CALL NUMBER: T1190:0001 SUPPLIED TITLE OF TAPE(S): Robert Davidson's raising of a totem pole and potlatch PERIOD COVERED: 1920-1969 RECORDED: [location unknown], [196-] SUMMARY: TRACK 1: Robert Davidson talks about the beginnings of his interest in totem poles and Indian art, the reawakening of his awareness of the Haida culture, the loss of Haida culture and totem poles and his dream to carve and dedicate a new totem for the elders of the Masset village. He describes the process of choosing a tree, preparing the tree and representing both village clans. He speaks about t;he village involvement and the elders, carving the totem pole, planning for the pole raising,renewing local interest in carving, Haida design, colours and style differences between Northwest Coast Indians. TRACK 2: Robert Davidson describes the totem pole, the images, their depiction, significance and legends. He describes his interpretation of an image from the Marius Barbeau book of totem pol;es, tools and techniques, the ceremony for raising the pole and his dance, site for the pole and the potlatch ceremony.

CALL NUMBER: T1190:0002 SUPPLIED TITLE OF TAPE(S): Robert Davidson's raising of a totem pole and potlatch RECORDED: [location unknown], [196-] SUMMARY: TRACK 1: Robert Davidson talks with Imbert Orchard at his Masset carving site prior to the completion of the totem pole about his carving tools and carving techniques, his B.C. Centennial Grant, his thoughts about the pole raising and ceremonies, his training in carving and argillite carvings. [TRACK 2: blank.]

CALL NUMBER: T1168:0001 SUPPLIED TITLE OF TAPE(S): Solomon Wilson recalls Haida language and life RECORDED: [location unknown], 1969 SUMMARY: TRACK 1: Solomon Wilson talks about his birth in Vancouver in 1887 and his father's work with the Hastings Mill. He speaks about Maude Island Village -- his uncle's village, the spread of smallpox to ;the Indian population, his childhood, his family, an Indian story about the earth's axel and earthquakes, the Haida language, word usage and names of geographical locations, family crests and potlatches. TRACK 2: Solomon Wilson discusses his childhood, leaving home at age 13 to go to school and incidents at residential school. He talks about his work fishing for halibut, Peter Wallace's cannery, Doughty's saltery, cannery and reduction plant at Alliford Bay (1912), the Maude Island village, villages of history, and the Skidegate village, Haida chiefs and hereditary, family tribes, crests and religion.

CALL NUMBER: T1168:0002 SUPPLIED TITLE OF TAPE(S): Solomon Wilson recalls Haida language and life RECORDED: [location unknown], 1969 SUMMARY: TRACK 1: Solomon Wilson speaks about his views on religion, the Haida and fighting, an incident in Port Hardy, Haida home life past and present, totem poles and Christianity, the selling of ceremonial; artifacts, Haida intermarriage, disappearance of the Haida language, white contact and the start of the fur trade. TRACK 2: Solomon Wilson discusses local celebrations, weddings, the integrated school, Haida representation on the school board, the influence of TV and the making of canoes at Sandspit.

Ethnographic film. An account of the Masset Band, and a personal record of Professor Mary Lee Stearns' involvement with the band. Part 1 deals with the ethnography of the Masset people, including their social structure, economy and art. In preparation for Part 2, the death ceremonies are also discussed. Part 1 concludes with the ritual moving of a memorial stone. Part 2 begins with the same scenes -- the moving of the memorial stone of Peter Hill (1890-1971), a Masset band member. The remainder of the film shows the preparations for and the actual giving of a memorial feast. The film concludes with a speech by hereditary chief William Matthews, and Professor Stearns' own narration, explaining the significance of the events from an ethnographer's viewpoint.

CALL NUMBER: T3126:0001 SUPPLIED TITLE OF TAPE(S): Native Indian artist (part 1) RECORDED: [location unknown], 1977-09-23 SUMMARY: TRACKS 1 & 2: Tim Paul discusses his personal background and his experiences as a Native Indian artist, including his involvement with the carving program at the British Columbia Provincial Museum; types of masks, including portrait masks; other Indian artists and their work; the differences between Nootkan art and the art of the Haida, Kwakiutl, and other groups; Nootkan basketry; and the use of colour.

CALL NUMBER: T3126:0002 SUPPLIED TITLE OF TAPE(S): Native Indian artist (part 2) RECORDED: [location unknown], 1977-09-26 SUMMARY: TRACK 1: Tim Paul continues discussing the use of colour in Nootkan art; its use of angular forms; the figure of the sea serpent; changes in form and style in modern Nootkan art; the stories behind some artworks; print-making; other artists of the west coast of Vancouver Island; the survival of West Coast culture and language; the role of art in the culture; the return of the potlatch. TRACK 2: The suppression of the potlatch, and the confiscation of masks and other artworks by the RCMP; the difficulty of making a living as an Indian artist.

SUPPLIED TITLE OF TAPE(S): Raising a totem pole (modern version - 1969) RECORDED: [location unknown], 1969 SUMMARY: TRACK 1: Victor Adams speaks about a modern day totem pole raising ceremony and makes a comparison to the historic pole raising of 100 years ago. He speaks about the culture and background of the ceremony, the significance of the pole carving, the potlatch ceremony, the village involvement in the celebration and the pole as a gift from a young carver for the elders of the village. This ceremony was performed in Masset; the pole was carved by Robert Davidson.