Canadian Museum of Civilization
Charles Edenshaw was a prolific and sought-after artist at a time when creating traditional art was illegal under Canada’s potlatch ban.

Culture Bearers: 5 Carvers Who Kept Northwest Coast Carving Alive, Part 1

Richard Walker
6/25/14

From the late 1800s until 1934 in the U.S. and 1951 in Canada, the potlatch—the great system of celebration, honoring, witnessing, and wealth redistribution—was banned in an effort to kill indigenous cultural ways. Potlatch-related activities, such as carving, were banned. Authorities confiscated regalia. People who went to potlatches were arrested and jailed. And yet, the cultural ways survived.

Among those who defied the unjust laws of the time were the artists who continued to carve regalia masks, house posts, great totem poles, and sea- and ocean-going canoes. Here’s a list of some of the carvers and their artistic heirs whose legacy is a culture that is living and thriving. This list is by no means complete.

Charles Edenshaw, Haida (1839-1920) For three months this year, the National Gallery of Canada exhibited 80 objects created by Edenshaw, calling him “one of the most innovative artists working on the West Coast at the turn of the 20th century.”

He was in his mid-40s when Canada’s anti-potlatch laws were enacted, yet, according to the National Gallery, his “deep-seated belief in Haida traditions … gave him the agility and fortitude to thrive as a Haida artist during oppressive colonial rule.”

His works included bentwood boxes, masks, rattles, staffs and totem poles. He advanced gold and silver engraving in traditional formline design. He had, the gallery wrote, an “ability to animate Haida stories in his carving.” He was interested in new materials and visual ideas and, according to the Dictionary of Canadian Biography, may have been the first Haida artist to work in silver and gold.

Edenshaw produced many commissioned works; major collections of his works are housed in museums in Chicago, New York, British Columbia, Quebec, and Oxford. His drawings were published in the anthropologist Franz Boas’s 1927 book, Primitive Art. And his work was first exhibited as “fine art” in 1927 by the National Gallery of Canada in Ottawa; the exhibit later travelled to the Musée du Jeu-de-Paume in Paris.

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