Ozette, a Makah village just below the Canada / US border was buried under a landslide for four centuries. Geological conditions preserved the site. Recently a large number of miniature yellow cedar carvings were found buried there - canoes, whale hunting tools, tiny woven hats, miniature looms, little whalebone clubs. These creations may have served a number of purposes - childrens’ toys, devices used in storytelling and education, whale hunting training material, possibly ceremonial purposes. It’s thought that miniatures were carved and used commonly in northwest coast Native cultures.
When people from other parts of the world arrived on the coast it had an apocalyptic effect on the original inhabitants and on the ecology. Populations were decimated by induced epidemics . People were pushed out of prime village sites and forced to stop speaking their languages. Traditional cultures were outlawed and along with them carved canoes, longhouses, totem poles, and masks and other ceremonial regalia. Forests were clearcut, and salmon and other resources were over harvested.
Indigenous people did what they could to resist the process. Artists contributed to this resistance by creating miniature carvings of canoes, longhouses, totem poles and other traditional material goods. They sold the carvings to non-Indigenous buyers as curios or tourist souvenirs. By doing this they preserved designs and carving techniques for future artists while making themselves a living. Artists were able to continue carving after the demand for traditional items was suppressed. The tourist trade allowed them to carve without drawing negative attention from authorities and Indigenous people could have miniatures in their homes safely.
Haida Chief Charles Edenshaw was one of the first artists to achieve recognition outside of his culture as well as inside. During his life Haida culture was almost wiped out. He created model argillite house poles, longhouses, and boxes for sale to outsiders. Soon artists up and down the coast were following his example. Louis Shotridge constructed model Tlingit villages for museums. He recorded and preserved the layouts while Native people were being forced to live in European style houses and communities. Bill Reid led a renaissance, a resurgence of Haida and Northwest culture. He carved models from which he created great canoes, large sculptures and public installations.
The Kwak’waka’wakw resisted the potlatch ban and took their culture underground during what is known as the dark age of northwest Native culture. Colonial authorities seized and destroyed carvings, or sold and shipped them to museums and private collectors around the world. This resulted in increased production to replace the carvings. A new generation of artists emerged who subsidized their traditional work with producing miniatures for sale. Charlie James produced miniature Kwak’waka;wakw totem poles. Ellen Neel and her family produced thousands of model poles for the tourist market. She made ‘the world’s smallest totem pole’ which was presented to Bob Hope. Mungo Martin produced a number of miniature canoes with human figures, tools and painted paddles to pass on traditional hunting practices. Gordon Scow worked to bring back the ceremonies after the potlatch ban ended. During the 1960’s he carved miniature masked Hamatsa dancers dressed in regalia with moveable arms and legs positioned in dancing poses. He gave them out to young people at community gatherings.
Artists continued carving, adapting to circumstances to preserve and carry culture into the present. Colonial authorities viewed miniatures as inauthentic because they were made for sale rather than to be used in traditional ceremonies. This allowed them to continue to exist. But it is a misconception. Miniatures are an integral part of Northwest material culture. Artists make art for ceremonies and other art for sale. Selling art allows carvers the freedom to contribute to and partake in their cultures. They provide for themselves and their families through commercial art production. Ceremonial art inspires Commercial art. They are intertwined and each needs the other. Culture on the northwest coast couldn’t continue without carvers. Young apprentices train at carving miniatures before advancing to full size carvings. If they make mistakes not too much time or material is wasted, and there is no danger of causing religious or ceremonial harm or ill will. Creating miniatures frees the artist from some of the constraints involved in full size carvings. He or she can exercise imagination and creativity more. Artists make models to experiment with ideas before beginning the larger project. Miniature carvings have many places in the Indigenous cultures of the northwest.
