The Haida world is a misty archipelago a hundred stormy miles off the coasts of British Columbia and Alaska. For a thousand years and more before the Europeans came, a great culture flourished in these islands. The masterworks of classical Haida sculpture, now enshrined in many of the world's great museums, range from exquisite tiny amulets to magnificent huge housepoles. Classical Haida literature is every bit as various and fine. It extends from tiny jewels crafted by master songmakers to elaborate mythic cycles lasting many hours. The linguist and ethnographer John Swanton took dictation from the last great Haida-speaking storytellers, poets and historians from the fall of 1900 through the summer of 1901. His Haida hosts and colleagues had been raised in a wholly oral world where the mythic and the personal interpenetrate completely. They joined forces with their visitor, consciously creating a great treasury of Haida oral literature in written form. Poet and linguist Robert Bringhurst has worked for many years with these century-old manuscripts, which have waited until now for the broad recognition they deserve.

This publication coincided with an exhibition of the same name celebrating the Vancouver Art Gallery's 75th anniversary.

Catalogue of an exhibition held at the University Museum, University of Pennsylvania, in celebration of the Museum's centennial, 1986. Three major sections: Eskimo, Athapascan, and Tlingit. Also includes essays on specific items e.g. The Raven Cape and The Knight Island Robe.

Being in Being contains three masterpieces by legendary Haida mythteller Skaay of the Qquuna Qiighawaay. The shortest recounts the high points of the legend of his family. The longest, Raven Travelling, is the most complex version of the story of the Raven ever recorded on the Northwest Coast. The third is The Qquuna Cycle, the largest and most complex literary work in any Native Canadian language. It is a poem of epic length and one of the true masterpieces of North American literature.

Miss Judson has collected these myths and legends from many printed sources. She disclaims originality, but she has rendered a service that will be appreciated by the many who have sought in vain for legends of the Indians. There is an agreeable surprise in store for any lover of folk-lore who will read these books. The Raven Myth The Flood The Origin Of The Tides How The Rivers Were Formed The Origin Of Fire Duration Of Winter Raven's Feast Creation Of The Porcupine How Raven Taught The Chilkats Raven's Marriage Raven And The Seals Raven And Pitch Raven's Dancing Blanket ... and many more ...

The fascinating origin story of Wilson Duff, the pioneering BC anthropologist and museologist remembered for his contributions to research on First Nations cultures of the Northwest Coast. Wilson Duff was born in 1925 in the city of Vancouver and his turbulent early years were shaped by the Great Depression and the Second World War. An intelligent child, he quickly progressed in school. After one year at the University of British Columbia, he signed up for the Air Force. An analytic thinker, Duff excelled as a navigator on a Liberator bomber based in India. However, these years carried their own traumas—the omnipresent terror of war and the specter of death. On his return from India, Duff recommenced his studies at UBC. There he began a love affair with anthropology and museum studies. As provincial anthropologist at the BC Provincial Museum from 1950 to 1965 and then at the University of British Columbia, he helped to shape Canadian and British Columbian understanding of First Nations’ cultures. Forging relationships with Indigenous Peoples during field work, Duff was particularly interested in the Northwest Coast cultures and art, and authored important books including Arts of the Raven: Masterworks by the Northwest Coast Indian and Images Stone B.C.: Thirty Centuries of Northwest Coast Indian Sculpture. Hundreds of students left his classes with a greater understanding of Indigenous cultures and the consequences of settler colonialism in British Columbia. He devoted his life to understanding Indigenous people and cultures and communicating that understanding to newcomers, a subject of continued relevance today. Duff struggled with depression for much of his life and died by suicide at age 51. In the end, he claimed he did not fear death because “the end is the beginning.” He believed in reincarnation: that he would be coming back. In tracing the story of Wilson Duff, biographer Robin Fisher reveals the evolution of anthropological studies, the history of a time and place—Vancouver during the Great Depression and war years—and the more recent changes taking place in museum and anthropology studies. Told with insight, and attention to the controversies and complexities of Duff’s life, this story will fascinate anyone engaged in BC history.

To produce this book, Cheryl Samuel travelled to Leningrad, Copenhagen, and London to examine the six robes in Europe. She also studied the robes housed in museums in Canada and the United States. In 1985, she reconstructed Chief Kotlean's robe, using information she had gathered from her study of the actual robes and Tikhanov's paintings. In the process, she resurrected an old weaving style no longer used by the Native people on the northern coast. Through her extensive and careful research, Cheryl Samuel makes an important contribution to the knowledge of early Indian weaving.