one of the communty bands I mentioned and thanks to mom and dad who covered the cost, in the summer of 1966 I found myself touring England and the continent as a member of the world famous Kitsilano Boys Band led by an indominatable 76 year old maestro named Arthur Delamont who had been taking boys to England since

216 ~ Jilkaat Kwann Cultural Heritage Center

1934. It was the start of a new chapter in my young life that would continue until I reached 21 and see me visit Europe two more times with this amazing band. My travels around Europe with the band in my formative years cemented a life long love of travel which I have thankfully been able to incorporate into my vocation and lifestyle to this day.

Every fall thousands of bald eagles congregate in the Chilkat Valley to feed on a late run of Chum Salmon. Viewing is supurb on a three mile stretch of the Haines Highway paralleling the Chilkat River. Eagles can be seen feeding on the river flats and perched by the dozens on the tall black Cottonwood trees that line the riverbank. The scenery is beautiful and the environment is pristene, an awesome setting for an unforgettable experience. When we arrived there were several eagles already in residence. More than 100,000 visitors tour Haines during the summer, and many more visit during the Alaska Bald Eagle Festival, which takes place in November. 48,000 acres are reserved to protect the more than 4,000 eagles that return to feed each year from October to January.

Finally we arrived in the Tlingit village of Klukwan. The old village is made up of a couple of rows of wood frame houses facing each other.

The road between them leads to the new Chilkat Indian Village. I could see several new buildings and some still under construction as we drew closer to the new village.

The complex is called the Jilkaat Kwann Cultural Heritage Center

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and Bald Eagle Observatory. It consists of a museum, hospitality house restaurant and gift shop, traditional knowledge camp, and Bald Eagle Observatory. The Jilkaat Kwann Cultural Heritage Center houses the museum. When finished the museum will display the many treasured artworks in the village, and those currently stored in other museums. An arts & crafts studio will also be located in the complex. There are a significant number of native artists and crafts people living in the village.

Now they will all have a permanent workspace in the facility. A replica tribal house/longhouse will also be included in the complex. Artwork was in the long process of repatriation.

The hospitality house offers casual dining for visitors in comfortable surroundings. Hospitality and generosity are at the heart of Tlingit culture. Perpetuation of subsistence lifestyle skills and traditional fine arts are the main focus of the Klukwan Traditional Knowledge Camp. Activities include demonstrations of traditional salmon harvesting, moose preparation, and hoolligan processing with Tlingit language and cultural instruction integrated in each. Fine arts such as carving, basketweaving, Chilkat/Ravenstail weaving and sewing/beading are other activities.

Evangeline took me inside one of the buildings and up a flight of stairs to an office where she introduced me to Mary Jane Valentine, a basket weaver, carver, beader and our tour guide for the visit. Mary Jane was a very nice, well-spoken lady who seemed quite happy to be showing

me around as she explained to me the purpose of each building. Inside the Longhouse I was allowed to take photos of the magnificent artwork adorning the welcoming posts and a mural on a back wall. I was also able to visit the Bentwood Box Gift Store and see art created by over twenty local Klukwan artists. When our tour was over I thanked Mary Jane and she said she would be in touch with me regarding putting the Village into my guide. I told her that I would list the artists of Klukwan on a free page and she thanked me.

On the way back to Haines we drove by the eagles again. The setting was amazing. The Tlingits live in harmony with nature and the eagles.

I wondered why mankind could not do the same. I grew to love Haines and the surrounding area for its harmony with nature. I was told in winter snow drifts could reach ten or twelve feet. Some of the lower rising houses could be covered with snow. I was almost sorry I wasn’t going to be there to see the twelve foot high snow drifts.

Back at my motel it was off for dinner again at the Lighthouse. I thanked Evangeline for showing me amazing Klukwan and the Valley of the Eagles. She was a nice lady and I hope our paths will cross again one day. I saw John Hagen again at the Lighthouse so I sat with him.

John was an easy going kind-of-guy, pleasant to talk to and seemingly always cheerful. I told him I was catching the ferry back to Juneau in the morning but I wasn’t looking forward to the five hour trip. “Why don’t

you fly down?” he said. “Wings of Alaska has an office at the airport and its only a half hour flight to Juneau. It will cost you about $100.” I had forgotten about that. I was ready to get to the next town in my guide so I wanted to get to Anchorage as quickly as possible. I thought about it for a minute and said, “That’s a great idea!”

The relationship between my mother and father as we kids got older was not always a pleasant one. My father had a temper and he would when you least expect it, start shouting for apparently no reason at all, usually leaving my mother in tears. It didn’t take us kids long to figure out the arguments were usually over money. If the truth be told, if my mother had not had a good job we would never have made ends meet on what my father made in the taxi business. Nor would we have enjoyed the extras we were provided like music lessons, band trips and the cottage at The Bay. Today the taxi business is quite lucrative but it didn’t seem to be back in those days for my father.

The next morning I called the Wings office at the airport. They had several flights departing for Juneau each day so I booked one for just after lunch. That would put me in Juneau in loads of time to catch my connecting flight to Anchorage at 4 p.m. I had never flown on a small plane this far north but I reckoned it would be no different. As it turned out the flight was enjoyable and it afforded me a bird’s eye view of the Lynn Canal as well as the surrounding territory. While you do see more on the ferries when you are in a hurry and just want to get to your next destination, take a plane.

CHAPTER 5

The Ladies from the Hospital On board my flight to Anchorage was a lady I had met at the tourist bureau in Ketchikan. “Glad to see you are going to the AFN,” she said.

“It is a great show. A lot of us on this flight are going.” Everyone was quite jovial and having a good time. I had booked a room in Anchorage at the Days Inn on 5th Avenue. It would be an easy walk to the Dena’ ina Convention Centre on 7th Avenue. I was eager to look at the brochures on Anchorage I had picked up at the Juneau airport on my flight.

Anchorage has lots of native tourism venues. The first brochure was on the Alaska Native Heritage Center. An introduction to native traditions and customs of both the past and present. [Alaska’s native people are divided into 11 distinct cultures, speaking 11 different languages

222 ~ Ted Stevens International Airport

and twenty-two different dialects. In order to tell the stories of this diverse population, the Alaska Native Heritage Center is organized based on five culture groupings, which draw upon cultural similarities or geographic proximity. The five are: Inupiaq & St. Lawrence Yupik, Athabascan, Yup’ ik & Cup’ ik, Unangax & Alutiiq and Eyak, Haida, Tsimshian and Tlingit.] Most of them I had never heard of so I was eager to learn more. The next brochure was on the Wells Fargo History Museum (called the Alaska Heritage Museum). It has the largest private collection of its kind in Alaska. In addition to a large collection of Alaskan native artifacts, and fine art by Alaskan artists, the Museum highlights Wells Fargo history during the Alaskan Gold Rush era, with a two-thirds-scale stagecoach. Next up was the Anchorage Museum, Alaska’s largest museum with an emphasis on Alaska native art and culture. It would soon include the Conoco Phillips Gallery of Contemporary Alaska Native Art and the Smithsonian Arctic Studies Center.

Another brochure was on the Alaska Native Arts Foundation Gallery.

There was also one called Ooomingmak, Musk Ox Producer’s Co-operative. Must be native as well. There would be lots to do in Anchorage besides attending the AFN Show. I still didn’t see a brochure on the Alaska Native Hospital. I knew it existed but it didn’t seem to be very high profile.

After a pleasant flight we landed safe and sound at Ted Stevens

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International Airport. In the foyer of the airport I found showcase after showcase of amazing native art. It was unbelievable. There were carved animals in bone, figurines, animal masks. Many styles that I had never seen before: drums, miniature dugout canoes, bentwood boxes. I would have to return to the airport and learn more about this wonderful public art collection.

It was a short ride by taxi to my hotel. I was lucky to have gotten a room. When I arrived there were people everywhere: some were going out, others were registering, some were wearing mukluks and fur coats.

Many looked like they had just come in from the far north. I checked in, put my bag in my room and headed downtown.

My trip to Europe was amazing! I fell in love with everything European. We played in Tivoli Gardens in Copenhagen, marched along the banks of the Rhine River in Cologne, played in the parks of Zurich and on the shores of Lake Geneva and visited the Moulin Rouge in Paris.

We also played in the Kerkrade International Music Festival and won gold and silver. Mom wrote me letters to keep me up on what was going on at The Bay and I sent postcards back of the wonderful places we had visited.

Along 5th Avenue in Anchorage towards the historic area there were lots of small shops. I saw the 5th Avenue Mall but it was closed so I kept on going until I reached a park. About four blocks further was the

224 ~ Oominmak Musk Ox store

historic Hotel Captain Cook. It looked interesting so I went inside. I discovered a native art gallery in the hotel called Boreal Traditions. It was packed with expensive native art. It was a beautiful hotel. It felt good to get inside after the cool night air. I carried on down to 4th Avenue and then headed back the way I had come. I was now in the Historic District.

The buildings were older and much smaller. Back at 5th Avenue and C street towards 6th Avenue I saw the Anchorage Museum between C and A Street on 6th. It’s full name is The Anchorage Museum at Rasmuson Centre.

The next morning I was up early. After breakfast at a nearby restaurant I headed down 5th Avenue to the Historic District. A store called Alaska Arts & Ivory caught my eye. It had a lot of whalebone and soapstone carvings and hand carved jewelry. At the Hotel Captain Cook I picked up a card for Boreal Traditions. The owner was not in so I left after admiring once more their amazing collection. It was noon and time to head over to the Dena’ina Convention Center. On H Street I came across the Oominmak Musk Ox store which was located in a log house.

It is a native owned Co-Op and sells sweaters and other items made from the hair of the musk ox. I wanted to learn more about the Co-Op but I needed to get to the Dena’ ina Center. Over to 7th near G street where the Center is I came across the Alaska Native Arts Foundation Gallery. They had lots of art in showcases but were quite busy so I

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carried on to the Show. [The Den’ina Center offers nearly 200,000 square feet of thoughtfully-designed, flexible event space. The largest, most modern facility of its kind in the state, Dena’ina is ideal for events from national conventions and tradeshows to local meetings, banquets and special occasions. Visitors to this state-of-the-art facility enjoy meeting rooms and halls that combine breathtaking views, indoor/outdoor gathering spaces, and both traditional and modern artwork from cultures across Alaska.]

There were lots of people outside the Center when I arrived. They were scurrying in and out of the tall, glass front doors. There were native people everywhere. What a great place to celebrate the creativity of these amazing artists. Inside, the foyer was packed. People were talking and moving about; some were dressed in colorful costumes but most just in street clothes. I caught a glimpse of the main exhibit hall above the heads of the people coming in and out. I could see booths filled with art even though I was some distance from the doorway as I tried to make my way through the crowd. Finally I reached the doors and went inside. It was breathtaking! There were over 100 booths set up around the perimeter of the room with several rows in the middle. I didn’t know where to begin so I started around the perimeter. The first booth I visited sold brown fur edged gloves with intricate beadwork on the backside.

The artists name was Eva Bryant. I told her about my guide and asked

226 ~ Andrew Abyo

if I could take her photo to include on a free artist profile. She happily agreed. Eva excelled in skin sewing, meticulously joining leather and fur into practical clothing. “I’ve been sewing since I can remember,”she said. “I guess whatever my mother did I wanted to do.” She was Yup’ik and also a bilingual tutor. At the next table I met Douglas Yates. He was from the small fishing village of Metlakatla. He had apprenticed under master carver David Boxley and was renown for his hand-engraved copper clan crest shields which were amazing. In the next booth I met a lady named Donna from Chugiak who made wonderful moccasins out of seal fur with beading on the top. Then there was Susan Henry from Wasila who made miniature dolls. An artist named Patrick Lind told me, “My life has led me to be a commercial freelance artist. The rugged coastal region where I live inspires me as an artist to take pride in my culture.” Percy C. Avugiak a marvelous painter who paints in bright oranges and blues and yellows and greens was there as well. Peter Lind Jr. is a third generation Alutiiq artist born in Dillingham. Peter cuts ivory jewelry which is then beaded by his wife Susan who was born in Kodiak. Peter Lind Sr. told me he always wanted to learn his culture.

Alfred Naumoff was an Alutiiq from Kodiak Island. He specialized in masks, kayaks and jewelry. Andrew Abyo said he was known for doing lots of historical research. He specialized in Alutiiq bentwood visors, atlatls, harpoons, full size paddles, traditional games and baidarka

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carvings. Then I met Marlene and Gary Nielsen. “My dolls and masks only have features on their faces representing my grandma,” Marlene told me. “Her name was Anna Andrew. She was blind and my biggest inspiration. She sewed, split fish and picked berries. My goal as an artist is to help our youth on remembering who we are and where we come from. My husband and sons also carve wood, ivory and make spears and knives. I am Yup’ik.” Marlene came from the village of Kokhanok. [The population is a mixture of Aleut, Yupik and Athabaskan. Unlike nearby Iliamna, the sport fishing industry doesn’t reach Kokhanok, and the economic activity is based on subsistence hunting and fishing.]

Anne and Tod Fritze specialized in beaver mittens and fur hats. The majorty of the fur sewn by them were from beaver, fox, otter, marten and wolves that were trapped by Todd and their boys Bem and Bryan. They were from Dillingham. Then I met Oscar. Oscar was a Yup’ik from Bethel. He developed three dimensional framed art celebrating Yup’ik dance, environment, animals, fish, birds and stories. “I believe each of us are given talents by Ellam Yua, the same God as in the bible, and the opportunity he gives us to share it with our fellow neighbor is with love’s intercession,” he said. The whole scene was a wonderful plethora of color. I met Joanne Swanson an Inupiaq artist who worked in water colors, acrylic and mixed media. She lived in Unalakleet known for its salmon and crab harvests. Another gentleman was from Elim and his

228 ~ Tony Weyiouanna

company was called Alaska Crafts. He made amazing whale bone carvings, jewelry, masks and other small items which were all for sale. I met a man named Tony Weyiouanna who was from Shishmaref. His whalebone carvings were surreal. He gave me a picture of his youngest son helping rebuild an umiaq. [An umiaq is a large open boat used by Yupik and Inuit people, made of skins stretched on a wooden frame, usually propelled by paddles.] Dennis Sinnok showed me his wonderful animal carvings and Nancy Kokeok and Robbie Ningeulook had more whalebone carvings as well as seal skin hats and mittons. I spotted a table with some wonderful bone and ivory carvings. The company was called Alaska Native Arts & Crafts. Mary Kakoona, a very nice lady, was in charge. The last group of artists were all from Shishmaref. [Shishmaref is located on Sarichef Island in the Chukchi Sea, just north of the Bering Strait and five miles from the mainland.] The booths not only belonged to individual artists but to cultural centers as well. One table was for the Sulianich Art Center in Kotzebue. They were promoting several of their artists and their directors were manning the booth. [The Sulianich association provides a viable marketplace for local arts and crafts, as well as a safe working environment for artists and carvers.] It represented the Northwest Arctic Borough Region’s 11 villages.

Other artists I met that first afternoon were Katherine Cleveland a basket weaver, Adolph Shaglook a carver who made baleen [baleen is

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a filter-feeder system inside the mouths of baleen whales], ivory and mammoth masks and Nellie Sheldon who made birch bark baskets. I met a wonderful lady from Barrow named Samantha Goodwin. She had a collection of hooded dolls that she made all wearing Alaska parkas.

Then there was renowned artist Ursula Paniyak, of Chevak, Alaska. Her hand-made seal skin traditional Cup’ik Eskimo dolls with hoods made of polar bear fur are unique in how their limbs are positioned to be fishing, dancing, weaving baskets, or representing any other number of native cultural activities. I met Lela Ahgook from Anaktuvik Pass. [For 50 years the Nunamiut of Anaktuvuk Pass have been making skin masks by a technique that they invented, casting wet caribou skins on wooden molds.] Lela had several of her masks sitting on a table. Nasuqraq Rainey Higbee Hopson was also from Anaktuvuk Pass. “I love anything that has to do with art,” she told me. “I enjoy making jewelry, drawing, printmaking and will dabble in pretty much anything else. I specialize in artwork created from the leftovers of the animals we harvest and rely on for food.” [Anaktuvuk Pass is the last remaining settlement of the Nunamiut (People of the Land) Iñupiat Inuit in Alaska.] Another artist I met was Selina Alexander from Husilia, Alaska. She created bead work, caribou hair tufting, porcupine quill work, made boxes, jewelry, worked with animal claws, made medicine bags and much more. It was interesting to see all the variations of masks from around Alaska. Each culture

230 ~ Umara Nupowhotuk

made masks alittle different from the others. One such mask maker was Umara Nupowhotuk. Her company Umara’s Fine Eskimo Art & Sewing is located in Slana, Alaska. She makes Caribou masks that tell of the traditional past. Umara’s work represents the faces of traditional Siberian Yupik people. Her son harvests the caribou, she then molds the faces over one of the cedar faces she has carved. Later, she adds tattoos, representing an adornment that was once a custom among woman of her culture. She says that there are several elderly women from her village and they have facial tattoos “similar,” she says, “to those shown on my masks.” I couldn’t help thinking because Alaska is such a huge state, many of these native arts and crafts remain unique to their area because they seldom get seen outside of the region.

It was close to 7 p.m. and I was getting tired. I was glad I hadn’t come early (at 8:00 a.m). The artists must have have been exhausted talking all day. They would be prepared of course for the event and want to make the most of it. I hadn’t even made it completely around the perimeter yet. I wanted to talk to as many artists as I could before the show ended. There wouldn’t be another opportunity like this for at least another year.

In 1967, I graduated from high school and went to work as a board marker downtown at a company that was listed on the Vancouver Stock Exchange. I still spent the summer at Boundary Bay swimming and

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water skiing with a friend whose father had a boat, except for two weeks when I traveled by train to Expo 67 in Montreal with the band. That winter I met my first true love on a local ski hill. She was three years older than me and everything I could have wanted in a girl friend. I also bought my first car. It was an MGTD. We spent weekends listening to local garage bands playing around town: The Night Train Revue, Soul Unlimited, Jason Hoover and the Epics and even Gladys Knight and the Pips one time when they came to the Forum.

The Dena’ina Center was already packed at 9:00 a.m. the next morning when I arrived. The first artist I met was Cathleen Pook from Sitka.

Cathleen was a Tlingit beader. She had taught beading to students at the Alaska Indian Cultural Center and at the Sheldon Jackson Museum.

Tlingit beadwork goes back many generations she told me. Then there was Roger Goodall. Roger was a drummaker. He had a studio called Eagle Wolf Studios in Anchorage. Roger was excited to be a native artist. Next, I saw some paintings and went over to have a better look. The artist was quite friendly and wore a big smile. “I love to paint portraits of people of different races because people reflect the beauty of their culture and I feel as if I’m keeping their images alive through my oil paintings of them.” Her name was Rose Albert. Rose told me, “Growing up our family depended on dogs for working.” In 1982 Rose became the first Alaska native woman to run the Iditarod. [The Iditarod is an

232 ~ Lorene Olivia Boxley

annual long-distance sled dog race run in early March from Anchorage to Nome.] She finished in 32nd place. Her memories of the race have inspired her to do a series of paintings each year before the race starts.

Her rich northern colors capture the vastness and magnificence of the Alaskan wilderness. Her canvasses brought the dogs and mushers to life, whether running or resting at rustic checkpoints. Jerry Jacob Laktonen was raised in Larsen Bay, Alaska. “I experienced the last remnants of the original Alutiiq culture of Kodiak Island. I admired the expression of culture in the everyday lives of the people of Larsen Bay. I discovered there was an awesome and unbelievable world that existed like some sort of vision from our past. It did not seem real, but maybe a feeling or state of mind. That is what I discovered when I went into the art world. We all need to express ourselves and to do so we need to know ourselves. I use the life and art of my ancestors to try and express my feelings and hopes.” Discover this amazing artist’s works for yourself at www.whaledreams.com.

There were so many different artistic expressions represented in this one room I just tried to absorb it all in as much as possible. One lady who was sitting quietly next to some water color paintings told me her name was Laura Walker Lagstrom. She was born and raised in Nome.

“I treasure my childhood memories of subsistence living on the Seward peninsula and enjoy painting scenes of Eskimo dancing, hunting, fish-

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ing, gathering greens and berries.” Other artists were Nancy Kokeok from Shishmaref, Francis and Mary Kakoona from Shishmaref and Martina John a master artist of authentic Yup’ik crafts. Ken Lisbourne was from Tok, Helen Morrison was from Hydaburg and wove amazing hats and baskets. There was Maria Swanson from Wrangell who owned Ria Designs and specialized in traditional and contemporary Tlingit jewelry. One booth represented the village of Gambell and Spirit of the Wind was owned by Wayne Komakhuk. He made hand carved masks, kayaks and sleds from cottonwood bark, soapstone or baleen, wood and different feathers. I met Lorene Olivia Boxley a Tlingit artist who now lived in Washington State and Mike Wassilie who made unique masks and Yup-ik hunting hats as well as ivory knives and sealskin sheaths.

Another artist from Barrow was Larry A. Okomailak Sr. He was a baleen boat maker and Alfred Naumoff who made masks, kayaks and jewelry. It was amazing, fascinating and overwhelming all at the same time and I didn’t want it to be over or leave anyone out.

Finally, I came across the booth of Sonny, Doug and Brian. They had all made it to Anchorage safe and sound. When they saw me they gave me a warm welcome. Gene Chilton was there as well. All were quite busy with customers so I didn’t stay long. It was 3 p.m. and there was still lots to see but I decided I would take a break and go for a walk around town. The show was busy and intense and a break would be

234 ~ Moses Wassilie

good. I headed over to Ommingmak. The manager was there when I arrived so we chatted for a while. Their products are made of Qiviut, the downy soft under-wool of the Arctic musk ox. It is shed naturally each year in Spring and is eight times warmer than wool and extraordinarily light weight. It is one of the finest natural fibers known to man. The cooperative is owned by about 250 Native Alaskan women from remote coastal villages of Alaska who knit each item by hand. Each village has a signature pattern derived from traditional aspects of village life and the Eskimo culture. The color is all natural. The hats and scarves are as comfortable to wear on cool days in a warm climate as they are on chilly days. Unlike wool, Qiviut is not scratchy and will not shrink in any temperature of water. It can be hand-washed in any mild detergent and will last for many years. He liked the guide and said he would be in touch.

Alaska Native Arts was on 6th Avenue so I paid them a visit. This time the manager was available so I told her about my guide. She said she would see what she could do. They had a Board she needed to approach regarding advertising. It was a beautiful sunny day but when the sun went down it did start to cool off quickly. I was sure there was snow in the air but I never saw any during my whole stay in Alaska. It was hard to imagine the Iditarod, the last great race on earth departing from 4th Avenue when there was no snow. [From the starting line in downtown Anchorage the trail runs down the middle of 4th Avenue on a lane of

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snow about 10 to 20 feet wide brought in by the city street department.

The biggest problem here is the crowds, which can unnerve inexperienced dogs. They are also dragging one or two sleds and three people (you, your Iditarider, and your handler) with only twelve dogs.]

The next artist I met at the Show, was Yup’ik artist Moses Wassilie.

Moses was born in Nunapitchuk and graduated from Mt. Edgecumbe boarding school in 1967. He had studied painting at the Institute of American Indian Arts in Santa Fe and carving at the University of Alaska Fairbanks with Ron Senungetuk. “My mother and father lived the traditional life style of the Yup’ik culture subsistence living. My first painting was in 1958 and I have been doing it ever since.” Next, I met Julian and Veronica Iya. They worked in bone, baleen, beads and skin sewing. Julian was a Siberian Yup’ik Eskimo, born in 1973. His Eskimo carvings were amazing. Veronica made beaded otter skin pouches. Byron Lloyd Amos specialized in ivory, whalebone, soapstone and baleen masks and figurines. Franklin F. Matchin was a fourth generation Eskimo carver originally from a small Bering Sea Eskimo village called Chevak. It is located between the Yukon and Kuskokwin rivers along the coast. Alaska Village Initiatives was run by Charles Parker. It is a self supporting corporation established in 1968 by and for rural Alaskans.

Lisa L. Powell was known as the Kuspuk Lady. She made traditional Alaskan native outfits called Kuspuks, Gispuqs or Atiguluks. They are

236 ~ Lenwood Saccheus

used for berry picking and dancing.

I met Jan See a Tlingit artist from Sitka who is a self-taught silver carver. In 1974, he became interested in carving after he watched a man carve a pair of silver earrings at an art show in Anchorage. He asked the man about learning how to carve, but the man didn’t know anyone who taught carving. As he watched, he asked questions about the types of tools the man used and how he used them. Although he never saw the man again, he was determined to learn how to carve. He began to teach himself to carve, even improvising some of the tools he could not buy. He once used a piece of copper inlaid in wood, placed on a plastic “Lazy Susan,” to help him get the rotating action he needed to carve effectively. He credits his mother Mabel Pike, a well-known beader and moccasin maker for encouraging him to continue with his carvings. The stories I had heard all the way up the coast were similar. People with little formal instruction or training who all became exceptional artists due to an innate ability. Definitely in their genes. Willis Osbakken came to mind!

The next booth I came to stood out. I figured these items would soon be very popular as the thermometer started to drop. They were great big wearable Alaskan Eskimo style Parkas or Parkys as these were called.

“Hi I’m Sheila Ezelle,” a happy jovial lady said to me. “My grandmother established Laura Wright Alaskan Parkys in Fairbanks in 1947. She

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was Laura White. I purchased the company in 1985. I was born in Fairbanks where temperatures of -50 degrees below zero for weeks at a time are not unusual. Parkys have to be functional and warm,” she said.

“Beautiful is a bonus.” And they were beautiful. Their attention to detail, color and texture plus their fur collars made them an exquisite piece of Alaskan art.

Lenwood Saccheus is a sculptor of whalebone forms. He uses a circular chart to explain the masks he makes. “The masks which include hoops have an inner circle representative of the Earth and an outer circle representing the heavens. Radiating out from these hoops are animal appendages of the seal, walrus, whale, birds and feathers.” Emma Hildebrand was born in Northway, Alaska in 1962. At the age of seven she started skin sewing, and beading which she learned from her mother who grew up in the McGrath area. She was taught the art of caribou-hair tufting from Dixie Alexander. Emma has taught beading and skin sewing for years, and soon added tufting to her workshop. Emma had lived most of her life in Northway and taught at the University of Alaska, Fairbanks, Yukon and Kuskokwin Rivers and also in Tok, Alaska. A few years ago she moved to Anchorage and found a new generation of artists interested in learning the art of caribou-tufting. She is now an instructor in beading, caribou hair tufting and sewing at UAF and UAA. Dennis Pungowowiyi is a Siberian Yup’ik of the Qiwaghmiit Clan.

238 ~ Robin P. Fields

He told me his grandparents are Alfred and Romala Tumbloo both born and raised on St. Lawrence Island located in the Bering Sea. Dennis’ mother Jean Pungowiyi moved to Nome in the late sixties where he was born and raised. He has been carving in the Siberian Yup’ik Eskimo tradition for more than twelve years. He studied with Harry Koozaata and many other respected carvers. He now resides in Ketchikan with his wife Marcie and son Ulaputaaq. “I take great pride in my carving and my heritage,” he said.

I was as equally enthralled listening to the stories the artists told me as I was in seeing their artwork. They were all so humble as if what they were doing was nothing special. I knew otherwise. It certainly was natural to them. But to everyone else it is something very special. I came to realize they were all ‘National Treasures’ and there was none less important than another.

Robin P. Fields worked in new and old ivory, baleen, bone and antler. “I was born in 1970 in Seattle but I was raised in Craig, Alaska.

I spent my early years learning subsistence living skills, such as fishing and hunting from my parents and relatives. As a youth, I pensively studied Pacific Northwest Art or Totemic Art in my local surroundings of Prince of Wales Island, in history books and from other local artists.

When I was in high school I attended the Sitka Fine Arts Camp and became hooked on art. My early works consisted of drawings of totemic

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designs found in popular art books and publications. Eventually I started creating my own designs and pursued art as something more than just a hobby.”

After hearing so many artist’s stories I began to realize that their innate abilities must have alot to do with how and where they were raised.

Surrounded by natural beauty at an early age they developed a love and respect for nature and the animals of the forest and sea. Their art was an extension of this love and respect. Several times on this journey I found myself feeling so priviledged just to be in their presence and hearing and seeing what they were doing with their lives. There lives were all about producing something meaningful and tangible. Was there a better way to live ones life? I wondered.

I stayed working at Richardson Securities through the spring of 1968 until Mr. Delamont asked me if I wanted to go back to Europe again with the band that summer. He often relied on his old boys and he offered to pay my way. How could I refuse. My second trip to Europe was even better than the first. We spent our time touring by bus and playing in the small towns of England and Scotland again and the capital cities of Europe. This time we also went to Barcelona and Madrid. There was no festival to compete in that year so there was less stress. That trip left me with an overwhelming desire to learn more about the places, languages and customs of the countries I had visited.

240 ~ Jeanne Dougherty

The next day at the show I went back and forth revisiting artists who had not been in their booth the first time I came by. I stopped and talked to Sonny, Doug and Brian again. Sonny told me he was hoping to go to Europe the following summer to do a show circuit. As I passed the booths of the artists I had met many smiled and wished me well with my guide. It had been an amazing show. If you are interested in really high quality Alaskan native art then this is the show to attend. It was going to take me some time to come back to the slower pace of reality after this experience. I doubted I would ever again have the opportunity to meet so many different artists all in one place (unless I came again next year).

Everyone was busy packing and getting ready for the evening festivities before the long journey home so I left the show early.

Next stop, the Alaska Museum at Rasmuson Centre. The museum is housed in an ultra-modern facility in the heart of downtown Anchorage.

It began as a much smaller museum but then with the flood of revenue from oil development the state funded community-wide building projects. The museum’s collections grew as well. I noticed immediately the the Anchorage Museum Shop. It was full of high quality native art: ivory carvings, Alaska native crafts, fine jewelry, distinctive apparel, history books. The Museum Shop was committed to supporting Alaska’s best artists, artisans and craftspeople by purchasing many of their works. I could see pieces by Sonny Grant and Doug Chilton. It was a beautiful

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shop.

I wanted to find the Alaska Native Hospital and the gift shop so the next day, I boarded a public bus for a short ride out to the outskirts of Anchorage from the downtown area. I discovered Alaska public buses are rugged and sturdy. They need to be to survive the rough Alaska winters. What they lack in creature comforts they certainly make up for in dependability. I was about to discover what would become if not the major highlight of my trip, certainly one of them.

The Alaska Native Hospital from the outside looks much like any other new hospital but it is quite unique. Upon entering I asked directions to the gift shop and was told to follow the hallway. It wasn’t long before I came across a small showcase embedded in a wall. It was full of amazing high quality native art. My first impression was it looked like the hospital had been built around the art collection. I wasn’t far off. A little further along and around a corner I caught my first glimpse of what I agree is probably the finest and largest collection of original Alaskan native art for sale anywhere in Alaska. There were two display counters each about ten feet in length, extending along in front of a wall with a huge collection of woven baskets that literally jumped off the shelves. There were so many I could not find an adjective to describe them. Three Caucasian ladies were behind the counter waiting on customers. I was surprised they were not native.

242 ~ Karen Vogeler

The display counters were filled with figurines and carvings made of soapstone, ivory, baleen and whale bone. It was truly a magnificent sight. I felt a positive rush and shivers went down my neck. Seeing one of the ladies was free, I approached her. “Hi I am Jeanne Dougherty,” she said. “Welcome to the Alaska Native Hospital Craft Shop.” She reminded me of my godmother in Vancouver growing up. Jeanne as I would discover was a kind, nice lady who was extremely enthusiastic about what she was doing, as were the others. I told her what I was doing in Alaska and she said, “Lets go to the lunchroom and I will tell you about us over lunch.”

“We’ve been running the non-profit craft shop and heritage collection for the past 34 years, Agnes Coyle, Karen Vogeler and myself. People do not realize how truly exotic these people are and how remarkable it is to be able to know them and learn from them. We can make decisions from the heart, such as opting to carry all work brought in by a sick elder who would have difficulty marketing elsewhere or choosing to help out a family we know is in trouble.” “Surely you three do not run this by yourself?” “No, on any given week there are 40 volunteers, swelling to 60 during the popular Christmas bazaar. We are known as “the people’s shopping place,” a place that has long served rural artists. Over the last two decades we have provided $1,000,000 in college scholarships through our ‘Leaders of Tomorrow’ program. That’s about

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275 Anchorage and Valley native students that have benefitted from them. All over Alaska we are also known as “the ladies from the hospital.” “Yes I know. Several people I met asked me if I knew about the ladies from the hospital. I wasn’t sure at first if you really existed and then I realized you must.” “We certainly do. We carry works by master artists such as Sheldon Bogenrife, Ron Apangalook and Daisy Demientoff but we are really known for our authentic crafts. For instance we carry coiled grass baskets in the Nelson Island style along with smaller grass baskets from Hooper Bay. We also have traditional Kuskokwim Delta baskets overlaid with seal gut in geometrical patterns, and delicate Aleut baskets from the Aleutian chain.”

The scholarship program was really special. Jeanne started it and ran it the same way they ran the shop, from their hearts. “They are renewable.

If students need to discontinue school to go to work they can reapply at anytime. They have helped some students earn a degree over six or eight years and are committed to helping students who encounter obstacles.

They will be there for them if they reapply and want to continue their studies. Applications range from about 10 a year for scholarships in the amounts of $500 to $2000.”

It’s a real family affair. Some students connection to the shop goes back to the arts and crafts their grandparents made and sold. One student Donna Sallee, who works in the public relations department for Cook

244 ~ Alaska Native Medical Center Auxilary Heritage Collection

Inlet Tribal Council, Jeanne told me, was a scholarship student for the first time in 1987. Her childhood memories included accompanying her grandmother, skin sewer Lena Ahnangnatoguk of Shishmaref, on visits to the old Native hospital on 3rd Avenue. ‘I remember going to the old shop and that little closet was just packed. She would sign an X for her name when she dropped off her slippers.’ Mary Sallee, Donna’s mother sells her work at the shop, as do her uncles and cousins. Donna earned a Bachelor’s Degree from Northern Arizona University in Flagstaff, becoming the first on her mother’s side of the family to hold a degree.

She is very proud of that, considering her grandparents were reindeer herders. Dentists, artists, teachers and musicians, all college graduates helped by the scholarships, have born out Dougherty’s vision for the Leaders of Tomorrow program (9).

Besides the craft shop on the main floor, there are large showcases located by the elevator on each of the five floors. These showcases house the Heritage Collection and the items inside them are not for sale.

As beautiful examples of native art flowed into the shop, the volunteermanagers felt the need to retain outstanding, representative examples for a permanent collection. The Heritage Collection is there for visitors from all over the world to see and most especially for the native people of Alaska to come and view their heritage.

It is a warm place. It is a friendly place. The showcases accent the

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beautiful woodwork of the medical center appropriately and offer a focal point for those in need of a little soul searching or comforting during their moment of need. Between each floor nestled comfortably in the walls of the stairwells, are smaller displays showcasing tiny items as if they were the crown jewels of some forgotten kingdom; which they are in a way. When the medical center was constructed, the ladies were allowed to incorporate their vision of how they would like to see the art displayed. What you see is their vision. They were allowed to work with the architect to come up with ideas which he incorporated into the plans.

What began as a dream in 1987, during the planning stages for the new Medical Center, is now the Alaska Native Medical Center Auxilary Heritage Collection. A collection of native art that grew from the heart.

From the hearts of artists who produced it and those of the people who recognized the importance of preserving it. It is a collection all about people. The message is one of “love and pride” that even the simplest thing has something to say. It has been rewarding to the auxilary to install the art collection where people live, work and heal. Patients from the remote villages needing medical treatment in Anchorage instantly have a feeling of belonging of being home. The Alaska Native Medical Center is one of the finest examples of combining art and architecture to create a healing atmosphere and truly is a national treasure.

246 ~ Tom Bennett

1969 was the summer of love. I spent the entire year and the spring of 1970 (four semesters), taking first and second year arts courses at Vancouver City College. I immersed myself in all the subjects that told me more about the cultures of Europe as well as others: French, German, Fine Arts, Psychology, Sociology and English. Because I was motivated after having spent two summers touring Europe, I did quite well. The opportunity came for me to move into an apartment in a three storey block near VCC at 12th & Oak with a couple of buddies so I took it.

Strangely enough I discovered it was the same block that my mom and dad had first lived in after they were married. The unpleasant part of home life was still there and even got worse when my father’s social drinking got out of control. I played weekends in a local band and made enough money to put myself through school as well as pay for my apartment and board.

Back in downtown Anchorage, I spent the rest of the afternoon looking around and visiting some of the smaller shops. I dropped back into the gift shop at the Alaska Museum at Rasmuson Center and found Sonny Grant selling a couple of pieces. “This is what we do when we are not carving,” he said, “Try to sell our art.” We talked for a few minutes and I told Sonny I had just returned from visiting the ladies at the hospital. “It is an amazing collection,” he said. “I am glad you got out to see them and put them in your guide.” “Yes, I got enough information

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from Jeanne to write an article.” I said goodbye to Sonny and wished him well not knowing our paths would cross again the following summer in Vancouver.

The next morning I was up early. Today, I wanted to visit the Alaska Heritage Museum at Wells Fargo and then the Alaska Native Heritage Center. The Alaska Heritage Museum is one of the largest private collections in Alaska. The collection includes over 900 Alaska native artifacts, a large art collection and a 2500 volume research library. Wells Fargo acquired the collection with the purchase of the National Bank of Alaska. The fine art collection includes original paintings by such notable Alaska artists as Sydney Laurence, Estace Zeigler, Fred Machetanz and James Belcher.

Upon entering the glass doors to the corporate office of Wells Fargo where the museum is located I saw something familar. It was a red and gold 2/3 size Wells Fargo stagecoach. I had seen WF stagecoaches before in California and this one was the same. It was in immaculate condition and it sure let you know where you were. [The distinctive red and gold stagecoach rolling along frontier trails has become the enduring corporate symbol of Wells Fargo & Company.] The museum is located on the ground level of their corporate office and magificent vertical and horizontal showcases greeted me when I entered. The showcases were older and made of wood which gave the museum a historical quality

248 ~ The Alaska State Council for the Arts

and ambience. The displays were spectacular. Each Alaska native culture was represented. There was clothing that best suited Alaska’s unique resources and climate, baskets as well from each cultural group and my favorite an authentic Bering Sea kayak which illustrated some of the special travelling conditions in remote Arctic Alaska. There was also a 46 ounce gold nugget mined in Alaska in the 1960s.

Tom Bennett is the museum manager. Affable, good-natured and helpful is the best way I can describe Tom. He was very enthusiastic about my project and hoped it would be a success. He also gave me the names of other places to visit around Anchorage. Tom travelled alot visiting other Wells Fargo Museums. [Eleven museums demonstrate Wells Fargo’s timeless strengths and their commitment to the communities they serve.]

My next stop was the Alaska Native Heritage Center on the other side of town. [In 1987, the Alaska Federation of Natives, the state’s largest Native organization, responded to the need for a community gathering place by unanimously approving the concept to establish a statewide native culture center. The Alaska Native Heritage Center was formed a year and a half later as an independent non-profit organization with tax exempt status.]

The Alaska Native Heritage Center features both inside activites and outdoor. Outside guests can stroll through six authentic life-sized na-

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tive dwellings situated in a wooded area around beautiful Lake Tiulana and are introduced to the traditional life ways of the Athabascan, Inupiaq/St. Lawrence Island Yupik, Yup’ik/Cup’ik, Aleut, Alutiiq, and the Eyak, Tlingit, Haida and Tsimshian peoples. Each village site has a traditional structure along with artifacts that each group used in their daily lives. Make sure to see the whale bones at the Inupiaq site; a favorite spot for picture-taking.

Inside you find the Gathering Place which is center stage for Alaska native dancing, compelling native games demonstrations and intriguing ing storytelling. The Hall of Cultures features exhibits and demonstrations by Alaska native artists. Visitors discover more about each of the five major culture groups through engaging exhibits. Alaska native craft activities will keep the children entertained and the Theatre hosts a variety of movies all day, including the Heritage Center produced film, “Stories Given, Stories Shared.” This introductory film offers an opportunity to learn about the many different cultures of Alaska’s native people, its beautiful landscape and climates all highlighted from each of the regions in Alaska.

I did quite well with my studies not only because I was motivated and paying my own way for the first time but because I knew another trip to Europe was in the offing in the summer of 1970. I had already been on two and surely that was enough for anybody. But I reasoned if the op-

250 ~ Alaska Native Claims Settlement Act

portunity was there I should take advantage of it. It would never come again. I knew the band and its director were special. I wouldn’t know the full extent of how special the organization was though until several years later when I wrote six books on the history of the band. To pay for this trip I had to sell my MGTD but I knew it would be worth it.

Since arriving in Alaska I had marvelled at all the native art I had found on display in public places. I wanted to find out how that came to be. Remembering the art collection at the Ted Stevens International Airport I telephoned the airport to find out who was responsible for the displays. This is what I found out.

The Alaska State Council for the Arts is a state agency that fosters the development of the arts for all Alaskans through education, partnerships, grants and services. Congress had established the National Foundation of the Arts and Humanities recognizing the need to encourage expression and comunication through the performing, visual and literary arts. The new law called for Federal assistance to arts agencies in all 50 states. For those states such as Alaska who had not formed an arts council, a one-time only grant of $25,000 was made available to organize an agency and conduct a survey of all existing facilities, organizations and individuals engaging in the arts within the state.

The ASCA was formed in 1966 to ensure that the role for the arts in the life of Alaska’s communities would continue to grow and would

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play an ever more significant role in the lives of its citizens. Funds are provided by the Alaska State Legislature, the National Endowment for the Arts and private donations. It has provided over 4,000 grants totaling more than $42 million to organizations and indivduals in nearly every community in the state. The art display at the airport is funded by the ASCA. It was almost the end of October and still no snow. I wanted to be back in Prince Rupert by November 1. I had thoroughly enjoyed my visit to Alaska and all the wonderful artists I had met. I wasn’t sure if I would make it to Haida Gwaii for my birthday but that was still my plan. I felt much more confident now than I had in the beginning regarding first nation’s etiquette and I felt I was now ready to visit the new Haida Heritage Center on Haida Gwaii. My guide had a purpose and my question had been answered as to whether there were enough venues to support a guide, at least in Alaska. There are 11 distinct native cultural groups in Alaska. More than enough to fill a guide.

Maybe I would need two guides, one for Alaska and one for BC. There are alot of native corporations in Alaska. In Juneau there is the Sealaska Corporation and in Anchorage I came come across the Cook Inlet Association. I didn’t know much about these native corporations but I wanted to know more. This is what I learned!

Congress passed the Alaska Native Claims Settlement Act of 1971

in response to a rise in native activism and pressure from oil companies to smooth the path for a trans-Alaska pipeline after oil was discovered in 1968. The act allotted 40 million acres of land for division among 12 regional native corporations and 220 village corporations. The law was intended to settle longstanding land claims by Alaska natives and provide economic opportunities. Alaska Native Regional for profit Shares in the corporations are owned by the native people living in each region.

The shares held by natives in their regional and village corporations have no market value because they cannot be sold or traded. But shares can be passed down to family members. So, the only financial benefit shareholders gain is through dividends, which vary greatly from one ANC to the next. Native communities also benefit in areas where ANCs contribute to local social programs, provide scholarships and pay for cultural programs.

I wondered why Canada did not have something similar. Could we not divide the land into regions and establish corporations to develop economic programs for native populations living in each region? Oil companies were a prime motivator in Alaska why couldn’t they be in Canada as well? With the B.C. government ready to sell gas and oil pipeline rights to countries outside of Canada it might be a way of guaranteeing native claims and a fare share of the profits thus paving the

way to future economic prosperity and cooperation for all.

CHAPTER 6

The Freda Diesing School of Northwest Coast Art I awoke in my bed at the Plaza Highliner Hotel in Prince Rupert on the morning of November 1 after flying back from Anchorage. “It is snowing in Juneau,” I was told when I went downstairs to the front desk. “It always snows in Juneau on Halloween.” I had just made it back in time. There were 21 days left before my birthday. The weather was still good in Rupert and no sign of snow so I decided to head east to Terrace. There was an accredited course on Northwest Coast Art at the Freda Diesing School in Terrace and I wanted to learn more. First though, I needed to visit the Crest Hotel and the Museum of Northern B.C. The manager of the Crest Hotel was Scott Farwell. When I arrived he was available. I showed him my mock-up guide and he too wanted to be included. He knew a good thing when he saw it. He said he would send me an ad and we shook hands and I departed. Next stop, the museum.

254 ~ Susan Marsden

I hoped the museum’s curator would be available as well. This time when I walked through the doors of the Tsimpshin Longhouse, I was in charge. I approached the young man in the booth with all the confidence in the world. I had just met over 100 artists and traveled up the Alaska panhandle to Anchorage. Who wouldn’t be confident. “Is Susan Marsden available?” I asked. “Just one minute, he said and went into the back. The Longhouse overlooks Prince Rupert harbour and is internationally known for its exceptional collection and quality of its exhibits.

The young man returned and ushered me into a back room where Susan was waiting. I liked her right away. She was very open and talked about the mission of the museum and the challenges she faced. She liked the guide and agreed to take part. I told her about my trip through Southeast Alaska and she seemed genuinely interested. I guessed all museums face similar problems with budgets and financing although the challenges are unique to each location. I had visited lots of museums on my trip, however the ones in Alaska all had other native venues nearby.

Drawing people in is easier if there are multiple attractions. Prince Rupert does have magnificent natural beauty and sport fishing but with its unique postion it is definetly the gateway to first nations tourism in the north. The starting point to visit the Tlingit in Alaska, the Nisga’a to the northeast, the Haisla and Gitxsan to the east. And the Haida to the west.

Susan told me the carving centre was not in use at the moment so there

TERRACE ~ 255

were no artists she could recommend. The museum gift shop was well stocked and I was introduced to the sales person who was in charge of buying. I hoped one day to see my guides for sale in the gift shop but that would come later. I thanked Susan and told her, “I will look forward to seeing your artwork when it arrives.” Next, a tour of the museum.

The massive cedar timbers and contemporary glass art were welcoming indeed. The exhibits in the Great Hall and the Treasures Gallery are a legacy of archaeological artifacts and unique works of art. An oral history portraying thousands of years of Northwest Coast history and culture. The museum also includes the dramatic history of the more recent period: the fur trade, the construction of the railway, the development of the fishing industry and the creation of modern day communities. In the Hall of Nations I discovered the rich diversity of the Northwest Coast nations and their unique ceremonial art. In the Monumental Gallery, with its spectacular view of the harbour, I saw exciting current works by contemporary Northwest Coast artists. I also saw the Ruth Harvey Art Gallery with its displays of local and regional art. Back at the gift shop I saw original works by Northwest Coast artists in wood, argillite and other media. There were also performances at the Longhouse rooted in ancient drama, dance and song by the Gwis’amiilkgigot Dancers that share the legacy of dramatic and musical performance.

I always looked forward to each new place I visit. I picked up a few

256 ~ The Spirit Bear Gallery

brochures at the travel centre and headed back to the Javadot Cup on 3rd Avenue to use the internet. I needed to find a hotel with a central location in Terrace. The Inn of the West caught my eye. There was a native art gallery next door called the Spirit Bear Gallery & Boutique. It was a Coast Hotel so I knew it would be good. I booked my hotel and then checked the Greyhound bus schedule. The bus terminal is adjacent the lobby of the Highliner Hotel and shares an adjoining doorway. That’s convenient I thought so I booked a seat for the following afternoon.

My third trip to Europe with the band at twenty was equally inspiring. Many of us on that trip had been on one or two earlier trips so we were well versed in what to do and what not to do. Basically, all we had to do was show up to each concert ready to play. John Lennon said, “Our life is what we are doing while we are busy trying to decide what we will do.” And so it was with many of us in that band who went on in music afterwards. We were all working musicians. We performed three concerts a day when away on tour and the rest of the time was ours to explore whatever we chose. There was no better training ground for a young musician than to be in a Delamont band. The only problem was, it wouldn’t last forever.

The drive along the Skeena River from Prince Rupert to Terrace is serenly beautiful. It is about a two hour drive and looks similar to the Sea to Sky Highway from Vancouver to Whistler but without the dra-

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matic cliffs rising monumentally on one side. Highway 16 is also called the Yellowhead Highway. [From 1989 to 2006 nine young women went missing or were found murdered along the 724 kilometre length of highway 16 – now commonly referred to as the ‘Highway of Tears.’ All but one of these victims were aboriginal women. To learn more of this tragedy visit www.highwayof tears.org.]

The bus dropped us off in the parking lot of my hotel in Terrace. The Spirit Bear Gallery was open so I figured I would go and have a look.

Once checked in and my bag in my room, I headed over to the Spirit Bear. The Spirit Bear was a lovely gallery. I say was because it has since closed. It had lots of small first nation’s items for sale. The manager was on duty but she was not the owner. She gave me the owner’s card and I said I would drop back again during my stay. Next, a walk around town. The hotel is located on Lakelse Avenue so off I went down Lakelse. Right away I came across a first nation’s gallery called House of Carvers. It was closed so I peered through their big front windows.

There were several masks on a wall to the right and a big empty space in the middle. There was also a large space in the back behind a counter that ran the width. The counter was in two pieces so people could pass through in the middle. Continuing on my walk, now down Kalum Street I went as far as I could until I reached the George Little House. It was also the Via Rail Train Station. Built in 1914 the George Little House

258 ~ Geo McKay

is the oldest building in Terrace. It is named after the founder of the town and is maintained as a community and cultural facility promoting art, heritage and tourism. I could see first nation’s art on display in showcases and drums hanging on the walls. Many special events are hosted in the house as well as community celebrations. Under a stairwell was the basement entrance to the Wilp Simgen Carving Studio but it was closed as well.

Time for dinner! The Coast Hotel had a restaurant but I decided to walk down Lakelse Avenue in the other direction and see what I could see. A couple of blocks down was the Bear Country Inn. Its dining room had booths and it wasn’t too crowded so I went inside. Downtown Terrace is not that big. Several of the venues I wanted to see were located in the outlying vicinity: the Freda Diesing School of Northwest Coast Art, the House of Sim-oi-Ghets, Kitselas Canyon Historic Park and Gitwangak National Historic Park were a few.

The next morning after breakfast, it was off to visit the House of Carvers. They were open when I arrived. Someone was working in the back and he looked up when I entered and greeted me warmly. He began to tell me about the gallery. “House of Carvers is a studio/gallery made possible by four of the first graduate students of the Freda Diesing School of Fine Arts. I am Geo McKay. The others are Jacqueline McNeil, Titus Aukland and Henry Kelly. They may be in later but I do not

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know. We not only display our artwork here but actually carve on site.

This allows the artist and customer to interact with each other. We want to establish new boundaries as artists and welcome all challenges. We specialize in commissions of artwork for personal and business in and around Terrace.”

Geo told me he was a Nisga’a artist and was born in Prince Rupert.

He was raised in Greenville, one of four remaining villages along the mighty Nass River, in northwestern BC. Born into the Beaver tribe of the Nisga’s Nation he was the son of a very influential artist named Pattison McKay. He developed an early interest in north coast art while assisting and learning from his father. Fueled by a natural creative urge he began carving his own artwork. His father felt getting an education was equally important to an artist so Geo began to look at his art as a hobby that he could use to broaden his talent through travel. He used his time travelling to learn more techniques both contemporary and traditional.

Today he has an appreciative following for his unique style.

Geo has worked with several influential artists including carver Murphy Stanley Sr., his son Virgil, Robert Murphy Jr. (a Tsimpshian artist), and master carver Henry Green who is highly regarded and a mentor and friend. He feels Mr. Green has guided his work down a more traditional path. His chosen medium is of course wood although he carves in other mediums as well. He likes mostly to carve totem poles and masks

260 ~ Todd Stephens

but also fills commissions for paddles, bowls, spoons and traditional regalia. His approach to his art is very spiritual. He grew up hearing stories of the forests, mountains, rivers, ocean, sun and moon along the westcoast. He draws his artistic inspirations from the legends and supernatural heritage of the Nisga’a people. His works are artistic expressions of the Nisga’a nations past and are firmly anchored in the natural beauty of the Nass Valley and the traditions of his forefathers.

His art has been featured in many private collections in Alaska, San Francisco, Los Angeles, Australia, Austria, Germany, Japan, New York, and in BC. Several galleries on the westcoast have sold pieces of his art from time to time. I told Geo about my guide and he wanted to be included. I said, “I will drop back and try to see the others later.”

After three summers in Europe playing with the band for two months at a time and school and performing professionally on weekends around town, I needed a break. I was burned out. I was too old to go on another trip to Europe if there was going to be another one. The director was now in his eighties so it was unlikely. Many of the boys quit the band after that trip for the same reason. I decided to leave the vagabond life behind and take a nine to five job in a wholesale hardware warehouse near 5th Avenue and Main Street. It was a good decision in one way and not in another. I remained out of music for four years.

The George Little House and the Wilp Simgan Carving Shed were

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next. [Wilp Simgan is a work space for first nation’s artists to create their work on-site, sponsored by the Terrace Nisga’a Society. The Society obtained the lease for the basement section of the George Little House.

It holds eight artists.] The door was ajar when I arrived. A young artist was drawing a design on a cedar box. “Hi, I’m Todd Stephens,” he said cheerfully with a big smile. I told him what I was doing and he seemed quite enthused. I told him I would include him in the guide on a free artist profile and he began to tell me about himself. “My Nisga’a name is Higu Sk’an Milksim Ts’im Aks. I was born in Gitlaxdax BC (Terrace) but I grew up in Prince Rupert. I was taught my families stories by my grand aunt. In high school I was top of my class in first nations art. I am a graduate of the Freda Diesing School of Northwest Coast Art for which I recieved a diploma. I also received a scholarship through the YVR Art Foundation and recently I had another art show at the Terrace Art Gallery last February. Todd was a nice optomistic young fellow. I asked about including the carving shed in the guide but he seemed less enthusiatic about that - seems the management was not as open minded as the artists. I thanked him, took a photo of him drawing on his bentwood box and departed.

Upstairs in the George Little House Gallery I met Debbie Letawski, the owner. She seemed interested in my guide and we talked about what else I might include in the Terrace area. Her gallery had a nice collec-

262 ~ Kitumkalum First Nation

tion of native items for sale. She said she hoped that more first nations galleries would open in Terrace but the summer season was short and it was hard to survive during the winter so she was not too sure about the future. Most of the places she mentioned I already had on my list.

I asked her about the VIA rail train. I thought I might be able to use it sometime in the future but for now it didn’t fit into my plans.

There were some people in the Spirit Bear Gallery when I arrived back at the hotel, so I went inside. “Oh, here he is now,” exclaimed their cheery manager Debbie Buxton. A couple greeted me with open arms and big smiles. “These are the owners, Gord and Janice,” Debbie said. “I was just telling them you were staying at the Inn.” They were very enthusiastic to meet me and wanted to know all about my guide.

Gord told me he did alot of travelling and he might be able to help me finding galleries for the guide. I thanked him but I told him I wasn’t in the position of hiring a sales person just yet. My guide was in its infancy and I had to be very careful to nurture it along during the early stages.

He understood but I said I would keep him in mind for the future. He was on his way over to Haida Gwaii in a week or so for hunting season and hoped to get a deer. I told them my final destinaton was Haida Gwaii. They told me the trials of trying to run a gallery in the interior of BC. Even connected to the Inn with its fairly steady clientele it was still difficult.

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Geo Mckay had told me if I walked up the hill behind town, I would see two totems he and others had carved now standing guard at the entrance to the local Arena. As I climbed up the hill the two poles soon came into view. They were beautiful painted red and black with an abundance of natural wood showing as well. They were about 10 or 12 feet high and very sturdy. The view of Terrace from the Arena was marvelous!

Next, I decided I would visit one of the first nation’s sites on my list that was just outside of Terrace, the Kitumkalum First Nation. They were Tsimshian. Like all Tsimshian, their traditional society is matrilineal, which means they are organized according to the female side of the family. Individuals belong to the family of their mothers and inherit property as well as social status through the mother, not the father. This is a fundamental law of the Tsimshian. The father’s side of the family is important as well.

The mother’s family is the Waap or House to which each belongs.

The Waap owns the resources that provide life’s necessities and comforts. These resources include important material possessions such as territories or laxyuup, fishing sites, houses, and so on, but also non material property such as names and titles, dances and songs, stories and histories or adawx.

The Kitsumkalum community of the Tsimpshian Nation live near the City of Terrace. Some live in Prince Rupert, Port Edward and through-

264 ~ Henry Kelly

out Canada and the US. Their traditional properties and estates are in the land around Kalum Mountain and the Kitsumkalum watershed.

I wanted to see the House of Sim-oi-Ghets Gift Shop. It is located on the highway outside Terrrace so I would need to take a taxi. I found a card for Kalum Kabs back at the hotel and gave them a call. They must have been waiting around the corner because a cab arrived in about five minutes. The driver’s name was Ray and we had a nice enjoyable ride north-east of town. Ray told me he could take me to the Freda Diesing School tomorrow so I agreed to call him.

The building which houses the House of Sim-oi-Ghets is beautifully painted with native designs in browns and blacks and white. Its metallic blue roof gives it a distinct accent illuminating nicely the colors below.

Ray went to gas up at the Tempo Gas Bar, also owned by the band, while I visited the gift shop and general store full of authentic first nations arts and crafts. I looked around inside for awhile and saw nothing that really caught my eye so I went back outside. On a patch of grass in front of the store there were two totem poles so I went over to have a look. They were old but not ancient. Their wood was a dirty dark brown, I guessed from the exhaust fumes of the cars on the highway. The carvings though were very well done as were most I had seen around Terrace. One totem was laying on the grass and looked as though it had broken off from old age and left to lie where it had fallen. The Kitsumkalen Band also own

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a Boat Launch and RV Park with easy access to the Skeena River. They also have a school called the Na aksa Gila Kyew Learning Center full of success stories (www.kitsumkalum.fnschools.ca). Soon Ray returned and we drove back to town. I hoped someone would restore the totem.

I have always had an appreciation for totem poles and first nations art but as my trip progressed my appreciation grew by leaps and bounds.

With each new pole or mask I saw my respect grow and grow for the artists who created them. It is not easy to carve a 10 foot totem pole depicting various animals. The artist must be strong and physically fit to carve a raw piece of wood. They also had to know about wood and how the grain reacts when cut. Several times I was told about a piece of wood splitting or cracking because it was too dry and had to be thrown away.

I decided to drop by the House of Carvers again and see if I could find the others. Geo was not there when I arrived but I met Henry Kelly. Henry was a nice, pleasant young fellow. Geo told him I might be around.

Henry was born in Prince Rupert and raised in the village of Gitlakdamixc (New Aiyansh) in the Nass Valley where he like Geo, had learned the strong culture and traditional values of his people. His mother was Nisga’a and his father Tsimshian (from the village of LaxKw’alaams or Port Simpson). In 1989, Henry was introduced to tool making and carving by Dempsey Bob. [Dempsey Bob (born 1948) is a Northwest Coast carver from British Columbia, who is of Tahltan and Tlingit First

266 ~ Freda Diesing

Nations descent. He was born in the Tahltan village of Telegraph Creek on the Stikine River in northwestern B.C., and is of the Wolf clan. He began carving in 1969, studying with the Haida carver Freda Diesing in Prince Rupert, B.C. In 1972-1974 he studied at the Gitanmaax School of Northwest Coast Indian Art (‘Ksan) at Hazelton, B.C., in Gitksan territory. He carves bowls, masks, and totem poles, mostly in the Tlingit style. Most recently he has been working in bronze. His apprentices have included the Tahltan carver Dale Campbell and Tlingit carver Keith Wolfe Smarch.] Henry told me: “I attribute my success as an artist to my upbringing in accordance with the strong traditional values and teachings of my elders. I continue to work in the traditional manner with pride in myself and my people.”

Whenever I and my brother needed a summer job my mother was always able to get us on where she worked in their warehouse. She even got a couple of my buddies jobs when they needed them one summer.

The warehouse manager was always happy to see us because he knew we would do a good job. We got to know several of the employees over the years: Charlie, Ernie and Arnold. When I went to work in the warehouse on 5th Avenue I met others who had worked with my mother over the years so it was a good introduction for me to all.

I was looking forward to visiting the Freda Diesing School of Northwest Coast Art. The next morning I called Ray and he came and picked

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me up and drove me out to the campus of Northwest Community College where the school is located. [Freda Diesing was a Haida artist from Prince Rupert, BC. She was given the name Skil Kew Wat, ‘magical little woman,’ a name that reflected the influence and power of her talent. One of the first female carvers on the modern northwest coast, Freda began her carving at the age of 42. She studied at the Vancouver School of Art and the Gitanmaax School of Northwest Coast Indian Art at ‘Ksan Village.’ In the 1960s Diesing and a handful of other artists were responsible for the re-awakening of Northwest Coast art and culture. She worked with other master artists including Robert Davidson, Dempsey Bob, and Tony Hunt. In the 1980s her work was included in the ground breaking exhibition “Legacy-Tradition and Innovation in Northwest Coast Indian Art,” assembled by the Royal British Columbia Museum, and exhibited internationally, bringing awareness and appreciation to her culture’s art and history to the world. Diesing was an exceptional carver, teacher and mentor. Her students include many of the most acclaimed artists working in first nations art today.]

Northwest Community College created the Freda Diesing School of Northwest Coast Art to honour, recognize and continue the legacy of Haida artist Freda Diesing. The goal of the school is to bring nations together in the pursuit of higher education, and sets new standards for aspiring artists. It is the only school of its kind in Canada, focusing

268 ~ Dempsey Bob

on traditional First Nations Pacific Northwest Coast art with the view of developing skills into fine art. The School offers the First Nations Fine Arts program, instructed and mentored by world-renowned artists Dempsey Bob (Tahltan/Tlingit), Stan Bevan (Tahltan/Tlingit/Tsimshian) and Ken McNeil (Tahltan/Tlingit/Nisga’a). The instructors play an important role in passing on Freda Diesing’s legacy to their students.

They instill in their students what is required to become a first nations artist and an understanding of each one’s responsibility to continue to share this valuable knowledge with others.

I hoped Dempsey Bob would be there so I could apologize to him for using a photo of one of his masks on the front cover of my mockup guide. After all I hadn’t known who the artist was who created the mask. Everything is available on the internet these days and very little of it comes with a provinence. As luck would have it when I was directed by a student to a small office off to the left the first person I met was Dempsey Bob. He and Stan Bevan and Ken McNeil were all sitting at a table. I introduced myself and explained to them what I was doing, writing a tourism guide for people to come and visit and purchase first nations art from galleries and artists in Northern BC and Alaska. I told them I had already traveled up the Alaska panhandle and had met over 100 native artists in Alaska alone. Now I was heading east as far as Ksan in Hazelton and then back to Haida Gwai. They all appeared

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interested in hearing about my guide. I showed Dempsey Bob my mockup guide and apologized to him for using a photo of his mask on the front cover. I explained to him that I didn’t know it was one of his having found it on the internet. I assured him I would not use it again. When Ken McNeil left the room to help a student Dempsey Bob said to me, “This has merit. Would you like to say a few words to the class that is in session?” There were about 20 students working on projects. “Sure,” I said. “I would be glad to.” We all walked back out into the classroom.

Dempsey Bob introduced me to the class and I spoke to them for about five or ten minutes telling them where I was from and that I had just come back from Alaska where I had met over 100 native artists. I told them about the AFN Show in Anchorage and about some of the artists I had met along the way. I tried to stress the importance of marketing their art which happened to be the topic of the day’s lesson. How to prepare a bio. “When you have graduated see me and I will include you on a free artist profile in the guide,” I said. They were all very excited about the guide and after I had finished I walked around looking at their projects and talking to the students. I gave some my card and told them to send me an email as I didn’t want to take up any more of their class time. I thanked them all very much and said goodbye to Dempsey Bob and Stan Bevan and departed. Both still had a class to teach so I didn’t have a chance to talk to them further. I thought it kind of Dempsey Bob

270 ~ The Freda Diesing School

to let me speak to the class. I know their students enjoyed hearing about my journey. Having an outside speaker talk to a class is always motivating. I felt the future of Northwest Coast art was in pretty good hands. I was pleased with my visit. Fears again turned out to be liars. Dempsey Bob hadn’t seemed upset about me using his photo on my cover or was he? When I first heard there was a school offering accredited courses in carving, I was surprised but elated. Maybe there is hope that this magnificent ancient art form being resurrected by so many artists young and old might find its way into mainstream education thus insuring its survival. I didn’t even know the name of the school when I first learned about it. The first time I heard the name Freda Diesing was at Reggie Peterson’s house in Sitka when Reggie brought out the picture book from the late eighties. Freda Diesing was one of the up-and-coming artists of the day included in the book. The writer of the book had been right. I was also surprised that the school was in BC. I would have guessed it to be in Alaska. Native tribes in Alaska seemed to be ahead of their BC counterparts in getting support for their cultural programs.

There were alot more museums and cultural centres with first nation’s themes in Alaska than at least I had seen so far in Northern BC, although I had just begun my adventures on this side of the border.

The good thing about my four year break from music was I discovered I could do more than just play in a band. It built up my confidence

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and widened my horizons outside of the musical world. The down side was it took me awhile to get back to the same level musically that themes in Alaska than at least I had seen so far in Northern BC, although I had just begun my adventures on this side of the border.

The good thing about my four year break from music was I discovered I could do more than just play in a band. It built up my confidence outside of the musical world. I finally made the decision to go back to school and enrolled in the first year of a Bachelor of Music program at Douglas College. The bad side was it took me awhile to get back to the same level musically to where I had been. I was living with my parents again after having learned a valuable lesson. When the gig is up and there are no more gigs on the horizon you still need to pay the rent.

The music business is a tough one. I figured teaching would be more steady.

At the college administration office I picked up some brochures on the school and called Ray. While I waited for Ray: The Freda Diesing school offers two years of transferable credits to Emily Carr University of Art & Design in Vancouver. NWCC was currently developing a third and fourth year in the First Nations Arts program to allow students to further develop their skills as professional artists, teachers and cultural artists in their communities, and further contribute to the reinvigoration of this highly recognized art form and aboriginal culture. I felt proud

272 ~ Stan Bevan

and positive about what I had seen that day.

The Freda Diesing School officially opened in November 2006 and by 2009 had graduated 32 students. Many of these graduates are now working as artists or art teachers, revitalizing and making a positive contribution to northwest coast art, and to our communities. Examples of their exciting and evocative art include the poles in the Arena in Terrace, the “House of Carvers” gallery, longhouse poles and crests at Githaus, poles in Hazelton, and the poles and paintings for Waap Galts’ap and the Longhouse that was under construction at NWCC Terrace Campus.

As for the instructors: [Stan Bevan works from the village of Kitselas and is a graduate of the Kitanmaax School of Northwest Coast Indian Art. He spent many years training under the tutelage of Dempsey Bob. By 1987 Stan had a strong grounding in art and culture having contributed to numerous commissions, educational projects and ceremonies.

Stan taught with Dempsey and Freda locally and abroad and has been teaching for almost 20 years. Stan is an internationally acclaimed artist in the medium of wood.]

[Ken McNeil is well known in the art community and has been involved in the production of major public works both nationally and abroad. Local projects have included the 13 foot Grizzly Bear Totem at Kitselas, the four poles for the Muks-Kum-Ol housing society in Terrace as well as the totem pole at the First Nations House of Learning in

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Vancouver. He has taught in Prince Rupert, Kitselas, Telegraph, and at the University of Alaska in Sitka.]

I told Ray that I would call him in the morning and arrange for him to take me out to the Kitselas Canyon National Historic Site. [The Kitselas people have inhabited the Kitselis Canyon as far back as 5,000 years.

Kitselis is one of seven Tsimshian First Nation’s communities in Northwestern BC.] I noticed that Gord and Janice were in the Spirit Bear so I went in to say hello. I told them about my visit to the Freda Diesing School. Gord took me over and showed me some prints in the corner relating to Freda Diesing. I forget exactly whether he owned them or what was the connection. He was quite interested though in my visit. When we returned to the front Janice said, “You should visit the Nisga’a. I have a friend Kim Morrison who was hired by the Nisga’a to do their marketing. I am sure she would be glad to come and get you and take you up and show you around.” This was a little unexpected. I had figured next on travelling further east to Hazelton but I didn’t want to miss anyone. I was not familiar with the Nisga’a or their towns so it might be a great opportunity. “That would be great,” I told Janice. “Okay I will call her tonight and ask her to give you a call in the morning.”

I called the Kitselis Band office the next morning and spoke with Web Bennett about visiting the historic site. “Sure come out and I will show you around,” he said. I also made a few other calls, one to the

274 ~ Kitselas Canyon National Historic Site

Kitsumkalum Band office where I spoke to Terry Bennett. I arranged to meet with Terry on my way back from Kitselis Canyon to show him my guide. I also wanted to call another name I was given, Mark Andre.

Mark was with Haisla Tourism in Kitimat. I hadn’t managed to get to Kitimat because the bus to Terrace did not stop in Kitimat. Kitimat is located between Prince Rupert and Terrace. [The Haisla people are Gitamaat and Henaksiala (or Gitlope), closely related neighboring groups who speak the same language. The groups had amalgamated by 1949 at Kitamaat Village, the primary home for the Haisla First Nation with a population approaching 600. The word ‘Kitamaat’ comes from the Tsimshian people. It means ‘people of the snow.’] Mark did not answer when I called but I was told they were seasonal so he was probably not around. As I was just about to call Ray to pick me up I received a call from Kim Morrison. She asked if I would like to have dinner that evening and we could talk about visiting the Nisga’a. “That would be great,” I said and arranged to meet her in the hotel lobby about 6 p.m.

The Kitselas Canyon National Historic Site has become a tourist attraction and a source of cultural pride for the Kitselas community.

With development well into its seventh year, there have been dramatic changes at the Kitselas Canyon. Most recently, four totem poles signifying “Honouring our Ancestors” were raised overlooking the Kitselas Canyon in 2008 (see page

). Through partnerships with Parks

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Canada and CN Rail, the Kitselas Canyon has become a must-see when in Northwestern BC. The Canyon was once a strategic location for many First Nation’s villages. 19th Century riverboats traveling the Skeena River often off-loaded to navigate the Canyon (visit Ringbolt island). The Kitselas people were the “Guardians of the River” and played an important role in the pioneer settlement of the inland regions.

The Kitselas people have inhabited the Kitselas Canyon as far back as 5,000 years. Tsimshian people have never relinquished rights to territory or title, prior to European contact there was a tradional system of government, laws, religion and economy that were disrupted but not eliminated.

The location of the historic site is about fifteen kilometres east of Terrace so it didn’t take Ray long to get us there. I told him I would call when I was ready to go to Kitsumkalum. I met Web Bennett in the band office. Web was a nice guy about thirty. I could tell he was very proud of the site and what they had managed to do with it over the years. “Come on,” he said, “I will show you around.” We jumped into his SUV and drove over to the Project which was located within the boundaries of Kitselas Reserve #1, immediately adjacent to the Kitselas community of Gitaus.

At the site we were greeted by several Longhouses all in a row just

276 ~ Web Bennett

in front of the treeline. Their plans were to expand the site with the addition of a first nations cultural center (there was ample open space in front of the Longhouses to do so). The area was also used for gatherings, barbecues, pole raisings and other summer activities. To get down to the canyon there is a trail behind the Longhouses. The Longhouses were new and the wood left in its natural state with intricate designs painted in red and black on door panels on either side of a door placed in the middle.

Strolling down to the canyon we arrived at the four totem poles standing guard over the canyon. A long boardwalk had been constructed to take people safely down to a lookout spot just above the raging waters. The view from the landing below was spectacular and Web pointed out the historical locations of the old village sites. I was told there were plans to some day build a Longhouse over on an island that we could see between the two streams of the raging river where the Gitlaxdzawk Fortified Village once stood. The problem was how to get to the site. A bridge would first have to be built to reach the island. I could see by the terrain and the location of the river with its sand-bars, that this would have been an important junction to the flow of river commerce in the old days. The natural beauty of the area was unsurpassed and really needs to be seen to be fully appreciated. “Fishing is very good here,” Web said, “But for that reason one has to be careful to watch out for

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bears.” All the way back up the hill to his SUV, I was looking over my shoulder for bears. The best time to visit Kitselas Canyon Historic Site is between May and September when tour guides are available to show you around.

The earliest village sites of the Kitselas were called Tsunyow, Gitaus and the Paul Mason Site. The word Tsunyow means ‘the landing place.’

Gitaus means ‘the people of the sand bar.’ This old village site was built beside a sand bar overlooking the Skeena River. The Paul Mason Site is named after a Gitselasu elder who was part of the group that found the site in 1981. The site is located on a wooded ridge. The site had been lost from the memory of the Gitselasu. The other sites were remembered by Gitselasu historians. Because of this the Paul Mason Site remains somewhat of a mystery. All three sites were abandoned hundreds of years ago.

I thanked Web and he said he would think about the guide. He liked the idea but money was tight for marketing and they had already spent their budget. Ray picked me up within fifteen minutes. “You like to wait around corners,” I said to him when he arrived. “I wasn’t too far away.”

We stopped at the Kitsumkalum Band office on the way back and I met with Terry Bennett. He too liked the guide and said they could sell them in the gas station. I arrived back at the hotel at 5 p.m. in lots of time to meet Kim Morrison.

My brother had kept up with his piano lessons and played electric piano in a local band and later bass. When he graduated from high school in 1969 he took off on a cross Canada tour with his band. He met a girl in Saskatchewan and when the tour was over he brought her back home with him. They lived with us for a few months until they found an apartment in Burnaby. He went on several tours with his band over the years which was an Elvis Tribute band to South Africa and Europe and eventually wound up in Las Vegas on an extended stay at the Golden Nugget Casino. When the band folded he stayed on in Las Vegas working for the Bellagio Resort. They were married in Vegas in 1981 and the whole family went down. They eventually had two sons and after she unfortunately passed away he stayed in Vegas and eventually remarried.

Kim pulled her car into the hotel parking lot at precisely 6 p.m. I suggested she leave it and we could walk down to the Bear Country Inn. Kim was caucasian, in her thirties and full of sseemingly boundless energy. A go-to person I gathered from our first encounter. Over dinner she told me a little about her job.

“I was hired as a business development consultant for the Nisga’a government. Since they signed the new treaty in 1998 and it went into effect in 2000 they have been responsible for their own self government.

They also have a commercial group that is responsible for marketing fish, managing forest resources and building a telecommunications in-

frastructure. It is separate from the Nisga’a government which promotes and facilitates new economic development initiatives, cultural and heritage and much more. I am trying to get the tourism side up and running.” “Sounds like quite a challenge and responsibility,” I said. “Yes it is but I think if you could come up and see what we have to offer and put an article together for your guide, I could take it back and show my boss.” “I’d love to,” I said. “When do we start?”

Master Carver Alver Tait

CHAPTER 7

Origins of the Volcano

Kim picked me up the following day at 3 p.m. “You better tell the front desk you will be away for a couple of days,” she said. “Their villages are quite spread out.” I let the hotel clerk know that I would be away longer than expected. I hadn’t realized it would be for two days but that was even better.

There are four main villages of the Nisga’a. The capital or seat of government is at New Aiyansh about 100 km northwest of Terrace.

Laxalts’ap or Greenville is about 50 kilometres southwest of New Aiyansh and Gingolx or Kincolith is another 20 kilometres west of Greenville. Gitwinksihlkw or Canyon City is near New Aiyansh.

282 ~ Nisga’a First Nations

Kim was quite a go-getter. She had driven these roads alot travelling back and forth to Terrace on business. I got to know her just a little during the time we spent together. We stopped at the Tempo Gas Bar to fill-up and pick up a few snacks and then we were on the road to New Aiyansh.

It is a unique scenic drive and day trip north of Terrace to the 18,000hectare Nisga’a Memorial Lava Bed Provincial Park. The park, which is part of the Nisga’a First Nations, Nass Valley, was the site of a volcanic eruption 270 years ago. The still bare landscape resembles the moon surrounded by mountains. The area is covered in grey and black lava, which is in turn covered with a strange sea green moss and new spurts of vegetation. The eruption destroyed two first nations villages and killed thousands of people. It is about a one hour drive to the park and another half hour to New Aiyansh.

Kim had arranged for me to stay at Vetter Falls Lodge located on the Nisga’a Highway before New Aiyansh. The Lodge is situated in a large natural forest on the Tseax River. The main building is a log house with plenty of bedrooms with king size beds. They even supply an evening meal. Kim had her own place in New Aiyansh. The scenery was beautiful around the lodge a great place to embrace the silence of nature, observe moose, grizzly and black bears, fox, wolves and eagles. One of the highlites of my stay was a walk to Vetter Falls.

NISGA’A ~ 283

The proprieters were of German descent, a husband and wife team who were both very pleasant. They had run the Lodge for some time and told us it was for sale. There were lots of German accents throughout the house which made it feel like a Bavarian Inn. Kim dropped me off at the Lodge and then went on home. She was to return again at 9 a.m. and we would have breakfast together. I spent the evening relaxing and talking with the proprietors.

My mother continued to work throughout the seventies. Her office was moved to Lake City from Broadway and Lougheed so she needed her own car to get there. I sold her my Cortina GT and bought a used Volkswagon Beatle which I thought would be good on gas for school.

The yelling and arguments continued into the seventies between my parents until one day my dad just up and left to go live at The Bay. We didn’t know quite what to make of it. Everyone thought he must have been going through a mid-life crisis. The good thing about it was, it was quiet and peaceful around the house for the first time in years. We had always been on edge not knowing when the next outburst would come.

He stayed there for the next few years by himself as far as we know althought there were rumors that he had a woman friend but they may have just been rumors. I didn’t go down to visit him much as both myself and my brother felt he was entirely to blame. When I did drop down he was usually drinking with one of his taxi buddies. We often

284 ~ New Aiyansh

wondered what he told my aunts when he took his clothes into them to be washed and ironed. We were sure they got an earful of his version of the story.

Kim was late arriving the next morning so we didn’t get started until 10 a.m. Once out on the highway we were back in the middle of Lava Bed Park. The park was the first park in BC to combine the interpretation of natural features and first nations culture. The lava flow is one of the youngest and most accessible volcanic features in British Columbia.

Guided volcanic tours for visitors are offered through the Nisga’a Visitor Centre. The guided tour introduces visitors to Nisga’a history and culture while hiking 3km through scenic old growth forest, past a variety of volcanic features to a viewpoint overlooking the crater.

Soon we arrived in New Aiyansh. Kim had to stop at her house and pick something up so she invited me to come in for a moment. When we opened the door a young fellow introduced himself, “Hi, I’m Bert Mercer.” Bert was Nisga’a and worked in the development office. [Kim told me later that they had been together but were not anymore. It was Bert’s house and she was in the middle of moving out.] Kim found what she had forgotten and shortly we were back in her car heading into the center of New Aiyansh home to approximately 1,800 residents. New Aiyansh offers a rich cultural history, natural beauty and a central location for exploring Nisga’a Lands.

NISGA’A ~ 285

[Gitlaxt’aamiks was a large and ancient village on the north bank of the Nass River on the edge of the historic Grease Trail. In 1883, a missionary established a Christian village about six kilometres down river.

There, Nisga’a craftsmen built a large village complete with Victorian style houses, a church, community hall, school, sawmill, and its own printing press. They called this new village Aiyansh (Fertle Valley). After a series of floods, the people of Aiyansh finally moved to higher ground on the other side of the river and established New Aiyansh. It was here Nisga’a negotiators signed British Columbia’s first modern treaty, the Nisga’a Final Agreement.]

Kim took me to the government offices and introduced me to the communications director Eric Grandison. I told him about my guide and then he took me on a tour while Kim was busy. He showed me first the Chamber. It was elliptical in form to support consensus-style governing, with the Speaker located at the head and a stand for the “talking stick.”

There were several black leather chairs placed around a circular table.

There was no middle to the table and another table was situated inside with about twelve chairs. The floor was covered in red carpet and the walls and desks were made of yellow cedar. Behind the Speaker’s seat at the end close to the back wall was a Nisga’a flag with a shield below.

There were several Nisga’a designs in the middle of the shield. It was a splendid room and looked very elegant befitting its legislative purpose.

286 ~ Gitwinksihlkw or Canyon City

When Kim returned, we all went into another room where on a table was a scale model of their new museum. It was designed like a dugout canoe. The roof was bowed in the middle and high at both ends but much higher at the front. There were post and beams placed at the sides to give the impression of oars. It was quite impressive.

[The Nisga’a Museum provides a fitting home for showcasing internationally significant Nisga’a artifacts. During the late 18th C and 19th C Nisga’a treasures left the Nass Valley. An effort to repatriate these cultural treasures and bring them back home has been on going. The museum will be a centre for research, learning and creating new works of art. Multipurpose space hosts cultural performances while outdoors, a historical recreation of a pre-contact Nisga’a village will offer a glimpse into traditional life.]

There are many beautiful buildings to visit in New Aiyansh. Four magnificent Pts’aans (totem poles) grace the entrance way to the Gitlaxt’aamiks administration building. The totem pole in the middle on the right was heavily carved with figurines on top of one another. I could see a raven, a star fish, a canoe and a shield at the bottom being held up by a seated man. The figures were marvelous. The wood was left in its natural state. Only one piece which looked like a bentwood box had been painted in black and red. They were the first totem poles erected on Nisga’a land in 100 years. The historic Gitlakdamix community hall

NISGA’A ~ 287

has a stunning mural painted on it. We stopped by the New Aiyansh Recreation Centre, completed in 1998. It has four totem poles in its lobby and is located next door to the arts and cultural centre where you might be lucky enough to find local carvers working on various projects.

Guided tours of these government buildings is available upon request.

In front of the Nisga’a Elementary/Secondary School you’ll find the Unity Pole raised in 1977.

The next closest Nisga’a village to New Aiyansh is Gitwinksihlkw or Canyon City. It is located on the north bank of the Nass River and is home to 250 residents. Gitwinksihlkw offers a rich cultural history, natural beauty, and access to Canada’s newest lava bed.

Canada’s last volcanic eruption occured in Nisga’a territory approximately 250 years ago. The lava destroyed everything in its path, sparked fires in the forests, and covered two Nisga’a villages. More than 2,000 people perished. Survivors resettled at Gitwinksihlkw (Place of the Lizards). Nisga’a oral tradition tells of large lizards living there before the eruption. Today, the lizards are gone but the vast lava beds still dominate the valley. They serve as a memorial to those who lost their lives and as a reminder of the importance of respect for both the natural world and the wisdom of the elders.

The Gitwinksihlkw totem poles are a must-see when visiting this village. There are four 25-foot tall poles by the new vehicle bridge, each

288 ~ Alver C. Tait

representing a different animal crest of the Nisga’a people: eagle, raven, wolf and killer whale. There is also the elementary school totem pole that stands 60 feet high and represents elders teaching children. At the top is a supernatural bird, which is said to have stopped the flow of the volcano when it erupted. The Bear’s Den Pole is located at the village recreation center. It stands 55 feet high and represents the history of Gitwinksihlkw.

There is lots to see and do in Canyon City. A visit to watch the fish wheel capture wild salmon is one. A tour bus will take visitors along Highway 113 North where the fish wheels are set up on the Nass River.

Along the way you can share in the history of the river, the Nass Valley and be introduced to Nisga’a culture. Gitwinksihlkw is the oldest of the Nisga’a villages (inhabited the longest). Access to the community was by boat prior to the construction of the suspension bridge built in 1968.

The suspension bridge is still in tact and is now a wonderful tourist attraction.

The Lava Bed Cone Tour is another must see. Your guide will share stories passed down from generation to generation of the great volcano.

The lava beds at the base of the volcanos hold the souls of many Nisga’a that once occupied the valley. The lava beds hold much mystery and intrigue. Listen to the wind as you walk along the path to the cone. Take in the majestic beauty of the surrounding mountains and appreciate the

NISGA’A ~ 289

serenity of the lakes, and streams you pass.

I did well with my studies at Douglas College and in two years I transferred to UBC for my final two years. However at the end of my third year at UBC I was exausted and didn’t go back the following year.

I had been concentrating too much on my studies and not exercising and keeping in good health. My mother got me back in again in the warehouse where she worked and where I had worked summers. I wanted to go back and finish my fourth year at UBC so I started swimming and bicycling to try and build myself up. I also bought a dog which I figured would get me out walking. With the help of both mom and dad (Dad was back now), I regained my health and made it back to UBC the following year culminating in a Bachelor of Music Degree in 1980.

Several of the Nisga’a tourism sites were the responsibilty of the economic development office. Others like the museum were run from Greenville and the ones in Kincolith from Kincolith. It was all quite complicated Kim said and we didn’t want to appear to be stepping on anyone’s toes by going over their heads. It was best to speak first with the local governments about my guide rather than going straight to the top (The phrase too many chiefs and not enough indians came to mind).

I did want to speak to someone in the economic develoment office because there might be an opportunity on a larger scale to promote Nisga’s Tourism. The Economic Development Officer just happened to be

290 ~ Norman Tait

be Bert Mercer. I hoped their parting had been amicable. She assured me that Bert would be open to talking to me before we left. But first she wanted to take me down to Greenville and Kincolith about 50 and 20 kilometres to the south respectively.

The village of Laxgalts’ap (Greenville) is located on the Nass River estuary. It is home to 520 residents and also offers a rich cultural history, natural beauty and world-class fishing. Laxgalts’ap means ‘village’-the current village is built on a series of Nisga’a communities that have occupied this site over the past 5000 years. Each year tons of eulachon are harvested in Fishery Bay and rendered into precious oil a historic staple of Nisga’a trade and a valuable commodity that supplied the Northwest Coast’s famous ‘Grease Trail.’ [Trails were developed for trade between indigenous people, particularly the trade in eulachon oil. The grease from these small fish could be traded for furs, copper, and obsidian, among other things. The Stó:lō people of the Fraser River simply ate the fish, either fresh or smoked, but the people of the interior used the oil as a condiment (similar to butter) and in various other ways.] For countless generations, the Nisga’a have relied on the harvest of fish and seafood and most of their homes have traditional smoke houses and/or drying racks to preserve the bounty of the river and sea.

In Greenville, Kim drove us straight to the Laxgalts’ap Carving Shed to meet Alver Tait. Alver Tait is an internationally renowned Nisga’a

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master carver. He is a leader in his community and an exemplary ambassador for the Nisga’a and British Columbia. He is also the hereditary Chief of the Eagle-Beaver clan, and is extremely knowledgeable in the culture and traditions of his people. His tireless efforts to improve the welfare of his community have served to focus much attention on B.C. and the history of aboriginal peoples.

Mr. Tait was there with some of his apprentices working on a traditional Nisga’a dugout canoe when we arrived. It was the first to be built in the area in 100 years. They were actually working on four of them and also carving four totem poles that were to become part of the new Nisga’a Museum. Kim introduced me to Alver Tait. His apprentices introduced themselves as: Calvin McNeil, Justin Ryan, Harry Martin, Fred McKay and Albert M. Stephens.

Mr. Tait’s credentials are very impressive. His artistic ability is in great demand and as a result, he has travelled to many foreign countries (such as Japan, Istanbul, Austria - and more) to showcase his work. His work can be seen all over the Nass Valley and beyond. He assisted with the carving of the “River Canoes” that is on display at UBC. He also assisted with the carving of two river going canoes in the spring of 1981 and paddled 110 miles starting at Prince Rupert ending in Kincolith. He worked with Norman Tait, his brother on the Beaver Pole that stands at the Field Museum in Chicago. He was commissioned by the City of

292 ~ St. Andrew’s Anglican Church

Vancouver to carve an Eagle Nisga’a Bowl which was presented to Her Majesty Queen Elizabeth II. He assisted Norman Tait in carving the 45 ft. totem pole at Capilano Mall in North Vancouver. He designed and carved the 55 foot “Bears Den” totem pole for the village of Gitwinksihlkw. He carved one of the totem poles that stands at the Gitwinksihlkwhlkw Bridge and one at the Gitwinksihlkw school. He carved the memorial totem pole located in the community of Gingolx. He also carved the totem pole which is located in the entrance hallway of the Gitlakdamix Recreational and Cultural Centre. He worked with Norman Tait on the totem pole which now stands at the outside entrance of the Nisga’a Lisims Government building. He restored a totem pole carved in the 1860s which was carved to honour Mr. Tait’s great-greatgrandfather for the British Museum in London and carved the eagle for the top of Luuya’as totem pole, carrying the Eagle-Beaver images of his clan crest. He carved a 37 foot “People of the Nass River” totem pole for the world’s oldest zoo, Vienna’s Schoenbrunn Zoo. He is also regularly called upon by the Nisga’a Lisims Government to carve original works of art and special designed jewelry for important guests and visiting dignitaries.

Watching the carvers work in these surroundings was quite humbling. It was a cool November day and a wood fire was burning nearby in an old oil barrel. The shed was only a wood frame with a wooden

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roof that the wind howled through but still the work went on. Everyone was dressed warmly except me. I hadn’t expected to be up here so long and had only brought a light jacket. The canoe was at waste height so the men didn’t have to bend over. It was cradled by pieces of wood placed strategically in the middle and at each end. Mr. Tait allowed me to take a few photos, one of him standing by a carved upright totem in another shed (see beginning of this chapter). He had received the order of B.C. in 2006 and asked me if I would like to see the program from the ceremony. “I would indeed,” I said so he invited both of us over to his house.

His home was warm and cozy and a welcome refuge from the cool fall air. Mr. Tait brought out some items for me to see. He handed me a summary of his achievements in the form of a Client Profile which he was using for a business initiative - a cultural studio. “Inside I will be seen creating various traditional art,” he said. I meant to check and see if it ever became a reality but have not as yet. It is hard to find news from the more isolated villages unless it makes the National or Provincial headlines and I had not seen it mentioned. Finally he showed me the program for his order of British Columbia ceremony held at Government House in Victoria on June 22, 2006. I could tell he was very proud of the award.

I told Mr. Tait about my guide and that I would include him on a

294 ~ Gingolx (Kincolith)

free artist profile. I also mentioned their was an opportunity to promote Nisga’a tourism in the guide and he agreed. “The museum would be good to include in your guide,” he said. I told him that I would include the museum for sure. He also mentioned a company in Greenville I should speak to regarding advertising which I talked to Kim about later.

It was all very well to include the artists on a free profile but I still had to pay for the guide. I hoped I would be able to include all four villages in the guide and they would pay for at least a portion of the advertising space. I felt alittle apprehensive about whether the four different governments would all come together in support of my project. Kim assured me that somehow or another they would. I had the impression that she had some pull with the main Nisga’a government because of her relationship with Bert Mercer but that remained to be seen.

My dad had seen the error of his ways. We were told that many people had told him not to be so stubborn and to go home where he belonged.

When he came back he was different. Not so beligerent or judgemental.

He seemed to take everything more in his stride. He still liked to have his beer but it didn’t seem to have the same effect as it once did. I felt bad because when he was away one of my projects was to build an English pub in our basement which meant moving his work bench into the garage. He never said a word when he returned he just set up shop with his tools in the garage. He even rigged up an electrical line

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so he would have heat in the winter. Even with the heat which wasn’t on all the time his tools started to rust. I always felt bad about that.

Laxgalts’ap means “the dwelling place comprised of dwelling places.” The history of the region is tied to legends handed down from past generations. The Nisga’a house system is composed of four main families: Wolf, Raven, Killer Whale and Eagle. Each family owns stories and passes them on to the next generation.

One of the more well known stories is about the genesis of the volcano. Legend has it that children had shown disrespect to the life giving salmon by putting stones and burning sticks into their backs and watching them swim. The elders warned the children repeatedly to stop but they did not listen. Soon the ground began to rumble. The volcano and the lava flow then covered the valley bottom, redirected the mighty Nass River and destroyed two villages. This resulted in 2000 Nisga’a people perishing.

On the way out of Greenville we drove by the new museum which was under construction. It was still a year away from completion. There wasn’t much to see yet so we carried on to Gingolx: the Seafood Capital of the Nass.

The seaside village of Gingolx (Kincolith) is located on the northwest coast of B.C. in Portland Inlet, approximately 170 kilometres from Terrace. It is home to 500 residents. Gingolx was once an isolated

296 ~ Nisga’a Concert Band tradition

village, the only ways to get in being by boat or plane. This isolation combined with the surrounding mountains meant Gingolx would often suffer power outages due to snow during the winter months. Residents could go as long as 3 weeks without power until helicopters could be flown in to fix the lines. In 2003, a 28 km road from Gingolx to Greenville was completed connecting Gingolx to the other three Nisga’a communities.

The scenic drive to Gingolx is beautiful. The road winds its way down through low growth shrubs and forest. Visitors are usually left breathless by the gorgeous vistas. Gingolx means “place of skulls,” a historic warning to would-be conquerors that they are determined to protect and preserve their land, resources, and traditional way of life.

The people of Gingolx have an elemental relationship with the sea.

For countless generations they have relied on the harvest of salmon, crab, halibut, snapper and shelfish. At the concourse of the Nass River and the Pacific Ocean Gingolix is not far from the Alaskan panhandle.

The village boasts a new Longhouse decorated inside and out with designs by local artists. It was completed in 2005. The inside of the Longhouse is filled with Nisga’a designs by local artists: Art Angus, Robert Stanley Sr., Brent Stephens, Paul Stewart Jr., Richard Benson, Pansy-Lee Watts and Phillip Watts. Gracing the entrance of the Longhouse are two 40 foot totem poles by Chester Moore, Edward Benson

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and Rich Morgan.

There is lots to see and do in Kinkolith. There are community smokehouses, carving sheds, several scenic trails and a breakwater and a dock for fishing boats from Rosswood. There are many totem poles around town as well and Kincolith’s Christ Church has some incredible stained glass windows. Each summer, thousands of visitors arrive for Crabfest, an annual celebration of music, seafood, and Nisga’a hospitality.

Kim wanted me to meet the person in charge at the local government office. “He would be quite open to your guide and a good person to have on board.” I forget his name and I didn’t get a card but he was quite an amiable fellow. He was happy to see Kim and they talked for awhile.

She felt he was supportive towards our proposed venture.

The Longhouse was amazing! On the outside of the Longhouse was a mural painted pink, black and white with several Nisga’a designs on it. Two totems stood watch a few feet in front at either end. There were more Nisga’a designs inside covering the walls and floor. The designs on the floor were painted in bright red and black (see the front cover of this book). On one wall were three designs: an eagle, a killer whale and a wolf. The eagle had a face outlined in red inside its beak. The outline of its head was white and the outline of its body black. The outlines of both arms red. It was quite striking and life size. The killer whale design was in black and red and had a figure of a man on its back. The man

298 ~ Vetter Falls Lodge

had a red hat on his head and long black hair. There were two accents of turquoise blue, one on the man and one I presumed on the whale’s spout. The wolf was smaller in red and black. The designs were all marvelous, each representing a different clan of the Nisga’a. The designs on the floor were of the raven the last clan. They were larger and covered a greater area. The combination of red and black on the natural wood floor was splendid and gave it a supernatural quality in the dim light of the Longhouse.

There were several beautiful buildings around Kincolith. One building had large natural wood posts placed all around holding up another much smaller over-hanging roof with thinner posts on top. The building was still under construction so we just walked around the perimeter.

Behind the building were two totem poles both nicely carved and left in their natural state (no paint). The top figure on one was either an eagle or a raven. I couldn’t tell which. Kim and I took a walk along the shore paralleling a nearby street and saw other totem poles as well.

I learned there is a Nisga’a Concert Band tradition. [In 1888, the first brass and concert bands in the Nisga’a Nation were formed.] There is the Gingolx Concert Band, the Greenville Concert Band, New Aiyansh Harmonic Silver Band and Gitwinksihlkw Brass Band. They all united in 2014 to create the Majagaleehl Nisga’a and were invited to perform in the 102nd Grey Cup Parade in Vancouver, BC. 90 musicians span-

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ning 3 generations had to organize, prepare to perform and then travel to Vancouver to march in the parade. They had less than 8 weeks notice. (www.cfnrfm.com)] There are also Nisga’a dance groups.

I enjoyed my visit to Gingolx and after a couple of hours we started back. There was a lookout spot on a hill above the town that afforded a marvelous view of all below. It had been a very successful day. Kim had shown me alot. I was glad I had travelled up to see first hand the villages of the Nisga’a. I gained an appreciation for the distances between each village. Each village is unique and different and all are worth a visit for what they have to offer (There are bed & breakfasts in each village available on the internet). Be sure and give yourself lots of travel time.

I spent the following year at SFU doing my teaching practicum which I wouldn’t recommend. I recently discovered that others who graduated and did their practicum at UBC were all offered jobs at at least three or four different school districts in BC. SFU did not help us find jobs or even explain how to look for them. We were completely on our own. I had always been a self starter so I looked in newspapers from across Canada and applied for a position at an elementary school in rural Manitoba and was invited back for an interview. Needless to say, I got the job.

The next morning Kim picked me up at Vetter Falls Lodge at 10 a.m. and we headed into New Aiyansh. She had arranged a meeting for me with the CED (Economic Development Manager), Bert Mercer of the

Commercial Group. I was to make a pitch on promoting a Nisga’a tourism package in an article in my guide. The cost would be covered by the Commercial Group and/or some combination of each of the different town governments. I knew from experience that trying to get several government entities to come together was difficult. Kim seemed to think it was no problem and Bert seemed to be interested, although certainly noncommital. He said they would see what they could do and he would be in touch with me when I arrived back in Vancouver.

I said goodbye to my hosts at Vetter Falls Lodge and Kim and I headed back to Terrace. Kim was fun to be around and didn’t take life too seriously. She must have seemed like a free spirit to the Nisga’a in comparison to the rigidity of their government system. She was not afraid to take chances which could really be helpful in promoting Nisga’a Tourism or it could have the opposite effect. Time would tell!

CHAPTER 8

The Train To Haida Gwaii

I was up bright and early the next day ready to catch the bus to New Hazelton. The weather was still good and no sign of snow. I wanted to see ‘Ksan Historical Village & Museum. There were some other sites that I hoped to visit as well: Gitwangak National Historic Site and Kispiox were two. It was a one hour drive to Hazelton along scenic Hwy 16. There are two Hazeltons, Old Hazelton (Hazelton Village) and New Hazelton. I found a motel on the internet in New Hazelton on the main road of town called the 28 Inn. In no time at all the bus was rolling into the parking lot of the 28 Inn in the shadow of the rugged Roche de Boule Mountain Range. Hazelton consists of one main street but everything is there within a two block radius.

302 ~ ‘Ksan Historical Village and Museum

The Hazeltons have been the home of the Gitxsan people for 3000 years. They inhabit the area around the confluence of the Skeena and Bulkley Rivers. Hazelton is named after the hazel bushes that paint rivercarved terraces. Each community within the Hazeltons is small and easy to navigate by foot. Energetic visitors can also walk the Eagle Down path that connects New Hazelton, Hagwilget, Gitanmaax, and Hazelton Village. A vehicle however is necessary to experience the entire Hazeltons area. Some of the area’s attractions, such as the lush Kispiox Valley are at least a one-hour drive from the nearest community.

Six ancient Gitxsan communities still exist today. Known as “People of the Hiding Place,” the community of Kispiox is one. Gitanmaax is another.

‘Ksan Historical Village and Museum is located near the ancient village of Gitanmaxx at the confluence of the Bulkley and Skeena Rivers.

‘Ksan features a replicated ancient village which illustrates many features of a traditional ancient village. The ‘Ksan cedar Longhouses form a single line with each of the seven structures facing the river. From this position they are visible from the water. In conjunction with other features such as the traditional smoke house and food cache, ‘Ksan has lots of the characteristics typical of past Gitxsan villages.

Getting around the Hazeltons on foot was going to be a problem. The ‘Ksan Historical Village was located a fair distance from my motel so

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I would need to take a taxi. I arranged for a local taxi service aptly called Thunderbird Taxi to pick me up and take me to ‘Ksan. Coming into town on the Greyhound I had noticed a sign advertising Sebastian Native Arts on the Hagwilget Reserve. I wanted to stop and see them as well. It seemed I would need a taxi to go everywhere in Hazelton.

It was a short ride down to ‘Ksan and soon the marvelous Longhouses and totems of the replica village came into view. How marvelous they looked painted red and black on the natural wood. The animals on the totem poles raven, bear and others were very distinct and well carved.

Inside, I asked if the director was available. She was away so I explained what I was doing in Hazelton. I asked if there were any artists nearby and was told to call Earl Muldon. Earl has been an internationally renowned artist for over 40 years and worked with the Parks Board during the creation of ‘Ksan Village. I was also told to see Ron Sebastian who owned Sebastian Native Arts.

There is a lot to see and do at ‘Ksan. Besides the Historical Village the museum showcases a sizeable ethnographic collection of Gitxsan cultural pieces. Some 600 cultural objects have been collected from the surrounding area, including both ceremonial and utilitarian objects. Traditional bent boxes, ceremonial masks, button robes, sharman regalia, fishing gear, hunting utensils and assorted lithic materials demonstrate the splendour of treasured cultural objects.

304 ~ Earl Muldon

One can also take a tour through the different Longhouses. Wilp Lax See’l or Frog House represents 12,000 years of history on this land and life prior to European contact. The narrative and exhibit in the Frog House portrays the many different scenes common in Gitxsan village life before European contact in the mid-1800s.

Wilp Lax Gibuu or Wolf House presents the traditional governing system of the Gitxsan, commonly referred to as the potlach. Gitxsan call this ancient gathering of the clans, “Yuukw” or feast. The Wolf House illustrates this form of governance and its many traditional inheritance laws.

Wilp Gisk’aast or Fireweed House exhibits the traditional dance regalia used by the ‘Ksan Performing Arts. Displays of ceremonial clothing, chiefly blankets, masks, headdresses, aprons, drums, rattles are used to present Gitxsan ancient song and dance. Guided tours through the traditional cedar Longhouses are available to the public during the months of May through September. The conventional museum exhibit and gift shop are open year-round. www.ksan.org In January of 1981, I headed back to rural Manitoba for my first teaching assignment. It was in the dead of winter. There was a white-out when I arrived and the temperature was -30. I had bought a huge trunk and for reasons that escape me mom and dad packed my things into it and shipped it back to me. It eventually arrived at my rented house in

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the middle of a snow storm. I quickly learned that being the only music teacher in a small rural community was all about getting everyone on your side: principal, vice-principal, superintendent, students and parents. And in a religous community as this was the general congregation.

It was no place for a pirate to use today’s Trump based jargon. It was my first lesson in school politics and I lasted a year and a half. I was responsible for about 300 students from grade five through eight and about one humdred were beginners. It was hardly enough time to see any results.

The principal seemed to prefer having young girls under him that he could control and tell what to do and I didn’t fit the bill. I also found it exausting as the community had no indoor sports facilities of any kind.

All one could do in the winter was go for a walk in the snow at thirty below zero.

When I called Earl Muldon his wife Shirley answered. Shirley said to come over and they would be happy to talk to me. It was a short walk to the Muldon house with the white picket fence. Shirley greeted me at the door and invited me inside.

Earl Muldon taught at the Kitanmaax School of Northwest Coast Indian Art for 13 years from 1971 to 1984. In the process of teaching he worked with many of today’s leading aboriginal artists, such as Dempsey Bob and Glen Wood. During this time he led or participated in carving more than 15 totem poles including 5 poles commissioned for the

306 ~ Gitwangak Battle Hill National Historic Site

Highfield Corporation of Alberta for their Richmond BC office. These poles were later taken down and three have been raised at the Vancouver International Airport (YVR) and two stand at the Vancouver Convention Centre.

With the help of training that Earl took from Peter Paige of London’s Goldsmith’s Hall in 1982, Earl has become one of the most sought after gold jewelers working today. He continues to produce exquisite pieces of jewelry and art for clients all over the world. Many people living in the region have or are aware of his work for its uniquely Gitxsan style, demonstrating Earls’ thorough knowledge of the history and the art form.

Earl designed and along with Walter Harris, completed a stone carving which sits in the stairwell at the Parliament of Canada. This sculpture measures twenty-two feet in length and is four feet high. In 1990, Earl was named Simoogit Delgamuukw, hereditary chief of the Gitxsan Nation, upon the death of his brother.

His most important work came during the Delgammuukw Court Case from 1985 to 1996. Earl, not only participated as a plaintiff in the proceedings, but as an artist and took on the responsibility to carve eight totem poles that were raised in Gitanyow and Gitsgukla. These poles symbolize the rights and ownership claimed by the Gitxsan and Gitanyow Nat yow Nations to their traditional territories. In Kispiox, the

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House of Delgamuukw raised their own totem pole. He co-authored a book of this project called, ‘The Tradition Continues: Monumental Sculpture in the Gitanyow and Gitxsan Territories 1986-1996.’

Delgamuukws’s contribution to the Gitxsan culture comes from the traditional teaching he received from his parents Peter and Lottie Muldon, as well as from his uncle Albert Tait. He has passed his knowledge on to many young apprentices like he himself was, so they will be able to teach the next generation of carvers and community leaders (Interior News October 28, 2009). On October 15, 2009 Earl was the recipient of the BC Creative Lifetime Achievement Award for Aboriginal Art. I enjoyed talking with Shirley and she was quite enthusiastic about my guide. She told me all about Earl’s achievements. When I arrived Earl was busy working at his jeweler’s bench. Shirley took me in to meet Earl. I asked if I could take his picture for my guide and he agreed.

After about an hour visiting and talking with Shirley and Earl I called Thunderbird Taxi. I enjoyed meeting Earl and hearing about his wonderful life. I told them I was not sure if I could get up to Gitanyow on this trip. The taxi fare might be too steep but I did want to see the totems that Earl had carved.

That night back in my motel room I had a look at a few brochures I had found at ‘Ksan. One that sounded interesting was the Gitwangak Battle Hill National Historic Site. Formerly known as Kitwanga Fort it

308 ~ Ron Sebastian

was a fortified village occupied during the late 1700s and early 1800s by the Gitwangak First Nation. Strategically located on a small hill above the riverbank, the site afforded excellent vantages up and down the Kitwanga River Valley and the adjacent Kitwankul Grease Trail. A famous occupant of the site was warrior ‘Nekt’ who fought to establish control of the network of lucrative trading trails in the Skeena, Kitimat and Nass region of northern BC.’ There was no computer at my motel so all I had were my brochures. I was definitely interested in seeing Gitanyow but it is located on Hwy 16 between Terrace and Hazelton so a long taxi ride.

I wouldn’t get to see the poles Earl and his apprentices’ carved on this trip. It looked however like I would be able to afford a taxi out to Kispiox Village.

The much admired Kispiox totem poles stand near the junction of the Kispiox and Skeena Rivers. The beautiful hand carved totem poles include killer whale, wolf, frog, eagle, raven and human figures. They are all privately owned by different House Groups/Families. Each pole signifies the adaawk or crest of each House Group.

The taxi ride out to Kispiox Village went right past Sebastian Native Art so I was able to stop by and see Ron Sebastian. Ron is a Gitxsan and Wet’suwet’en artist who specializes in Northwest Coast Native Arts & Crafts. He opened his studio/gallery on November 26, 1993 realizing a life long dream. In the early 70s Ron studied carving and design at the

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Gitanmaax School of Northwest Coast Native Art at ‘Ksan Village in Hazelton. He is well known in the art world and his work can be found in museums and private collections throughout North America, Europe and Japan. His woodcarvings which include: masks, bowls, bentwood boxes, rattles, talking sticks, rhythmn canes, murals and totem poles of all sizes have been widely exhibited. Quite a few of his native prints all have appeared in art books. His finely crafted gold and sterling silver hand carved and casted native jewelry is in great demand for graduations, birthdays, anniversaries and weddings.

Ron has designed and worked on many projects throughout his career. Three murals carved by Ron and Earl Muldon were installed in 1977 in the main foyer of the Department of Indian Affairs building in Hull, Quebec. In 1980, Ron and his brother Robert E. Sebastian carved a cedar panel for the new school in Takla Landing. A 1.8 meter round mural carved by R.A.S. for the Dze L K’ant Friendship Centre in Smithers can be viewed on the front entrance of the building.

His most recent works include an elaborately carved pair of Chief’s chairs and a talking stick for the University of Northern British Columbia in Prince George, BC. These carvings are used on special occasions by the president and chancellor of the university. Two carved doors, located in the Senate chambers of the university also enchant the U.N.B.C.

310 ~ Kispiox Village

Another project Ron takes pride in is two carved doors that can be viewed at the Tourism Centre on Victoria Street in Prince George, BC. These two doors were painted and designed by Ron’s carving class students which he instructed in 1995 in Prince George. The 2 Rivers Art Gallery commissioned Ron in the year 2000 to carve a 30 ft. millennium Unity totem pole which is now situated in front of the gallery in Prince George. Ron also carved a totem pole located in London, England.

I met Ron in his studio on the Hagwilget Reserve up the hill and the third log house on the left. He was as were most of the artists on a voyage of discovery, quiet and unassuming. He told me that he had been born on the O’Hara #2, a fish packing vessel which was taking his mother and father to the Prince Rupert General Hospital from Carlisle Cannery (on the BC coast). His native name is Gwin Butsxw from the Gitxsan House of Spookw of the Lax Gibuu (Wolf) Clan. After a short talk and a look around his gallery I said goodbye.

My next teaching assignment was in the Fall of 1982, still in Manitoba but at a rural high school. This town had an indoor swimming pool so I could keep my energy level up. It also had several music teachers.

I remained there for three years before being squeezed out by past allegiences and outside pressures. When you are the only music teacher you do not have to worry about other teachers trying to usurp you from your position. I held the senior position at the high school and while I

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had the principal on my side for at least the first two years the superintendent has the final say. If the principal’s position becomes weak heads may roll. I taught for one more year at a private school in Quebec which had its own problems before moving to Montreal and putting down a down payment on a small house on a corner lot with twenty-four fir trees in a township in north Laval called Fabreville.

It was a beautiful, scenic 20 minute drive to Kispiox Village north west of Hazelton. You begin to see totem poles in the distance as you drive up and then the first two come into view beside the Kispiox band office. Then, in an open field, you arrive at Totem Park which is breathtaking. Monumental totems some 10 feet apart dot the edge of the field as you drive by. Some are old and weather-beaten. Others are newer.

They all tell a story relating to an event in a particular families history such as a birth or death or a marriage. They are truly magnificent. There is also a beautifully painted mural in the eave above the doorway of the Kispiox band office. The day I arrived the weather was drizzly and overcast. There is a cultural/information centre that is open all year round but I did not go inside. Tours are also available. Because I had come by taxi (not the best idea), I was concerned that if I stayed too long it might get expensive. I just wanted to see Totem Park with all its totems so I was happy. If you do travel to Kispiox Village be sure to visit the Kispiox Fish Hatchery as well. The Kispiox Band also operates Skeena Eco

312 ~ Totem Poles

Expeditions and you can go white water rafting on the mighty Skeena and Kispiox Rivers. To learn more, go to www.kispioxband.com or find them on facebook.

The Gitinmaax (Kitinmaax) School of Northwest Coast Native Art located in ‘Ksan Village was not in operation during my visit. It is only open when instructors are available. The Freda Diesing School in Terrace is now the main school for native artists in the valley. I googled the Gitinmaax School and a blog said that it offered four year courses but I am not sure if the blog was current. This writer has not been able to find any history or background information as to who the instructors were or students at the school other than what I have mentioned in other parts of this book.

I wasn’t looking forward to taking the bus back to Prince Rupert. I had seen all I could around Hazelton without a car. It would be a long, uneventful bus ride in cramped quarters so I looked around for another way back. There were train tracks north of Main Street but no train station so I asked at a restaurant nearby whether a train ever passed through. To my surprise I was told, “Yes, just stand by the side of the tracks and wave your arms when you see the train approaching. You will have to call VIA Rail though to find out the schedule.” That night, back at my motel, I called the VIA Rail information line and was told that a train would be passing through the following night at 7 p.m.

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“Just stand by the tracks and wave your arms.”

The following afternoon I went back to ‘Ksan Historical Village again to look at their magnificent totem poles. Totem poles have always been the most famous example of Pacific Northwest Coast Indian Art. They designate rank and power within a tribe/community. The bigger and more beautiful the totem pole the easier to outdo a rival. Totem poles probably began as house poles. The first carvings on house poles often represented crest animals or guardian spirits that indicate the social origins and rank of the owner. The support beams in the house could also serve to exhibit the families crest. In-time, high ranking chiefs outgrew these support functions which were replaced by independent poles placed decoratively in front of their house.

The most important pole was the memorial pole. It was commissioned by a successor of a deceased person in order to confirm the legitamcy of his claims to the status and privileges of the deceased. The Haida carved mortuary poles. Smaller poles were erected at graves as markers. Totem poles erected on the beaches served to welcome guests arriving by boat.

Poles varied from culture to culture in their usage and significance.

Carvings on the poles would foremost be the crest animal representing the lineage of the owner. Mythical crest animals might be added if they played a significant role in the origin myth of the family. Sometimes it is difficult to interpret exactly the motifs on a totem. One may

314 ~ VIA Rail

identify a certain animal immediately but the stylistic elements might be different: is it a raven or a mythological thunderbird.

The structure of the design is important as is the symmetrical plan.

(Whether the artist has left empty spaces or filled them in with eyes and other design elements). Exaggeration of size, expression, symbolism and abstraction are other stylistic elements. On Chilkat blankets symmetry is achieved by a split profile. The animals anatomical features - head, rump, legs, feet, ears, tail - are separated from each other and rearranged often at random. Northwest Coast artists do not create a naturalistic design in their artwork. Instead, they paint or carve the animal or its body parts in silhouette only. These “formlines” change constantly, becoming narrower, then wider, while color determines their importance within the design. The primary contoured lines are done in black, the secondary in red and blue-green is used as a tertiary color.

This differs sometimes with culture. The most important universal element, however, is the contour or formline that circumscribes an area.

This most characteristic design element appears in the varied curvilinear forms, ranging from perfectly round to egg-shaped, in double or triple lines.

In trying to identify specific animals there are a few characteristics specific to each. The killer whale can be recognized by its dorsal fin; the beaver by its larger-than-life upper incisors and its crosshatched tail,

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the raven by its beak, which is only slightly bent to distinguish it from the strongly curved beak of an eagle. For more difficult indentification it is necessary to use a book.

I had not signed on for the politics of teaching. I loved the kids and the music but the rest of it was not to my liking. I now realize to be a school musc teacher you had to have a certain degree of flexability which in retrospect I did not. I didn’t feel competent to teach other subjects such as choir or guitar. My colleagues from UBC, I now know had to teach multiple disciplines in order to survive. I had enjoyed Montreal when I was there for Expo 67 so I decided to see what it might hold in store for me. Amongst the activities I got involved in was I tried to start The Montreal Young People’s Band. I found an elementary school where I could hold rehearsals two nights a week. I had lots of music having purchased the band library I travelled to Europe with when Mr. Delamont died in 1982. I managed by word of mouth to get a few students out to rehearsals but the majority of them only spoke French which proved to be a problem. My French was not that good.

I spent a most enjoyable afternoon amongst the totems and Longhouses at ‘Ksan Historical Park and at 6 p.m. left for the train tracks. It was very dark as I made my way from the main road down to the tracks.

Luckily, there was a full moon. I still just had on my lightweight windbreaker and I was definitely not prepared for snow. So far I had been

lucky though. No sign of the train as I waited with my suitcase by my feet. There wasn’t even an asphalt paved pathway to stand on just gravel.

After about a half hour I started to get cold. I could hear wolves howling in the distance. It was a clear night and the stars kept me company. I hadn’t brought a watch. After a good hour my mind began to play tricks on me. Had I misheard the VIA Rail person? Was it the wrong night?

The train came by every other night as I recalled. Maybe I misheard the time and I had missed it. It was getting quite chilly and I was not sure what to do. There was no one else waiting which wasn’t a good sign.

If the train stopped regardless of whether there was someone to pick up there would be an attendant or someone holding a lantern I thought.

Getting anxious and with no train in sight I ran back to the restaurant to double check that I had not mixed up the nights. “What are you doing here?” the waitress said to me. “Hurry back to the tracks. You are going to miss the train.” I ran back to the tracks (with my suitcase gripped firmly in my hand) but there still no sign of the train. The wolves were howling big time. Nothing left to do but try to relax. Then, I thought I saw something in the distance. It looked like a light. It was very small at first but unless it was my imagination it appeared to be getting larger.

Then I heard what could have been interpreted as a train whistle. Then I heard it again and again and the light got bigger. Before long, I knew it was definitely the train because a couple of people appeared out of

nowhere behind me. It wasn’t long before the whistle was ringing in my ears and I knew everything was going to be allright. The locomotive was now in full view and the train came to a halt a few feet in front of me. Out jumped the conductor with a lantern and I thought, “The train to Haida Gwaii.”

It was a steep climb without a platform up to the door of the train but I made it inside and took a seat. There were not many people on board so there were lots of seats. This was a much more comfortable way to travel back to Rupert than by bus. After all my hard work I deserved to relax. The time passed quickly and it wasn’t long before we were approaching the outskirts of Rupert town. When we all looked out the window to everyone’s astonishment, it was snowing!

It was a long walk back to the Highliner Hotel in the slush and snow.

I was lucky to get the same room as before (second floor from the top) with its magnificent view of the harbour and beyond. I stood for a moment watching the snow come down through the large picture window and wondering if I really was going to get to Haida Gwaii.

There are two ways to get to Haida Gwaii from Prince Rupert. One is by ferry. The ferry takes 6 hours and departs late in the evening and arrives very early in the morning before anything is open. It only goes to Skidegate at the south end of the island. Return flights to Vancouver only depart from Sandspit, south of Skidegate. Float planes take about

316 ~ All Native Basketball Tournament

45 minutes and only go to Masset at the north end of the island. If I flew over to Masset and made my way down to Skidegate it would be easy to get to Sandspit for my return flight home. But how to get from Masset to Skidegate was the question. Logic told me there must be a way. It was an easy decision as I didn’t want to spend 6 hours on a ferry.

It was still snowing the next morning when I asked at the hotel desk if flights went to Masset in bad weather. I was directed to Inland Air Services. “Sure we’ll take you over today,” said the attendant when I called. “We fly in any kind of weather.” I went over to the front doors of the hotel and looked out. It was blowing sideways and there was lots of snow. Flying today didn’t seem to me to be a good idea. Hopefully, the weather would be better tomorrow. I always like to practice ‘Safe Tourism’ and not take unnecessary risks. Besides, visibility would have been nil in this weather and I was sure it would be a scenic flight.

Back in Montreal, I started writing fiction novels inspired by the history that I discovered around each corner. One nght I became inspired and stayed up all night writing as much as I could about the band I had travelled to Europe with as a boy. The best time I had ever had in music was the time I had spent in that band. The music and the showmanship of the conductor were unequalled and I became enthralled with trying to discover more about its past history. The book I wrote that night became the first book in a series of six books that I would write about the

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band over the next twenty-five years and is called By Jove What A Band.

What to do in Prince Rupert in bad weather? I decided I would go for a walk and end up at the Javadot to search for a hotel in Masset on the internet. Through the mall and past the Crest Hotel I soon arrived at the Museum of Northern BC. All was quiet in Cow Bay. I discovered that the reason it was called Cow Bay was because female whales used to bring their young into the Bay. Whoever painted that sign of the dairy cows knew less than I did. Just before the hill on the other side of the road I noticed something different. The store with the sign in the window which read: All Native Basketball Tournament was open so I went inside. It was pretty amazing what I discovered.

The All Native Basketball Tournament started in 1947. It is one of the largest gatherings of first nations people and celebrations of first nations culture in the province and in the country. It happens each year and lasts one week. The tournament was revived in 1959. The response from the beginning was overwhelming. A total of 15 teams came out representing many native villages. Lots of rivalries ensued. It was so successful that a Hall of Fame was set up. Its first member was inducted in 1989.

For half a century the All Native Basketball Tournament has provided countless hours of competition, entertainment and fellowship for players and spectators alike. In 2009, 70 teams participated. I left the store

318 ~ Engelhard’s Oceanview Lodge

saying to myself, remember, never assume anything!

Engelhard’s Oceanview Lodge sounded like the perfect location for me in Masset. It is centrally located next to the Masset government dock and within walking distance of all restaurants and stores. They had 18 spacious non-smoking guest rooms with beautiful views over Masset Inlet. Complimentary breakfast is served every morning. I decided not to make a reservation though until the next morning in case the weather was still bad.

The next morning when I pulled the curtains back the sun was shining brightly. What a magnificent day! I could see a good distance in all directions. I called Inland Air and booked a flight for that afternoon to Massett. Then I went over to the Java Dot and and booked a week at Englehard’s Oceanview Lodge.

At 2 p.m. a taxi picked me up and took me to the Seal Cove Seaplane base. Seal Cove is home to Prince Rupert’s seaplane fleet as well as the Flight Services Station. The Canadian Coast Guard is also based there.

Seal Cove base was first developed by the Royal Canadian Airforce during World War Two. The hangars date from that era. That is how I found myself on a ten seater float plane high above the Hecate Strait on my way to the mystical village of Masset, some seven weeks after my departure from Vancouver.

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CHAPTER 9

I Carve The Black Slate Called Argillite The flight to Masset was amazing as we flew high above the Hecate Strait in the beautiful sunshine. I could see the islands of the Alaska panhandle in one direction and far out to sea in the other. As we reached the north tip of Haida Gwaii its rugged coast looked surreal as the waves washed ashore. Soon we landed at Masset seaplane base in downtown Masset. Inside the small seaplane office I picked up a brochure on the Haida Raven Gallery located across the street on Old Beach Road. “The owner is around the back if you would like to meet him,” the girl behind the counter said. In a few minutes a man came into the office and she introduced us. “Where are you staying?” the man asked. “At Englehard’s Oceanview Lodge.” “Come with me and I will show you my gallery and then I will drop you off at Englehards. There is no bus service in Masset so we all help each other out.”

322 ~ Evelyn Vanderhoop

I was very impressed with some argillite carvings in his gallery. One was by Charles Edenshaw. The argillite used by Haida carvers is black or grey carbonaceous shale. Argillite is a relatively soft stone to carve.

Haida people are the only ones permitted to dig the quarry and carve this stone. You cannot find argillite any where else but on Haida Gwaii.

Englehard’s was only a 5 minute drive away and soon we were there.

No one was at Englehards when we arrived. “The owner has probably gone for a drive,” the man said, “he should be back shortly.” He said goodbye and left me there with another couple who were also waiting for the owner to return. Englehard’s Lodge offers magnificent views of the ocean from its beach front location. I left my bag on the porch and walked over to the government dock which was just a short distance away to see if I could see Main Street. I discovered Main Street started at the dock. Looking up into the town I could see several stores along either side of the street for about the next two blocks. In about an hour the owner returned. He had completely forgotten that we were all coming on that day. The room I was given was big and spacious. It was the size of a suite but all one room and very comfortable. After settling in and finding the dining room for breakfast the next morning I headed back outside to explore Main Street. It was getting dark so I wanted to find a restaurant. One hundred yards down Main Street there was a coop store on the right which would come in handy for buying snacks. I

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managed to find a local hangout for dinner that served Asian food and it was actually quite good. I do not remember its name. After dinner I walked around alittle more and then I returned to the Lodge. I had picked up several brochures on Masset in Rupert so I spent the evening relaxing and planning my next day’s agenda.

After a short stint helping someone build a house on an island near Montreal, I decided to drive back to Vancouver to be with my parents.

My father had been diagnosed with Myeloma. I had an old van that my friend had given me so I piled all my things into the old van and headed west along highway 2 in the US. When I reached the Glacier Pass, I blew the engine and wound up coasting down the other side, past the I5 freeway all the way to Anacortes where I sat and stared at the Pacific Ocean for what seemed like ages. I managed to crawl back to Vancouver up the I-5 and the van remained parked in my parents back yard for the next year.

The next morning, I wanted to call Evelyn Vanderhoop. Several artists in Alaska had said to be sure to look her up when I got to Masset including her niece whom I met at Crazy Wolf Studios. I hoped her niece had mentioned me to her. As it turned out she had. When I called Evelyn she was very enthusiastic and invited me to visit. She said she would come and pick me up and introduce me to her daughter and several other artists who all lived nearby. I had know idea the extent of what was

324 ~ Norma Adams

about to happen. When Evelyn arrived at the Lodge she came straight to my room and knocked on the door so I invited her inside. Evelyn is a lovely lady, very enthusiastic, bubbly, excited and very gracious all rolled into one. I liked her right away. She sat down in the sitting area of the room by the window and we chatted about what I was doing in the North and how happy she was I was able to include Masset in my guide. Unfortunately her mother (Delores Churchill) had to return to Ketchikan so I wouldn’t get to meet her until a few years later at the Bill Reid Gallery in Vancouver. [Evelyn and her mother came down for a show of Evelyn’s art.] “There are lots of artists you need to meet and put in your to happen. When Evelyn arrived at the Lodge she came straight to my room and knocked on the door so I invited her inside. Evelyn is a lovely lady, very enthusiastic, bubbly, excited and very gracious all rolled into one. I liked her right away. She sat down in the sitting area of the room by the window and we chatted about what I was doing in the North and how happy she was I was able to include Masset in my guide.

Unfortunately her mother (Delores Churchill) had to return to Ketchikan so I wouldn’t get to meet her until a few years later at the Bill Reid Gallery in Vancouver. [Evelyn and her mother came down for a show of Evelyn’s art.] “There are lots of artists you need to meet and put in your guide,” she said. “You are going to be busy.” I could hardly wait!

We drove out to Old Masset to her daughter Carrie Anne’s house on

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Raven Avenue. There were several people there and they all wanted to help me compile a list of artists they felt I should include in my guide.

Carrie Anne, Evelyn’s daughter, had a smile as big as the moon. She was radiant and beamed from head to toe. She was with child so maybe that was the reason. I have seen pictures of her on facebook since and she still has that wonderful smile. “What a beautiful daughter you have,” I said. “Yes, we are very proud of her,” said Evelyn. She has a degree from Harvard.” “The Harvard?” I asked. “Yes, her father lives in New England so she spent a lot of time there growing up and wanted to go.” I couldn’t believe it! She hardly looked old enough but then looks can be deceiving. I also met Evelyn’s sister April. “You have to be in my guide too,” I said. “No, no not me. Evelyn is our spokesperson. She likes the publicity. I prefer to be in the background.” “Well if you ever change your mind be sure and let me know.” There were others present too but I do not recall their names. Everyone was very enthusiastic and I could tell they were a very caring and loving family. “Okay,” Evelyn said, “Let’s make a list. Who should be in his guide?” They all started calling out names: “Primrose, she should be there. She’s an aunt.” “Yes, and Merle Anderson, Georgia Bennett, Norma Adams, Marlene Liddle.” “Don’t forget Robert Bennett.” “We are all related,” Carrie said, “These are a lot of my auntie’s.” “Oh, and don’t forget Reg Davidson,” said Evelyn “and Jim Hart.” “Christine Carty,” someone else yelled out. “Joyce

326 ~ Merle Anderson.

Bennett,” added another. Evelyn could see I was getting a little overwhelmed by it all. “Don’t worry, they all live here on Raven or Eagle Avenue. We’ll give you their addresses and all you have to do is walk down the street and knock on their door. One of us will call ahead to let them know you are coming. “Okay,” I said and headed out the door with my list in hand. On the list Evelyn had penciled in what each artist did: weaver, cothing maker, box maker. It was all very exciting and I didn’t really have the time to feel overwhelmed. My first stop was at the home of Norma Adams. Norma was the granddaughter of Charles and Isabella Edenshaw. She specialized in making clothing with Haida crests. Most of her work was hand sewn. She was 78 years old and had been creating elegant one-of-a-kind clothing for many years. She usually has a few pieces on hand but likes to do custom orders. She welcomed me into her home and we had a nice talk. She said to tell everyone to drop in if her car is in the driveway otherwise call ahead. Alot of the names were on Eagle Avenue so I walked up one block to Eagle. Georgia Bennett is a Raven’s Tail weaver. “I weave traditional Haida regalia with modern colors,” she said. “I use pure merino wool that is thigh spun. I weave headbands, leggings, aprons and blankets. I also weave full Haida regalia for dolls.” Primrose Adams is a spruce root and yellow cedar hat and basket weaver. “I have been weaving for over 30 years,” she said “and I love the harvesting and preparation of the spruce root and yellow

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cedar bark.” At one home I met Merle Anderson. “I am the granddaughter of Isabella Edenshaw,” she told me, “she was a well known weaver and her work is in many museums around the world. As we sat, she told me how she started weaving. “In the the early sixties, I tried weaving with my sister Agnes Davis. I weaved half way down a plaited hat and gave up. During that time, before I started my career, I gathered cedar bark and spruce roots for my mother Florence Davidson. In 1994, my sister Virginia Hunter taught me to weave a little hat with spruce roots I had stored. I only went to her for a couple of days, I still wasn’t really interested at that time as I was still working. In 1995, April Churchill came to the islands to teach weaving. I attended her final night of classes, she handed me some cedar bark and said, “Here, prepare this for weaving a basket.” She seemed to have the confidence that I could weave, so I guess that gave me the inspiration to weave. I didn’t actually learn how to prepare, but I got along on my own with preparations. During the time that she taught classes, she taught us to weave a plaited hat, a clam basket, and a few other things. In 2002, Holly Churchill taught me to weave a spruce root hat. When she saw the spruce root baskets I wove, she told me that I was ready to weave a hat. As I had all the material prepared, she stayed until I completed my hat, it was approximately 6 weeks steady work. In 2003 I attended a course Dolores Churchill held at a university in Seattle. It was a five day course. I recently travelled

328 ~ Reg Davidson

to New Mexico and went to a couple of cultural centres and showed my work. I went to Silver City for a fibre arts shop and did a workshop with talks, showing videos and I also wove a Talisman necklace. There were two women in attendance. I also did a presentation at Western New Mexico University, The Expressive Arts Department where I showed the videos “Athlii Gwaii: The Line at Lyell” and “Naxine Weaver.”

They were all impressed with both videos. I gave a talk on weaving and about our culture and traditions. I also attended a retreat in Columbus, New Mexico where I had the women weave a plaited basket. We can’t be threatened by them learning from us because they only have short grasses to weave with,” she said. She was delightful!

I got involved in the antiques business and wound up opening the first antique gallery in Vancouver in 1990. It did very well but everyone thought I was making a fortune and there was a run-on-the-bank as they say. I was on a month-to-month lease so several factions scrambled to pick up the lease and one of them was successful. Just as this happened my father passed away. I never had the time to properly reflect on his passing so now with my mother passing as well, I am remembering them both.

It was getting cold and the sun was going down as I approached the last house on my list, the home of Joyce Bennett. I apologized to her for being so late and told her that I hoped she could still talk to me. She

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was quite happy to see me so she invited me inside. Joyce makes contemporary fashion garments with traditional Haida designs. She even modeled a couple of her blankets for me. “My son John-Brent Bennett does the designs.” I decided to call it a day. One of the older ladies whom I had apparently kept waiting for an hour, couldn’t understand why I hadn’t called her and told her I would be late. I do not remember her name but I didn’t even have a telephone with me yet alone her number. I asked Joyce if she would call Tiiyaan Taxi to pick me up on Eagle Avenue. It had been a busy afternoon.

I was up early again the next morning to visit more artists. Both Marlene Liddle and Christine Carty lived on Teal Boulevard. Christine Carty comes from a long line of weavers, which include grandmother Carrie Weir and great great grandmother Isabella Edenshaw. Christine uses red and yellow cedar to create hats, baskets and blankets. “I am from the Yahgu’janaas clan and was taught by sisters, April and Holly Churchill. One of my hats was purchased by the Canada Council Art Bank. I was one of 79 artists selected from 1840 submissions.” Marlene Liddle told me, “I am a traditional weaver of red and yellow cedar bark.

I come from a long line of weavers and traditional artists stemming back as far as Isabella Edenshaw and beyond. For viewing enjoyment and educational purposes I display the cedar bark in various stages that show how it is prepared for use in weaving.”

330 ~ Christian White

Each artist I met mentioned another. “Did you visit Teri Russ,” Marlene asked. She lives on Old Beach Road. She is a traditional and contemporary weaver of red and yellow cedar.” I didn’t want to leave anyone out.

I was looking forward to meeting Reg Davidson. Reg is the brother of Robert Davidson. I gave him a call and he said to drop by. He livedback on Eagle Avenue. When I arrived at his house there was no one home.

There was a large shed however on the side of his property and I wondered if maybe he was in there. Sure enough, when I opened the door, I saw a huge totem pole and three or four carvers working on different sections. One I noticed was a girl. Reg introduced himself. Reg Davidson is an internationally acclaimed Haida artist who creates large and small cedar sculptures, silk-screen prints, gold and silver jewelry, weaving, carved masks and painted drums. He was born on Haida Gwaii.

Reg began his artistic training under the guidance of his father Claude Davidson who was chief of the village of Dadens and under his brother Robert Davidson. Reg is an accomplished dancer and singer with the Rainbow Creek Dancers, a Haida Dance group that Reg and Robert formed in 1980. Both recognize the importance of song and dance to Haida culture. In 1977, he worked with Robert on the Charles Edenshaw Memorial Longhouse. Malaspina college commissioned Reg to create a 30 foot, 3 figure Eagle crest totem pole for presentation to the

MASSET ~ 331

Tamagawa University of Japan. He still works on masks, paintings and large sculptors for collectors worldwide.

There was another artist on Eagle Avenue that I had missed. Robert Bennett is an authentic steamed bentwood box builder. “I hand mill, steam and bend my own wood. I also draw and paint my own designs.

I have lots of boxes and can custom make them from 4x4 inches to cascasket size.” On my way back from Robert’s home I came across a sign in a window advertising James Sawyer. James is a very talented painter and silversmith. His images are inspired by his Haida heritage. Gold, silver, bentwood boxes, paddles, drums, prints, blankets, logos, panels, clothing and tattoo design are his specialties.

Located further along Eagle Avenue is Sarah’s Haida Arts & Jewelry.

It is housed in a grey, weather-beaten old building with wonderful Haida designs painted on it’s exterior. There was a totem pole out front as well.

Inside there was lots to see. I spoke to the proprietor for awhile and then went back outside. There was also a cafe up on a hill nearby so I decided to stop in for a coffee. It was called the Haida Rose Cafe & Roaster. It is Haida themed and offers a nice view of the surrounding area. Be sure to stop by when you are in Masset. It also sells contemporary Haida art.

I saw the girl I had briefly met at Reg Davidson’s studio inside the cafe.

Her name was Cori Savard. Cori was a young apprentice carver working under the watchful eye of her mentor Reg Davidson. She was a past re-

332 ~ Jim Hart

cipient of the YVR Art Foundation Scholarship. I told her about meeting Brita Alinder at Potlatch Park in Ketchikan. She was unaware that there was another female carver working so close.

There were two more carvers that I wanted to meet. The first was Christian White. I found Christian nearby in his studio. He was born in Queen Charlotte City and raised in Old Masset and is from the DadensYahgu’7laanaas Raven Clan. His Haida name is Kilthguu-lans (Voice of Gold). He is an argillite and wood carver. He was building a Longhouse when I arrived. I googled Tluu Xaada Naay Longhouse and it seems it is finished now and open to tourists. On my way to meet the other artist I had been told about I saw what looked like a Longhouse under construction so I stopped in to have a look. Inside, I met Cooper Wilson. “When I am am not carving I like to hang out with my kids.

I have four boys, three girls and four grandchildren. I’m building this Longhouse as my home, a teaching studio, gallery space, and gathering place. I guess it’s for everything. Life is pretty good for me. I carve the black slate called argillite.” Cooper has two sons who are carvers: Donny Edenshaw and Freddie Wilson.

Since returning from Montreal I had lived with mom and dad. Housing in Vancouver was expensive even back in the nineties. Now with dad’s passing mom was alone in the house. Throughout the nineties I got involved in the magazine business publishing magazines on Van-

MASSET ~ 333

couver and Whistler. Printing prices were high in Canada and advertisers were often not there the following year so they were mostly only one hit wonders. Mom’s health was not as good as it once had been and she suffered a broken hip from a fall at one point from which she seemed to recover. I travelled further a field back to Europe in the fall of 1999 for three months to work on a few magazine projects. You can read about that trip soon in my soon to be published memoir called, The King Of Romania. One outcome of that trip was I developed a life long love of jogging from running on the beaches of the Algarve.

Jim Hart is a Haida artist and master carver from Haida Gwaii. I was told I had to meet him so I hoped he was in town. His works are in public and private collections worldwide. He started apprenticing over 20 years ago with Haida carvers Robert Davidson and Bill Reid. His commission’s include the royal family of Sweden, clients in Canada and the US, the Museum of Anthropology at UBC, as well as restoring an old pole for the Smithsonian in New York City. He has had solo exhibitions in Vancouver and Singapore and once set up a booth at the Louvre, in Paris with other international artists. In 1999 he became hereditary chief of the (Sdaast’as) Eagle Clan of Masset, Haida Gwaii. James Hart was one of the carvers who assisted Bill Reid when he made the Raven and the First Men, a three dimensional dramatization of the Haida creation myth in which the first humans are seen emerging from a clam shell.

334 ~ Robert Davidson

When I found Jim Hart’s home on the water at the end of the road he was inside his carving studio with his son preparing to leave for Vancouver. Jim is a big, friendly guy, very polite and appeared interested in what I was doing. He struck me as the kind of guy that made everyone he met feel like they were the most important person in his life at that particular moment. I have met other people like that. When you are in their presence you are the centre of their attention. I didn’t know at the time we met that he was a hereditary chief but I was not surprised when I found out. He was also an extremely likeable guy and very knowledgable as well. We talked for awhile and he showed me a totem pole at the front of his house by the beach that he had carved. I enjoyed meeting him very much and hoped our paths would cross again one day.

Old Masset where Jim lives is located on the east shore of Masset Inlet on the site of three ancient Haida village sites, five minutes up the coastal road from Masset. It is one of two villages where the Haida regrouped in the late 1800s, having been forced to leave their ancient villages due to their declining numbers, a severe consequence of smallpox introduced by Europeans. Skidegate on the southern shore of Graham Island is the other. The Hudson’s Bay Company operated a trading post at the Haida site from 1869 to 1898. Old Masset is home to about 700 Haida.

April White was another artist I had hoped to meet while in Mas

MASSET ~ 335

set but she was not on the island. I did meet April later in the fall at a Show in Vancouver. April White was born on Haida Gwaii, of the Yahgu’ jaanaas Raven Clan. Through her father, she is a direct descendent of the renowned Staastas Eagle Chief and Haida artist Charles Edenshaw.

Named Sgaana Jaad by elders of her clan, she strives to honour this powerful name and to be respectful of their wisdom in her naming. Entirely self-taught, April’s drive to create stems from her heritage where being an artist is an honoured, traditional profession. She feels free when exploring the limitless possibilities of immagination and creativity... the legacy of this tradition. The essential spirit she captures in watercolours, acrylics, serigraphy and most recently carving, reflects a life defined by proximity to the salt water and rainforests of the Pacific Northwest.

Experiencing the dynamic power of our natural world while working as a fishing boat deckhand and as a geologist has strengthened an enduring personal connection, while creating an internal perspective.

Attractions in Old Masset include the Islands’ largest collection of contemporary totem poles (17). Located throughout the village theyinclude the first pole to be raised on Haida Gwaii since 1871 by Robert Davidson. Old Masset is a very spiritual place.

In the summer of 2001, I had planned a trip to the Caribbean to work on two magazines and then in September, 9-11 hit! No one was travelling. I had already booked the flight and my hotels so I decided to go

anyway. Mom was alone but she had the neighbours whom she could call on if need be. I needed to visit about ten different islands and I soon realized I would probably need to spend a month on each. I had no idea before I left that it would wind up being such a long trip. What to do? I was about three months into the trip when in St. Lucia a life changing event occured. I was hit head on by an SUV while returning from jogging on the highway. To this day I do not remember being hit. I woke up in the back seat of the SUV thinking I was being kidnapped but was actually being taken to the hospital. My life didn’t pass before my eyes as they say but from that moment on I started to prioritize. I had been working on and off for over ten years on a history of the band and had interviewed nearly one hundred of the alumni but I had yet to publish a book. When I returned I set about in earnest to get the material into print which I did! But for the time being I needed to finish the two magazines I had started in the Caribbean. I knew if I called home and told mom I had to stay for another six months she would have wanted me to come home and when I heard her voice I would have probably oblidged. It wasn’t that I didn’t want to come home, but I knew if I did I wouldn’t come back and the project would go down the tube, so I didn’t call.

When I finally did call, several months later, my brother was there moving mom into a nursing home and they were selling the house. I don’t think they believed me when I told them I had been hit by an SUV

and I needed to rest up over Xmas, which was another reason I didn’t come home. I also missed the funeral of my cousin Donna who died of cancer in September which was another sad event. We were the same age and had spent alot of time together growing up and took some readjusting to home life when I returned.

Robert Davidson had been on the island but had just left before I arrived. He is known internationally as a carver of totem poles and masks, printmaker, painter and jeweler. He lives near Vancouver, working out of a studio on Semiahmoo First Nation land and making annual return visits to Haida Gwaii.

His parents were Claude and Vivian Davidson and, through Claude, he is the grandson of the Haida artist and memoirist Florence Davidson.

He is a member of the Eagle moiety, Ts’ał’lanas lineage. His younger brother and former apprentice, Reg Davidson is also a Haida carver as already mentioned.

In infancy, he moved to the Haida village of Masset, British Columbia, on Haida Gwaii (Queen Charlotte Islands). For high school, he moved to Vancouver to attend Point Grey Secondary School in 1965. In 1966 he became apprenticed to the master Haida carver Bill Reid. In 1967 he began studies at the Vancouver School of Art. In 1969 he raised the first totem pole on Haida Gwaii in approximately ninety years.

His works are included in the collections of the National Gallery of

336 ~ Bill Reid

Canada, the Canadian Museum of Civilization and the Vancouver Art Gallery. A significant solo exhibition of his work, Robert Davidson: The Abstract Edge was organized by the Museum of Anthropology at the University of British Columbia (UBC) for viewing at the National Gallery of Canada in Ottawa in 2007.

It was amazing to finally be on Haida Gwaii the ancestral home of such great Haida artists as Robert Davidson and Bill Reid. Anyone who has ever passed through YVR in Vancouver has seen Bill Reid’s amazing Jade Canoe in front of the food court in the main arrival area. Bill Reid’s mother, Sophie Gladstone Reid was from the Kaadaas gaah Kiiguwaay, Raven/Wolf Clan of T’anuu, or more commonly known as the Haida. Bill developed a keen interest in Haida art while working as a radio announcer in Toronto for CBC Radio, where he also studied jewelry making at the Ryerson Institute of Technology, having first learnt about his heritage from his maternal grandfather, who had himself been trained by Charles Edenshaw, a Haida artist of great renown. The name Charles Edenshaw, an iconic figure in northwest coast art, had come up several times during my stay in Masset. Several artists trace their lineage back to him and his wife Isobella. In 2014 the Vancouver Art Gallery put on an exhibition of his work.

Charles Edenshaw (1839-1920) was recognized in his time as an exceptional Haida artist. His work serves as a testament to a tremendous

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individual spirit and a singular talent. With over 200 pieces assembled from public and private collections from around the world, this first major survey of Edenshaw’s work featured the full range of objects that he produced and was organized around five central themes.

The exhibition began with Haida Traditions, which affirms the Haida foundations of Edenshaw’s craft and featured both traditional objects used by the family or that depict family crests as well as commissioned objects such as model poles, model houses or model canoes that were made to illustrate the Haida way of life for far-away audiences. Working at the turn of the century, Edenshaw’s life spanned a period of great hardship and tragedy for the Haida people, yet he found ways to adapt and produce outstanding work.

Haida art and culture is recognized around the world and Edenshaw, to this day, stands as one of its greatest luminaries. This exhibition marked a homecoming of sorts, the first time that such a large number of Edenshaw’s works in many mediums had been brought together, providing audiences with a once-in-a-life-time opportunity to explore the collected works of this Northwest Coast master.

In 1951, Bill Reid returned to Vancouver where he eventually established a studio on Granville Island, and became greatly interested in the works of Edenshaw, working to understand the symbolism of his work, much of which had been lost along with many Haida traditions.

338 ~ Carrie Anne Vanderhoop Bellis

During this time he also worked on salvaging artifacts, including many intricately carved totem poles which were then moldering in abandoned village sites, and aided in the partial reconstruction of a village at the University of British Columbia’s, Museum of Anthropology.

Working in the traditional forms and modern media (usually gold, silver and argillite), he began by making jewelry before branching into larger sculptures in bronze, red cedar and Nootka Cypress (yellow cedar) usually portraying figures, animals, and scenes from folklore, which were meant to bring his ancestors’ visual traditions into a contemporary form. Another example of his work is at the Vancouver Aquarium, Chief of the Undersea World, depicting a breaching orca.

The Edenshaw connection was everywhere. It was like a thread that ran through the art of every Haida artist. A badge of honour passed down from generation to generation. He was and continues to be the inspiration for an amazing and ever growing legacy.

I needed to start thinking about how I was going to get down to Skidegate. The owner of Englehard’s told me there was a lady staying at the Lodge who was driving to Skidegate. He would see if she would like a companion. As it turned out she did and the problem was solved. “We do this often,” he said.

I called Evelyn the next morning to tell her I was leaving for Skidegate that afternoon. I wanted to thank her and see if I could have a photo

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of her for the guide. She had to come down to Skidegate with her son in a few days to bring one of her robes to the museum. We could meet there and I could take a photo of her with the robe.

Evelyn Vanderhoop comes from a family of artists. She is from the Git’anee family of Masset. Her grandmother, Selina Peratrovich was a cuture bearer and a Haida basket weaver. Her mother Delores Churchill, continues to weave and teach as her mother did. Her two sisters, Holly and April Churchill are also weavers, culture bearers, regalia makers and dance leaders.

Evelyn embarked on her artistic career early. In high school, she took summer courses at the Banff School of Fine Arts in Alberta. She recieved a Bachelor of Arts degree from Western Washington University, Bellingham. During the summers of 1972 and 1976 she studied art at major European museums. For the past 25 years she has been a successful professional watercolor artist. A painting of hers was used as reference for a United States postage stamp commemorating Native American dance. Evelyn learned Raven’s Tail and Naxin, (Chikat), weaving from Cheryl Samuel and Delores Churchill. She has gone on to win awards and commissions for her Naxin, (Chilkat) weaving. There are few weavers of the chiefs robes and she is the only weaver currently that has completed two full size Naxin, (Chilkat), robes.

Evelyn’s daughter Kiinuwaas, Carrie Anne Vanderhoop Bellis is

following in her mother’s footsteps. She is a Haida weaver of Naaxin (Chilkat), Raven’s Tail and Cedar bark. She and her husband are raising a young family who will one day themselves become a part of this amazing legacy.

Imagine a community in which every other household lives an artist.

Not just a budding artist but a world class artist or one in the making.

Many of these artists are related and they trace their lineage back several generations to a maternal grandmother or grandfather. Their children and their children after them all become artists. They work together, teach together and carry on their artistic traditions. From birth they are raised to pass on their talents to others through mentoring and teaching. As each matures many become masters skilled in all forms of art, painting, carving, jewelry making, dance and song. If it sounds like an artists utopia it isn’t. It’s called MASSET!

CHAPTER 10

Haida Watchmen!

Skidegate was equally amazing! The trip from Masset down to Skidegate was largely uneventful. We stopped at Ernie Burnett’s wood carving studio in Tiell who is not native. My motel was located in Charlotte City within easy reach of everything. Skidegate is where the artists live. The new Haida Heritage Centre at Kaay Llnagaay is eight minutes north on the highway on the way to Skidegate. My ride dropped me off in front of the Sea Raven Motel. Jackie Jones was the manager of the motel and she made me feel right at home. She was setting up a gift shop in the lobby when I arrived so I told her I would include her gift shop in my guide once it was full of native art. My room was at the back of the property and I found it nice and warm and cozy.

342 ~ The Haida Heritage Centre

It was November and my birthday was less than a week away. I had made it after all. The motel had its own restaurant next door which was a local hangout so I knew it would be good.

I was up bright and early the next morning ready to visit the Haida Heritage Centre just down the road. There was no public transportation so I was told to call Vern at Golden Raven Taxi. Vern arrived in no time and took me over to the Heritage Centre. He knew all the artists in town as well and where they lived so he said he would take me where ever and whenever I wanted to go.

I had heard so much about the Hertage Centre, I hoped it lived up to my expectations. It did just that and far more. It is a magnificent 53,000 square foot cedar multi-complex consisting of five contemporary monumental timber Longhouses. The Centre houses the expanded Haida Gwaii Museum, additional temporary exhibition space, two meeting rooms/classrooms, the Performing House, Canoe House, Bill Reid Teaching Centre, the Carving Shed, a gift shop and a small restaurant/cafe.

Kaay Llnagaay or Sea Lion Town is where six poles were raised in 2000. Each pole represents villages of the southern Haida - Sgaang Gwaii (Ninstints), Hlgaagilda (Skidegate), T’aanuu, Skedans, Cumshewa and Ts’aahi. The figures on each pole represent each village’s crests, its lineage and part of its history. The master carvers were Tim

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Boyko, Norman Price, Giitaxaa, Jim Hart, Guujaaw and Garner Moody respectively.

The buildings at Kaay Llnagaay are referred to as “houses’ in Haida.”

In fact, the Haida word for house is “Naay” [pronounced nigh]: Greeting House, also known as the Welcome House, is the main entrance to the Centre and includes the reception desk for visitors and adjacent gift shop. Eating House (Ga Taa Naay) the Haala Ga Taa restaurant/cafe is always open. Traditional Haida meals as well as conventional family fare are available. Box lunches and snacks can also be purchased.

Food and drinks are only permitted in the cafe or outside picnic areas.

Performing House - This is adjacent to the Eating House and is part of the same building. It is available for rental, weddings, performances, meetings. Bill Reid Teaching Centre and Canoe House - Also known as “Solitary Raven House” this is the display house for Bill Reid’s famous war canoe, Loo Taas, “Wave Eater.” This house also encompasses the Educational Centre for Haida artisans. Carving Shed - This large facility has an open design (no side walls) to accommodate large monumental cedar poles for their enterprising carvers.

The rest was incorporated as the Haida Gwaii Museum. The museum’s primary goal is to accommodate a presentation of Haida culture that represents the full range and quality of Haida art and artifacts. The museum is dedicated to conserving and making accessible the human

344 ~ Jason Alsop

and natural history of Haida Gwaii through exhibitions, research and public programs. Originally opened in 1976, the Haida Gwaii Museum now resides at the old Haida village site of Qay’llnagaay - which translates to “Sea Lion Town” in Haida. In all, the museum covers about 16,000 square feet. The works of several local masters had been commissioned and are presently on display alongside older works.

I finally arrived back in Vancouver after twelve months in all in the Caribbean. Mom was now in a senior’s home on the west side of town.

They had sold the house to cover the cost of the nursing home which had always been the intention. Both mom and dad had sold the cottage at The Bay when I was teaching back east. It was their retirement investment income. Mom made a trip with a friend to Hawaii using the money and both her and dad travelled back to visit relatives in Saskatchewan. They also made a few trips to Las Vegas to visit my brother and his family.

Walking along the hallways of the new museum and heritage centre was very humbling. Everything was state of the art, exactly what you would expect to find in a capital city or urban locale. Yet here, on the tiny island of Haida Gwaii, amidst the splendid scenery and ocean views of the Pacific Northwest it sits, showcasing the lost heritage of a 12,000 year old Haida civilization. A civilization whose art is world famous.

Known for its monumental totems and argillite carvings it is second

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to none. How fantastic and wonderful it all was and what an achievement!

But it was also a challenge. I met with the Operations Manager Jason Alsop and he explained to me that getting a continuous stream of vistors to Haida Gwaii was the challenge. Once they were here there was no problem. But how to make that happen year round was difficult. So to compensate the Centre needed to reach out to the local community and provide opportunities for its members. I could see the challenge right away and remembered the other museums I had visited. This was the first museum I had visited on an island which in itself, I could see, presented a new set of challenges.

Jason liked the guide and said he would send me material for an article. I picked up a few brochures at the Heritage Centre. There were a couple of galleries not too far away. Vern was sitting outside where he had dropped me off after leaving and coming back. I guess he wasn’t too busy. I do not recall seeing anyone else in the Centre. One gallery was called ‘All About Us.’ It was owned by Ben Davidson. Evelyn had told me that Robert Davidon’s son had a gallery in Skidegate. The other galley was the Longhouse Gift Shop. There was also a brochure for Haida Expeditions. The latter two were just up ahead on the water so Vern took me over.

Skidegate Village, along the waterfront is a mix of residential

346 ~ Dolly Garza

homes, an art gallery/gift shop, beautiful coastline views, viewing benches, a restaurant and some picnic tables. The Longhouse Gift Shop is located at the entrance to Skidegate. They offer genuine Haida art hand-crafted by local artists. It is also the site of Bill Reid’s totem pole.

Logging and commercial fishing once dominated this small village but times have changed. Eco tourism and Haida culture are taking over and attracting more visitors. The art of the Haida is the biggest draw and the outdoor activities just a bonus. Vern was still not busy so he waited for me. It was a nice gift shop and I talked to the girl at the counter for a while about the guide. Soon we departed and Vern took me over to Haida Expedi-tions. He had something to do so he said he would be back in about an hour.

Haida Expeditions offers fishing charters, cultural land tours, boat tours of Gwaii Haanas Park Reserve and whale watching tours. They also offer custom charters to anywhere on the island. Their land based tours are by mini-bus and they offer guided walking tours to cultural and national treasures. Haida Gwaii is rich in cultural tradition.

Vern was not back yet when I finished so I noticed a shed nearby and went over to have a look. Inside a carver was working on a totem pole. I told him what I was doing and he introduced himself as Garner Moody.

“You should give my wife a call,” he said, “Vicki. She is a weaver. She would like to be in your guide I am sure.” Just then another fellow en

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tered. “Hi, I’m Tom Greene Jr.” Tom designed silver and gold jewelry.

They both gave me their numbers and I said I would call and make an appointment to visit as I would be here for a week. “Drop back whenever you want,” said Tom. “You never know which artist may be here working. There are lots of us.” I thanked them and said goodbye. I was afraid I might have missed Vern but as soon as I came out, along came Vern. “You must have built in radar,” I said. “Something like that,” he replied and off we went back to my motel. There were several artists I wanted to call the next morning. Evelyn had given me a list of artists in in Skidegate as well. Back at the motel I decided to walk up the street a block and see what stores were nearby. On the same side as the motel I came across Northwest Coast Books. It was a small store with lots of used books specializing in Indians of the Northwest Pacific Coast. I took a quick look around, made a mental note, grabbed a card and carried on.

Across the street was the Purple Onion Deli so I went inside for a coffee.

I went over every morning for muffins and tea during my visit. The main road where my motel was is called Oceanvew Drive. The bookstore was on Oceanview Highway.

For the next seven years I remained by my mother’s side coming over to visit her every night and bringing her whatever it was she needed.

Her health deteriorated gradually over that time. We would go for walks around the neighbourhood the first few years. I would often hum the

348 ~ Gladys Vandal

tune Side By Side. She would look up at me as if to say you crazy fool as she hobbled along on her walker. Selling her house had not been easy. It was her Rock of Gibralter and I think when she let it go a piece of her went with it. She had been my Rock of Gibralter and had helped me out many times over the course of my life. Her house was the one anchor she had had in her adult life that she could always count on. It had always been mortage free until the last few years when her and dad took out an equity loan that only becomes due when the house is sold which was something she could live with. She never had the entrepreneurial spirit that might have allowed her to borrow money against the house in order to buy another house or fund a project. She was never a risk taker. An opportnity had prevailed when I went back to Douglas College to buy our next-door-neighbours house. It was a good price and I could have stayed working instead of going back to school to pay it off but I knew if I even suggested it, it would have upset her too much so I never even mentioned it.

The next morning I started calling artists. Some gave me the names of others: Dolly Garza, Wendy Malesku, Val Malesku, Billy Bellis, Gladys Vandal, Wayne Wilson, Nelson Cross, Sylvia Young, Chris Collison, Clayton Gladstone, Robert Vogstad and many more. Vern came down and picked me up and we left to visit Dolly Garza.

Sgang gwaay or Dolly Garza is a Haida-Tingit basket and raven’s

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tail weaver. She invited me up to her house in the hills above Skidegate Village. Vern knew where to go so in no time at all he dropped me off on a tree-lined street where the houses were hidden behind big evergreen boughs. Sgang gwaay was born in Ketchikan, Alaska. Following her matrilineal culture, she is Kaiganii Haida, from the Sxaalants clan with eagle, frog, and sculpin crests. On her Tlingit fathers side she is Tiin-nei dee (Raven, dog salmon). She was also adopted to the L’uknax.adi and given the name Xaat Shaawat which means Spruce Root Woman. She learned basket weaving from several Haida and Tlingit weavers including Delores Churchill, Teri Rofkar, Holly Churchill and Diane Willard.

She also apprenticed with Teri Rofkar for raven’s tail weaving. She has been weaving since 1980. When I arrived Dolly invited me inside and showed me some of her robes. She let me take a photo of her wearing one. Then she set out a Haida lunch for me with all sorts of delicacies.

After being on the road for seven weeks, Dolly’s home cooked meal was marvelous. I told her about my guide and she gave me the names of a few more artists to visit. Dolly was a nice woman, very friendly and humble. Her robes were magnificent. I called Vern and in a short time (he was never far away) he picked me up and we were off to visit another amazing artist.

Gladys Vandal (JIIXA) is a Haida weaver. She comes from an unbroken line of Haida people and cultural tradition and belongs to the Ski-

350 ~ Ben Davidson

degate Gidins (eagle) Clan, which came from the Naikoon Big House People. “I was born and raised in Skidegate, the daughter of Kathleen (Young) and Issac Hans. My father was a carpenter and master argillite carver. My grandfather, Henry Young, was a historian and singer. My grandmother, Fanny Young, wove spruce root and cedar bark baskets.

My grandmother, Lucy Miller gave me my Haida name: Jiixa.

I started learning cedar bark weaving in 1994, from master Haida weaver Delores Churchill and later daughters April and Holly. I learned spruce root weaving from Virginia Hunter, daughter of Florence Davidson. I continue to learn and take courses whenever I can on different techniques. I also enjoy passing the knowledge on to others and have taught fifty people in Skidegate.

I respect the cedar trees as a gift from the creator and I give thanks before gathering the bark. I collect only what I need. My husband, Al plays a great role in gathering. He makes a cut through the bark and pulls a strip upwards sometimes fifty feet or more. The total amount taken is only about a hand width so as not to harm the tree and it continues its healthy growth.

I use plating and twining techniques to create traditional hats, baskets and mats. Just by looking at something I can usually figure out how it is made and I weave many contemporary forms, baseball caps, dolls, frog pins and reindeer ornaments to name a few.

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I feel a bond with nature and how we are so connected with it. Walking in the forest there is such a strong connection to spirituality to the higher power and what he has to offer. I had a nice visit with Gladys and her husband Al before leaving to visit yet another artist. Vern was amazing. He knew just where to take me and we wasted no time.

Next stop was Nelson Cross. Nelson lived back down by the ocean and there were several other artists all close by. Nelson is from the Eagle Clan and began carving in 1973. He trained under his uncle Gordon Cross and argillite carver Pat Dixon. His father is Raymond Cross who is known for his carved leather work. Nelson attended a repousse and chasing workshop for jewelry design with English goldsmith, Peter Page. In 1986, Nelson helped Bill Reid carve ‘Loo Taa.’ I found Nelson working in his studio in Skidegate Village. He was very laid back and in no pain.

I thought I was back in the ‘summer of love.’ We chatted for awhile and I told him about my guide and then it was off to visit Billy Bellis.

Billy was born into the raven, wolf, killer whale clan of the Haida village of Tanu on April 3, 1963. He has been a full time self-employed Haida carver for the last 23 years and is equally at ease working in wood, slate or with precious metals. His work includes: totem poles, masks, rattles in wood: gold and silver in-laid jewelry, argillite carvings, limited edition gold castings and limited edition silk screen printmaking. He apprenticed under the late Haida artist Bill Reid on the 50 foot Haida

352 ~ Val & Wendy Malesku

war canoe “Loo Taa” as well as in his Granville Island art studio in Vancouver (1987-88). His works are in many collections around the world. These days he works mainly on monumental wood carving projects such as Haida totem poles and on gold jewelry. I liked Billy right away for his optomistic outlook and unbridled enthusiasm. He had just constructed a cottage rental on his property that he was trying to market so I told him I would include it in the guide.

Norman Price was also nearby so we paid him a visit. He was born on the remote island of Hippa, on the west coast of the Charlottes. His father was Jimmy Jones and he was adopted to acquire the Price name.

During his last year of school at age 11, he learned carving from Charles Gladstone. His preference is to carve argillite and cedar totem poles with crests: beaver, raven, eagle and grizzly. I visited Norman in his house and ask if I could take a photo of him carving for the guide. We went back out to his carving shed where there was a partly finished totem he was working on. He picked up one of his tools and pretended to carve and I got my photo.

In the summer of 2009, Mom fell and broke her hip for the second time. When I came to visit her at the hospital I found her sitting up in bed flailing her arms back and forth. I managed to get her to lie down but I was concerned about her breathing. I went to the nurse’s station and asked two nurses to come and have a look but they seemed un-

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interested and asked if I would like them to call the doctor. Because they didn’t seem to be concerned I left. I remember something stopping me outside on the street and leaving me wonder if I should go back and stay with her for awhile but then logic interceeded and I thought she would be fine and she would be there tomorrow as always. About two in the morning I received a call from the hospital saying she had passed away.

I was very upset and I still feel guilty for not staying. I found out later that she had signed a waiver stating she did not want to be kept alive by any artificial means so I guessed that was why the nurses didn’t show any concern. They probably thought I knew about the waiver which I didn’t. I have since heard that elder patients in hospitals are not always shown the same respect as younger ones. I feel this was certainly the case with my mother at least during her last stay.

The day was nearly over and I thought maybe we could stop in at Ben Davidson’s new studio and see if it was open. “All About U Arts,” Vern said to me. “I know where it is. Have you there in a minute.” Ben Davidson’s studio/gallery is located on Highway 16. When we arrived Ben was inside working on a huge colorful carving. Ben was immersed in the Haida art form from a very early age. He began carving at the age of sixteen, eventually completing a four year apprenticeship with his father. He has also worked with other artists such as his Uncle Reg Davidson and John Livingston. Ben was a nice happy young fellow,

very enthusiastic and seemed to have a purpose about him. “I draw my inspiration from traditional knowledge to create innovative and unique contemporary art,” he told me. His pieces are sought after by discerning collectors worldwide. Although he specializes in wood sculptures, he has experience with two dimensional designs and had recently become interested in expanding his repertoire into jewelry and engraving.

His Haida name is “tlajang nang kingaas” which means the one who is known far away. “Your gallery should do well,” I said, “it is nice and bright and it is easy to see your work.” “I hope so,” he said, “It is a big investment building this place.” I wished him well and went back outside to Vern who was waiting patiently.

Val Malesku is of Romanian and Cree ancestry. She has lived on Haida Gwaii since 1973. She began working in silver and gold in the 1980s and has worked side by side with some of the finest Haida artists including Bill Reid. Her unique designs combine the classic with contemporary in Cree and North West Coast styles. She is also well known for her painting, drawing, wood carving and textile artistry. Although best known for her delicate and intricate jewelry pieces, Val also produces some of the finest button blankets, dance aprons and dance vests.

Wendy Malesku, Val’s sister, primarily specializes in the textile arts and regalia worn at native celebrations and ceremonies. She also creates whimsical designs for every day use. Wendy collaborates with Val on

jewelry, painted drums, wood carvings and many special projects.

I called Val and arranged to visit her and her sister in their home in the hills above Charlotte City. They lived in a beautiful house with an amazing view of the water and the town below. “Ben Davidson lives next door,” she told me. I told her that I had met Ben and how much I liked his studio. I spent about an hour with them and took Val’s photo for an artist profile. It took some convincing to talk Wendy into agreeing to have her picture taken. When she finally realized it would only be about one inch square and not a portrait she agreed.

Evelyn had left a message at my motel that morning saying she would be at the Haida Gwaii Museum in the afternoon between 3 pm and 4 pm.

After I finished with Val and Wendy, Vern drove me over to the Haida Heritage Centre. It was nice to see Evelyn again and I took her photo next to a miniature dolls robe she had brought down for the museum.

I thanked her again for all the artists names and told her I had already managed to see several. Her son was catching a flight out so she had to drop him off at the airport.

The next morning I had several artists lined up to visit all near one another. Vern dropped me off first at Wayne Wilson’s house. Wayne lived on the inland side of Hwy 16 just past Haida Expeditions.

At an early age Wayne began an apprenticeship with noted Haida artist and teacher, Gordon Cross. He greatly influenced his designing and

354 ~ Victoria Moody

assisted in developing his metal working skills, paying particular attention to fine and unique detail. Since the early 1980s, Wayne has set a distinct style of cutting out the designs he portrays in silver and gold.

This highly labour intensive technique has placed his jewelry at a forefront among his peers. Wayne was a nice man. He was also the Chair (on the Board of Directors) for the Haida Child & Family Services Society.

I took his photo in his home studio and told him I would include him as well on a free artist profile.

Tom Greene Jr., (whom I had met at the carving studio) lived just down the road so he was my next stop. Tom told me, “One of my early mentors was Rufus Moody (a well known Haida argillite carver) who taught argillite classes in the 60s. I carved argillite until I was 15 years old and then ventured off to a multitude of trades: fishing, tree faller, commercial diver, archaeologist on Gwaii Haanas and photography.

Several of my photos are featured in Ottawa at the Museum of Man. In 1995 I returned to full time carving, refining my style and designs in sliver and gold jewelry. I want to make what people like and keep within the traditional form line.”

When my father died I had been the last one to see him. He was not aware I was there so I just stayed for a short time. He said to me on one of my visits to be sure and look after your mom after I am gone. His heart was in the right place. Mom was a very strong person. I can

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remember people saying after they found out, I cannot believe that she is no longer with us. Mom didn’t need a lot of taking care of at least for the essentials. She had planned for everything. What I could do for her is share what time she had left with her and that is what I did. She would often say I don’t know why I am the only one left. I would say something like I guess the good die young which didn’t always help. All my aunts and uncles had passed away before her and she was the last. I was always grateful that she was close to my older cousin Carole. Carole was like the daughter she never had. Carole shared everything about her family with mom and Carole’s kids treated her like their grandmother. It was nice to see becuase I never married and never had kids so she had Carole’s kids to watch grow up as well as my brother’s two kids. Her extended family was the most important thing in her life.

I had talked with Victoria Moody (Vicki) on the telephone so she was next on my list. Victoria uses cedar bark in the creation of a new style of art that brings together bold designs with her political views. Vicki came to cedar as a teenager and has woven stories into her work. Her Transition robe features the marriage of wool and cedar in new and innovative ways. She has also used her art to help educate people about the importance of cedar to Haida culture. Her husband Garner began carving 27 years ago (in 1982). He worked on the Loo Taas with Bill Reid alongside a host of accomplished carvers including: Alfred Collinson,

356 ~ Tim Boyko

Rufus Moody, Giitsxaa, Nelson Cross and Ding (Melvin) Hutchingson.

He is the nephew of prolific argillite carver Rufus Moody. He carved his first piece of argillite when he was 15. Garner was not home when I arrived so I had a nice visit with Vicki. She showed me some of her weaving which was spectacular. “Have you seen Sylvia Young yet?” she asked. “No, her name had not come up.” “I will give her a call and see if she is home.” She came back in a moment, “Sylvia says sure come on over.”

Sylvia Young began weaving in 1999, cedar roses, hats both traditional and golf, ballcaps, lamps, fans, baskets. “I learned Ravenstail weaving from Evelyn Vanderhoop. I Ravenstail weave with cedar bark hats and baskets. I started spruce root weaving with Dolly Garza just this year (2009). I am of Haida ancestry from the raven clan.” Sylvia was very nice and gave me one of her cedar roses which still sits in a vase on my kitchen table.

Giitsxaa was another artist that Vicki said I should be sure to include in my guide. He was not on the island during my visit but he sent me the following in Vancouver. “I began carving more than 40 years ago.

I sold my first piece in 1962. It was a 9 foot red cedar pole. The first large pole I worked on was at Thunderbird Park in Victoria between the parliament buildings and the Empress Hotel. I remember the hoards of curious visitors who would stop and gawk at me and the other carvers

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while we worked.” The crest selected by Gwaii Haanas’ Archipelago Management Board is a unique design crafted by Giitsxaa. (The sea otter and sea urchin have great significance, both in the history of the Haida people and the ecology of Gwaii Haanas.)

There were other artists from Skidegate that were either not on the island when I visited or not available: Tim Boyko started carving at fourteen and developed his talents and reputation over the years producing finely-crafted jewelry. His favorite metal to work in is silver and it might be because it was the first surface he ever carved on. Master carver Clayton Gladstone has been carving wood and jewelry in Skidegate since 1977. His grandfather was Charles Edenshaw. As a member of the Eagle clan, Clayton trained and worked together with his cousin Bill Reid in the late 1970s and 1980s. He also carved with Tim Boyko and Garner Moody. Clayton’s work is highly respected by museums and collectors worldwide. He enjoys sharing his knowledge and views about traditional and contemporary Haida Art and was featured in the film “The New Masters” as part of the “Ravens and Eagles: Haida Art” series in 2002. He is also a teacher of carving techniques at the Haida Gwaii Heritage Centre and Museum at Kaay Llnagaay. Robert Vogstad lives and works in Skidegate. Robert is part of the generation whose role it has been to revive the traditions of the Haida people. As part of this process Robert worked as a Haida Gwaai Watchman living in

358 ~ Roberta Olson

isolation with two Haida elders in the abandoned village of sgung gwaay (Ninstints). While staying on Anthony Island, Robert began to rediscover the culture of the Haida people. In this role, Robert gave tours and talked about the history of his nation. As a result of this, he was given the name Lutaagaa - the talkative one.

I had not yet stopped in at the Parks Canada office to pick up brochures on Gwaii Haanas National Park Reserve so I had Vern drop me off. Gwaii Haanas National Park Reserve and Haida Heritage Site, often referred to simply as Gwaii Haanas, is located in the southernmost part of Haida Gwaii. Gwaii Haanas protects an archipelago of 138 islands, the largest being Moresby Island and the southernmost being Kunghit Island. To prevent logging, the Haida Nation designated it a “Haida Heritage Site” in 1985, encompassing roughly the southern third of the archipelago.

Importantly, the heritage site included a swath of land and sea, both terrestrial and marine areas. However, logging continued, amidst legal and political battles. In 1987, logging ended when the governments of Canada and British Columbia signed the South Moresby Memorandum of Understanding.

I wrote a book that came out in 2015 on Jimmy Pattison’s barber. One of the people I interviewed for the book was Joe Segal (He was also Mr. Segals’ barber). Mr. Segal said of George, “ You had a lot of potential more than even you probably realize. But life got in the way. You got

SKIDEGATE ~ 359

married. You had one kid, then another. You had bills to pay. Before long you were unable to realize that potential because you were too busy with other things. It happens to alot of people. I realized this danger at an early age and I have always done my best not to get bogged down in life’s activites. I have always tried to stay mobile and available for whatever the next project might be. It is one of the reasons I never married. Having the time to do things has always been important to me.

Some might view it as shirking responsibility but it isn’t. When I take on a project I always finish it. It is a great responsibility and I view it as such. Thanks Mom for always being at my side and watching my back.

I can handle it now. One of the last things she said to me was, “Don’t worry, I am not going anywhere. I will always be with you.” Whenever I think of her she is right there by my side. I know exactly what she meant. Your loving son!

Back in 1981 well before Gwaii Haanas was designated a Haida Heritage Site, the Haida were concerned about the potential for vandalism to old Haida village sites. The Haida Watchman Program began with parties of one or two or three volunteers using their own boats to access the sites and they would camp out for the summer. They presented visitors with a first-hand introduction to Haida culture by sharing their knowledge of the land. Today the Watchman program is funded from several sources, including the fees visitors pay to enter Gwaii Haanas. It has i

ts own management and provides seasonal employment for the Haida.

Haida Gwaii Watchman safeguard five key sites during the summer. The Haida harvest food, run tourism businesses and a youth camp all within Gwaii Haanas. Three human figures wearing high hats are often carved at the very top of Haida poles representing Haida Watchmen.

I had an amazing week in Skidegate and it was over before I knew it. I had booked my flight back to Vancouver for November 23 on Air Canada Jazz leaving from Sandspit. I must have mentioned to someone that it was my birthday on the 22nd because I received an invitation for lunch from Haida culinary expert Roberta Olson to come to her Keenawii’s Kitchen on the water’s edge in Skidegate Village. I spent my birthday on the water’s edge in Skidegate eating fresh culinary delights straight from the ocean: mussels, prawns, octopus, squid and more. Besides myself there was a film crew who had been on the island filming a documentary. It was a beautiful sunny day and marked the end of my amazing journey to the land of the Tsimpshin, Haida, Tlingit, Haisla, Nissga and Gitxsan. I told Roberta that I would include her in my guide for free for free in lieu of the fabulous lunch.

I developed an early passion whenever I visited a new city. I loved roaming the neighbourhoods of London, Paris, Cologne, Zurich, Edinburgh, wherever. There was always so much to see. When I returned home I started doing the same thing in my home town of Vancouver.

These days I publish Metro Vancouver Neighbourhood Guides and share the amazing neighbourhoods of Vancouver with locals and tourists alike.

I hope to spread the word about other neighbourhoods across Canada some day soon. I also publish six native guides so now you know how this story turned out but keep reading. There is still some fun to be had.

The next morning I awoke to find myself in the middle of the biggest rain storm of my entire trip. Winter had finally arrived. I thought for sure my flight would be cancelled but when I enquired at the front desk they said, “Oh no, it will be fine. The bus will be here to pick you up in an hour.” I couldn’t believe it. I remembered, “If people around you are not upset then you shouldn’t be either,” so I was back within the hour waiting patiently for the bus to arrive.

It was a rough ride over to Sandspit on the small ferry. I was amazed that the ferry wasn’t cancelled let alone the flight. Fears turned out to be liars and we all arrived at the airplane safe and sound. On board, the plane was shaking well before the engine was turned on. It shook even more once the engine started. I looked around at the other passengers: one elderly lady was knitting, another was reading. No one seemed alarmed. Soon the plane was taxing down the runway picking up speed and we were off. It seemed like forever as we climbed up through the thick grey clouds until we finally broke through the last one. We then

360 ~ Transformation

found ourselves basking in beautiful sunshine for the remainder of the trip. It was like a cool breeze!

The theme of this book is transformation. A place where the spiritual and the natural planes of existence come together. I invite you all to visit the “Island of Artists” and the land to the north known as the Alaska Panhandle and experience it for yourself. Bring along a good dose of imagination as well. You will not be disappointed!

LINER NOTES CONT. ~ 361

Eva Bryant, Douglas Yates, Ursula Paniyak, laura J. Lagstrom, Susan Henry, Patrick Lind, Percy C. Avugiak, Peter Lind Jr., Peter Lind Sr., Alfred Naumoff, Andrew Abyo, Marlene Nielsen, Tony Weyiouanna, Francis & Mary Kakoona, Dennis Sinnock, Walter K. Nayokpuk, Martina John, Lela Ahgook, Beauford “Charlie” Pardue, June L. Pardue, Umara Nupowhotuk, Rainey Higbee, Samantha Goodwin, Larry S. Okomailak Sr., Joanne Swanson, Selina Alexander, Geo McKay, Jacqueline McNeil, Titus Aukland, Todd Stephens, Dempsey Bob, Stan Bevin, Earle Muldon, Alver C. Tait, Ron Sebastian, Evelyn Vanderhoop, Jim Hart, Reg Davidson, Christian White, Christine Carty, Marlene Liddle, Teri Russ, James Sawyer, Joyce Bennett, Robert Bennett, Cory Savard, Cooper Wilson, Carrie Anne Vanderhoop Bellis, Merle Anderson, Georgia Bennett, Ernie Burnett, Ben Davidson, Roberta Olson, Dolly Garza, Gladys Vandal, Claytone Gladstone, Robert Vogstad, Giitsxaa, Sylvia Young, Victoria Moody, Tim Boyko, Garner Moody, Billy Bellis, Nelson Cross, Tom Greene Jr., Norman Price, Wayne Wilson, Gregory N.Williams, Ben Davidson, Val Malesku, Wendy Malesku.

There were none more important than another and they all had a story to tell as they went about their daily lives. I am only sorry that three people who should have been on board, missed the train: Delores Churchill, Teri Rofkar and Robert Davidson. However, the next time you see ‘The Train To Haida Gwaii’ on a book shelf near you, hopefully, they too will be on board.

I think of my childhood as one of the safest and warmest times of my life. I remember all my relatives with great affection and often find myself thinking about one or the other such as happened on this trip to visit the first nation’s people of northern B.C. and Alaska. The warmth and kindness I experienced on this trip reminded me of my own family of which the elders are now all gone.

I wanted to do something special when my mother died and in refelection I couldn’t have made a better choice than to have made this trip up north. CHRISTOPHER BEST