Ronald Hawker's insightful examination focuses on the complex functions of Northwest Coast objects, such as the ubiquitous totem pole and ceremonial masks, produced between 1922 and 1961. He demonstrates how these objects asserted the integrity and meaningfulness of First Nations identities, while simultaneously resisting the intent and effects of assimilation enforced by the Canadian government's denial of land claims, its ban of the potlatch, and its support of assimilationist education. Those with an interest in First Nations and Canadian history and art history, anthropology, museology, and postcolonial studies will be delighted by this significant contribution to their fields.
Ronald W. Hawker is an assistant professor, Department of Art and Design, Zayed University, Dubai, United Arab Emirates.
Illustrations Acknowledgments 1 Introduction 2 The Cranmer Potlatch and Indian Agent Halliday's Display 3 Totem Poles in Stanley Park 4 Northwest Coast Art as National Heritage: Two Federal Projects of the Late 1920s 5 The New Deals: George Raley and Depression-era Reform in British Columbia 6 Alice Ravenhill and the BCIAWS 7 Mathias Joe, Mungo Martin, and George Clutesi: "Art" as Resistance 8 UBC, the BCPM, and the Totem Pole Carver Training Program 9 The Totem Pole Preservation Committee and the Case of the Gitanyow 10 Tales of Ghosts That Hover in the World Like Fading Smoke Appendices: A Map showing First Nations groups in British Columbia B Chronology of First Nations art in British Columbia, 1921-61 Notes Bibliography Index