Tag Archives: Indigenous British Columbia

Walking Tours, Dining Experiences Reveal Vancouver’s Revived Indigenous Heritage

Totem poles at Brockton Point in Stanley Park are the most visited attraction in British Columbia, but few visitors realize they tell the personal stories of First Nations families © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Vancouver’s Stanley Park is much like Central Park in New York or Golden Gate Park in San Francisco – an incredibly vast (1001-acre) green oasis in a metropolis. It is absolutely stunning, on a point that juts into the Burrard Inlet and English Bay, with scenic views of water, mountains, sky, the natural West Coast rainforest, and the Park’s famous Seawall.. You can ride a miniature train, rent bikes, go to the Teahouse, take a ride on a horse-drawn carriage, visit the Vancouver Aquarium (65,000 animals, 120 world-class exhibits), walk the many marvelous trails and paths. Most of the manmade structures present in the park– like the lighthouse – were built between 1911 and 1937 by then superintendent W.S. Rawlings. Additional attractions, such as a polar bear exhibit, aquarium, and a miniature train, were added in the post-war period.

A horse-drawn carriage tour is one of the many ways to enjoy Stanley Park, Vancouver’s oasis © Karen Rubin/goingplacesfarandnear.com

But the tranquility of Stanley Park belies its history. The park occupies land that had been used by indigenous peoples for thousands of years – it was one of the most important salmon fisheries in the region and was rich in other resources, including beaver and lumber. British colonizers came in force to British Columbia during the 1858 Fraser Canyon Gold Rush, and extract other resources including lumber. The British then set up military fortifications at Hallelujah Point to guard the entrance to Vancouver harbor (there is still a Navy outpost and the city’s marina).

(A federation of colonies in British North America – New Brunswick, Nova Scotia, Quebec, and Ontario – joined together to become the Dominion of Canada on July 1, 1867; Canada only became wholly independent of Great Britain in 1982.)

In 1886, the city incorporated the land and turned it into Vancouver’s first park. It was named for Lord Stanley, 16th Earl of Derby, a British politician who had recently been appointed Canada’s Governor General. Lord Stanley (better known today for hockey’s Stanley Cup) became the first Governor General to visit Vancouver when he came in 1888 to officially open the park.

And that is what brings me together with Patrick, an indigenous guide from Talaysay Tours, who leads me and a woman with her two daughters on a “Spoken Treasures” walking tour of the park.

Talaysay Tours guide Patrick explains the significance of the totem poles and gateway portals at Brockton Point during a Spoken Treasures” walking tour of Stanley Park © Karen Rubin/goingplacesfarandnear.com

Patrick says that Indigenous peoples have occupied this area for 8,000 years and there is still a 4,000-year old shell midden within the park. Where Lord Stanley gave his speech was an indigenous burial ground.

Indigenous people who had already been pushed out of their villages in the north had migrated here to the point they outnumbered the settlers, so there was a campaign to force them out or decimate the population. Smallpox was intentionally spread, Patrick says. One way was to inoculate, but not vaccinate people (those who were inoculated could still spread the disease). One cartographer alerted the indigenous people to what was happening.

The park – in fact all of Vancouver – is on “unceded land” – Canada never signed a treaty to acquire it, which means that under Crown and Canadian law, the land is still illegally occupied.

(By way of mitigation, if not restitution, on various websites including Stanley Park, you find a note like this, “The City of Vancouver acknowledges that it is situated on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam Indian Band), Sḵwx̱wú7mesh (Squamish Nation), and səlilwətaɬ (Tsleil-Waututh Nation.”)

The view from the seawall at Stanley Park across Burrard Inlet to West Vancouver, where indigenous peoples had lived for thousands of years taking advantage of rich fishing and hunting before being forced out of land considered “unceded.” Expression of indigenous culture was banned in Canada for more than 100 years © Karen Rubin/goingplacesfarandnear.com

There is a marker at Hallelujah Point that describes this place as a thriving settlement which for several millennia was inhabited by the Coast Salish people. From the 1860s, Europeans, Chinese and others built houses and lived along the shoreline. After Stanley Park opened in 1888, the Chinese, who were brought in as laborers and built the park road and the yacht club, were removed; others lived here until evicted in 1931, with the last person leaving in 1957.

Hallelujah Point was taken over as a military fortification to protect Vancouver Harbor and the Canadian Navy still has a small outpost. Patrick says that this was the site of a battlefield with war canoes and was a burial site.

Beaver Lake, one of the park’s major attractions and a place of urban tranquility, “was a sacred site where they brought in beavers,” Patrick said.

Patrick brings us to a grouping of nine Totem Poles, set near Brockton Point and the Brockton Point Lighthouse – considered British Columbia’s most visited tourist attraction.

Totem poles at Brockton Point in Stanley Park are the most visited attraction in British Columbia, but few visitors realize they tell the personal stories of First Nations families © Karen Rubin/goingplacesfarandnear.com

The collection started at Lumberman’s Arch in the 1920s (originally the village of X’ay’x’ay, which would have had long houses and in 1885, held a great potlatch ceremony attended by 2000 First Nations and European residents of Burrard Inlet), when the Park Board bought four totems from Vancouver Island’s Alert Bay. More purchased totems came from Haida Gwaii (Queen Charlotte Islands) and the BC central coast Rivers Inlet, to celebrate the 1936 Golden Jubilee. In the mid 1960s, the totem poles were moved to Brockton Point. Several of the poles are re-creations, replicas or replacements.

Totem poles at Brockton Point in Stanley Park are the most visited attraction in British Columbia, but few visitors realize they tell the personal stories of First Nations families © Karen Rubin/goingplacesfarandnear.com

Each has a story.

The Ga’akstalas was carved by Wayne Alfred and Beau Dick in 1991 based on a design by Russell Smith. “We wanted this pole to be a beacon of strength of our young people and show respect for our elders. It is to all our people who have made contributions to our culture,” Beau Dick wrote.

The Chief Skedans Mortuary Pole was carved by Bill Reid with assistant Werner True in 1964 to replace an older version that was raised in the Haida village of Skidegate about 1870, to honor the Raven Chief. The pole has two tiny figures in the bear’s ears to represent the chief’s daughter and son-in-law who erected the pole and gave a potlatch for the chief’s memorial. A rectangular board at the top of the original pole covered a cavity that would have held the chief’s remains.

Patrick isn’t exactly happy with the totem poles being here, which he considers appropriation (exploitation? a balm to soothe a guilty conscience?) rather than a way of raising awareness, respect and honor for indigenous heritage.

A totem pole, he explains, was like legal title to property, marking the land as yours, and would be carved with symbols that basically tell the story of that family.  

The Rose Cole Yelton Memorial Pole, erected in front of the house site where the Cole family lived until 1935 © Karen Rubin/goingplacesfarandnear.com

Only one of the totem poles is legitimately where it should be, he says: the Rose Cole Yelton Memorial Pole of the Squamish Nation, raised in 2009, to honor Yelton, her family and all those who lived in Stanley Park. It was erected in front of the home site where the Cole family lived until 1935. She was the last surviving resident of the Brockton community when she passed away in 2002.

“The Totem was the British Columbia Indians coat of arms,” a bronze plaque reads, using language that might be considered inappropriate today. I had not realized that these poles are unique to the northwest coast of B.C. and lower Alaska. Carved from western red cedar, each carving tells of a real or mythical event. “They were not idols, nor were they worshipped. Each carving on each pole has a meaning. The eagle represents the kingdom of the air; the whale, the lordship of the sea; the wolf, the genius of the land, and the front, the transitional link between the land and sea.”

Totem poles at Brockton Point in Stanley Park are the most visited attraction in British Columbia, but few visitors realize they tell the personal stories of First Nations families © Karen Rubin/goingplacesfarandnear.com

Such skills, though, had to be resurrected because the government criminalized indigenous art, language and culture, with the intention of eradicating indigenous culture and assimilating the people into Christian society. Because art – the shapes, line and symbols – took the place of written language, the practical effect was cultural genocide.  

“Art was criminalized – it is hard to relearn it, but people found other ways to preserve their art,” Patrick tells us. For example, people would make bentwood boxes but weren’t allowed to give them away (that would be considered an illegal potlatch), but could sell them.

“For 100 years, indigenous people were forced into residential schools,” Patrick says. “Oral history made it easy to eradicate. Potlatch, language was criminalized, but people practiced in secret. We have to relearn history.” These house poles, he says, tell the story of that family.

One of the three carved red cedar portals created by Coast Salish artist Susan Point, installed in 2008 © Karen Rubin/goingplacesfarandnear.com

Three beautifully carved, red cedar portals welcome visitors to the Brockton Point Visitor Centre and to the traditional lands of the Coast Salish people. Installed in 2008, the gateways were created by Coast Salish artist Susan Point, in collaboration with Coast Salish Arts; Vancouver Storyscapes (a City of Vancouver Social Planning project to encourage Indigenous people to share their stories through a variety of media); the Musqueam, Squamish, and Tsleil-Waututh First Nations; and the Vancouver Park Board.

“Shore to Shore” carved in cedar then cast in bronze by Stz’uminus Master Carver Luke Marston, is a tribute to the ancestral connection between the area’s aboriginal and Portuguese communities. © Karen Rubin/goingplacesfarandnear.com

“Shore to Shore” carved in cedar then cast in bronze by Stz’uminus Master Carver Luke Marston, is a tribute to the ancestral connection between the area’s aboriginal and Portuguese communities. Joe Silvey came to BC from the Azores around 1860 and married Pqaltanat, a high-born matriarch of Musqueam and Squamish descent, who died; Silvey then married Kwatleematt a Sechelt matriarch who is depicted in the sculpture. The Silvey family lived at Brockton Point in a community of First Nations, Portuguese and Hawaiian people.

Founded in 2002, Talaysay Tours is owned and operated by Candace and Larry Campo, Shíshálh (Sechelt) and Sḵwx̱wú7mesh (Squamish) Nation members. “Our goal is to support culture revitalization, education and reclamation.”

Talaysay Tours, 334 Skawshen Rd, West Vancouver, V7P 3T1, [email protected], 1 (800) 605-4643, 1 (604) 628-8555, www.talaysay.com.

Salmon n’ Bannock Bistro

Celebrating a birthday at Salmon n’Bannock, Vancouver’s original indigenous restaurant © Karen Rubin/goingplacesfarandnear.com

From Stanley Park, I take an Uber across a bridge to a neighborhood that reminds me of going to Brooklyn from Manhattan.

Salmon n’ Bannock Bistro is (so far) the only indigenous restaurant in Vancouver (though Inez Cook, the owner, has just opened a second location at the international departure terminal at Vancouver International Airport).

“It was always a dream,” she tells me – not just to have a restaurant, but to revive and share indigenous culture.

Inez says that like so many of her generation, she was not raised with native heritage.

She shows me a children’s book, “Sixties Scoop,” she has written which describes how she is Nuxalk, born in Bella Coola, BC, but was taken away when she was one year old and adopted by a Caucasian family in Vancouver.

“I am part of what’s called Sixties Scoop, when the government took native kids and adopted them out to non-native families. Our native status was given up and we were supposed to grow up without our culture, without our heritage,” she writes. The “Sixties Scoop” began in the 1950s and lasted until the 1980s.

As an adult, she went to find her native roots and discovered she had a younger sister who was also given up for adoption.

That has made her all the more purposeful in showcasing her heritage with pride. (Inez also serves on the board of the Aboriginal Tourism British Columbia.)

Cook says she was inspired after seeing the Kekuli Café in Kellown, a Canadian Aboriginal bannock restaurant with contemporary twist – bannock, burgers, Indian Tacos, and espresso. (Kekuli Café, which also has restaurants in West Kelowna, Kamloops, and Merritt, BC, has decidedly 21st century marketing techniques including franchising, apps, rewards points and clever slogan, “Don’t panic, we have bannock” https://www.kekulicafe.com).

Cook was raised with the foods of her adoptive mother’s family who were Dutch Mennonite, so when she decided to open an indigenous restaurant, she needed to research native ingredients and First Nations cooking techniques.

“I wanted the restaurant to showcase food from the land and sea that the Indigenous people had traditionally hunted, harvested and eaten – everything from fiddlehead ferns to bison and sock-eye salmon,” she told the BBC. “I wanted to incorporate their traditional methods too: how they smoked food or preserved it over the long winters. I did a lot of asking and learning, then began to improvise.”

“The Olympics was coming. I dove in.” She opened Salmon n’ Bannock in 2010 to offer native cuisine with a modern twist.

Her team is indigenous, the menu based on what’s in season and available. She would ask them, “What’s your favorite dish?” and bring modern inspiration.

Inez Cook opened her indigenous restaurant Salmon n’Bannock to revive and share First Nations culture, which she had to discover for herself © Karen Rubin/goingplacesfarandnear.com

Some of the more interesting items on the menu this evening: pemmican mousse with bannock crackers; game sausage (this evening it is elk and huckleberry which is sensational); bison bone marrow served with sage rub and bannock crostini; bison pot roast with mash; smoked sablefish on Haudenosaunee corn polento,. I have the Fish n’ Rice” – wild sockeye with Anishinaabe wild rice.

She will take a native ingredient like soapberries or kelp, or a traditional recipe, and turn it into something new.

Her twist on pemmican, a staple for her ancestors, is an example.  The traditional way of serving pemmican was as a mixture of dried meat and berries, which were buried to provide food on a journey. Instead, here the pemmican is made of bison meat, smoked, dried and ground before blending it with cream cheese and sage-infused berries.

Cook worked for airlines for 33 years which enabled her to experience other cultures around the world including Saudi Arabia, India,Egypt, Chad, Nigeria, Indonesia and England, returning to Vancouver in time to open her second  2nd location, at Vancouver airport.

“I’ve lived all over the world- I wanted to take people on a journey to experience the culture of land…Food and culture bring people together,”

She doesn’t miss an opportunity to share the experience and educate. Even the menu features these interesting facts:

  • Present day Canada is set on land of 600 indigenous nations, over 200 of them in present day British Columbia. “There’s a cousin behind every corner and a Cree behind every tree.”
  • “Indigenous” is an umbrella term that represents First Nations, Inuit and Metis peoples –distinct groups with distinct cultures.
  • There are more than 70 indigenous languages, coast to coast in Canada, “many of them endangered due to systemic efforts to separate indigenous people from their culture.”

(I subsequently learn that 1,807,250 Canadians identify as Indigenous, according to the 2021 Census, accounting for 5% of the country’s total population, of which 290,210 live in British Columbia. The population that identifies as Indigenous is the fastest growing demographic group in Canada, increasing by 42.5% between 2006 and 2016.)

For Inez, the restaurant is a chance to show indigenous culture and real people in a contemporary setting, rather than as displays in a museum or separated on a reserve. “We could be your doctor, lawyer, your neighbor,”

It’s an intimate bistro setting – only about eight tables (24 guests) – but its reputation is going global. Time, Elle Magazine have raved and on this evening, seven media people from France have arrived, and Inez greets them in French.

Salmon n’ Bannock Address: 1128 W Broadway #7, Vancouver, BC, 604-568-8971, [email protected], www.salmonandbannock.net

The famous steam clock in Gastown © Karen Rubin/goingplacesfarandnear.com

I leave the restaurant and have Uber take me to Gastown – with its famous steam clock – to enjoy that nighttime vibe and then take the 15 minute walk back to the Skwachays Lodge just after dark. (Skwàchays Lodge 31 W Pender St Vancouver, BC V6B 1R3 604.687.3589,   1 888 998 0797,   [email protected], https://skwachays.com/)

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries and a trip planning app (https://www.indigenousbc.com/)

Next: Trail to Discover British Columbia’s Indigenous Heritage Goes Through Whistler-Blackcomb

See also: ON THE TRAIL TO DISCOVER VANCOUVER’S REVIVED INDIGENOUS HERITAGE

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin 

On the Trail to Discover Vancouver’s Revived Indigenous Heritage

The view from the seawall at Stanley Park across Burrard Inlet to West Vancouver, where indigenous peoples had lived for thousands of years taking advantage of rich fishing and hunting before being forced out of land considered “unceded.” Expression of indigenous culture was banned in Canada for more than 100 years © Karen Rubin/goingplacesfarandnear.com

By Karen Rubin, Travel Features Syndicate, goingplacesfarandnear.com

Who could have imagined such an immersive experience into British Columbia’s indigenous culture revival in the heart of a bustling, modern metropolis like Vancouver?

I come to Vancouver intent to see how indigenous heritage culture is being resurrected, revived, and coming to the forefront of national consciousness and respect.

My trip is very much a voyage of discovery, in so many ways so surprising, illuminating and enriching, especially once I am sensitized to look.

My itinerary is arranged by Indigenous Tourism BC, one of Canada’s oldest (at 25 years) provincial entities to promote the economic and social benefits tourism brings to revive and sustain a heritage that had been relegated to shadows.

These efforts have accelerated after Canada signed its historic Truth and Reconciliation Act, in 2014, acknowledging the harm of 140 federally run residential schools that operated from 1867 up until 1996, and other laws, like the Indian Act, banning the practice of indigenous culture that amounted to cultural genocide.

It was only in 1951 that amendments to the Indian Act removed restrictions on rituals, customs and culture. Canada’s indigenous peoples – who account for five percent of the population – could not vote until the 1960s.

Skwachays Lodge, Canada’s First Aboriginal Art Hotel

Skwachays Lodge, Canada’s first aboriginal art hotel, affords the nearest thing to staying in a First Nations community you might find in a major modern city © Karen Rubin/goingplacesfarandnear.com

My voyage of discovery starts as soon as I check in to my hotel, Skwachays Lodge, the nearest thing to staying in a First Nations community you might find in a major modern city.

Skwachays Lodge, Canada’s first aboriginal art hotel, opened in 2012 as a social enterprise that turned a derelict building into a boutique hotel combined with an artist-in-residence program supporting indigenous artists with housing and studio space.

Skwachays Lodge, a social enterprise, provides housing and studio space for 24 indigenous artists © Karen Rubin/goingplacesfarandnear.com

Even though it is late, Rick, the night manager, is eager to show me around to the art studios and introduces me to two of the 24 artists in residence who live for up to three-years in apartments on the 2nd, 3rd, and 4th floors. The hotel also has a gallery and a superb shop.

The 18 guest rooms and suites, which occupy the 5th and 6th floors, have been individually designed by six indigenous artists – there is the Water Room (502), the Sea Kingdom Suite, Northern Lights Room, Forest Spirits Room, Earth Room, King Salmon Suite.

The gold-painted ceiling in the Moon Room. Each of the 18 Skwachays Lodge rooms and suites has been designed by an indigenous artist © Karen Rubin/goingplacesfarandnear.com

Mine is the Moon Room (505), designed by Sabina Hill and Mark Preston, equipped with a kitchenette, desk/workspace, and a giant round bed on a platform. The ceiling is decorated with the moon’s radiance in gold, and the wall, in gold calligraphy, tells the legend of the trickster god Raven who stole the sun, the moon and the stars, and released them into the sky. “Delivered to its heavenly perch by the daring Raven, the Golden Moon watches over the world below.” It’s almost like finding yourself in a painting, in the story.

The gallery and shop at Skwachays Lodge © Karen Rubin/goingplacesfarandnear.com

The hotel also offers opportunities to do a Sweat Lodge ceremony in the rooftop garden; a Smudging Ceremony in the traditional Smudge Room; as well as studio visits with the artists in residence. Its Kayachtn (“Welcome”) room, where breakfast is served, also provides a traditional community gathering place as well as a gallery.

Atop the hotel is a totem, a marvelous counterpoint to the arch that marks the entrance to Vancouver’s Chinatown, a half-block away.

The Kayachtn (“Welcome”) room at Skwachays Lodge, where breakfast is served, also provides a traditional community gathering place © Karen Rubin/goingplacesfarandnear.com

It should be noted that the hotel is one block over from East Hastings, considered Canada’s “Bowery” – but I had no problem walking everywhere, including to the marvelous Gastown district – the historic district offering boutique shopping and dining famous for its gas-spewing clock – just 10 minutes walk away. Actually, I was able to walk everywhere.

Skwàchays Lodge 31 W Pender St Vancouver, BC V6B 1R3 604.687.3589, 1 888 998 0797, [email protected], https://skwachays.com/.

Bill Reid Gallery

My first morning, after a marvelous breakfast (served 8-10 am in the Kayachtn “Welcome” room), I walk over to the Bill Reid Gallery, which is just around a corner from the Vancouver Art Gallery and the historic, grand Fairmont Hotel.  

The Bill Reid Gallery opened in 2008 to celebrate Haida cultural heritage, diverse living artists of the Northwest Coast, and the life and work of master artist Bill Reid (1920-1998). Reid arguably was responsible for bringing indigenous art from the shadows (after having been suppressed for 150 years) into the national consciousness, awareness and respect.

The Bill Reid Gallery celebrates Haida cultural heritage, diverse living artists of the Northwest Coast, and the life and work of master artist Bill Reid © Karen Rubin/goingplacesfarandnear.com

Bill Reid, I learn, is a national treasure. Two of Reid’s most popular works depict a canoe filled with human and animal figures: one black, “The Spirit of Haida Gwaii,” is at the Canadian Embassy, Washington, D.C.; and one green, “The Jade Canoe,” is at Vancouver International Airport (and was featured on the Canadian $20 bill).

Here at the gallery, you not only trace his own artistic evolution and self-discovery, but see his most famous works, including “Mythic Messengers” (1984), a multi-ton, 8.5 meter long frieze referencing folk stories that is the gallery’s piece de resistance.

Bill Reid’sMythic Messengers” (1984), a multi-ton, 8.5 meter long frieze referencing folk stories,  is the gallery’s piece de resistance © Karen Rubin/goingplacesfarandnear.com

There is an artist’s proof in white onyx of another famous work, “Raven and First Men” that depicts the Haida creation myth – how the Raven discovers a massive clamshell on the beach with humans protruding from it and coaxes the humans out, unleashing civilization. (The full-sized, cedar wood version is at the Museum of Anthropology on the University of British Columbia campus; Reid depicted this myth in many forms and sizes throughout his career.)

Another famous Bill Reid work, “Raven and First Men” that depicts the Haida creation myth, in white onyx © Karen Rubin/goingplacesfarandnear.com

Bill Reid, probably more than anyone, is responsible for resurrecting indigenous art, raising awareness, appreciation and respect, and bringing this heritage that had so long been subject to cultural genocide, into Canada’s cultural mainstream. His story is remarkable and I soon come to appreciate why he was uniquely able to achieve this.

Bill Reid represented “Raven and First Men” myth in many versions and genres © Karen Rubin/goingplacesfarandnear.com

As I look at a miniature (I mean really tiny) tea set that Reid carved from chalk in 1932 when he was 12, my guide, Wayne Louie, explains that Reid’s father was of German-Scottish descent and his mother was born to the Haida nation. She was part of the residential school system which took First Nations children from their families and put them in prison-like boarding schools designed to “kill the Indian inside the man” (as I learned at the Buffalo Nations Luxton Museum in Banff).

“His mother didn’t reveal her ancestral roots – that was the effect of residential schools, aimed to culturally cleanse the indigenous side,” Louie tells me. “He didn’t discover his ancestral roots until his teens.”

He began exploring his Haida roots at the age of 23. He visited grandparents and slowly and deliberately rediscovered and incorporated his heritage into his art. This journey of discovery lasted a lifetime and shaped Reid’s artistic career.

Glass artist John Nutter, whose studio is the site of Bill Reid’s studio on Granville Island, shows a $20 bill featuring Bill Reid’s famous “The Spirit of Haida Gwaii” © Karen Rubin/goingplacesfarandnear.com

Reid became a pivotal force in building bridges between Indigenous people and other peoples. Through his mother, he was a member of the Raven clan from T’aanuu with the wolf as one of his family crests. In 1986, Reid was presented with the Haida name Yaahl Sgwansung, meaning The Only Raven. Many of his works incorporate the raven.

“Reid’s quest for understanding the essence and the roots of a unique art form led him to discover his own ‘Haidaness’ and, in the process, restored much of the dynamic power, magic, and possibility to the art. In doing so he became the catalyst to empower a whole Nation,” the gallery notes say.

Reid’s story also shows how an artistic spirit cannot be suppressed. Even later in his life, when he contracted Parkinson’s, he created wire sculptures, some of which are on view –art is irrepressible, it must be expressed.

Bill Reid carved this tiny tea set out of blackboard chalk when he was 12 © Karen Rubin/goingplacesfarandnear.com

“Somewhere along the line, I developed a unique art: blackboard chalk carving,” he reflected in 1982. “I started it in school because I was very bored. Round chalk was such a fine medium that I made little tea sets, cup and saucers, and finished them with nail polish…It showed me I could do fine work. The first totem pole I ever made was out of blackboard chalk.”

But the reason he was able to spur a renaissance in indigenous art is that Reid had become a popular CBC announcer with a national audience. He got his first job in radio in 1939 and became a radio broadcaster for the CBC in Toronto in 1948. As a CBC announcer he had a platform, was known and accepted, and connected to more people.  I imagine promoting his indigenous identity was almost like “coming out.”

Bill Reid was perhaps uniquely positioned to revive indigenous art and bring it into mainstream of Canadian culture because of his celebrity as a CBC broadcaster © Karen Rubin/goingplacesfarandnear.com

His interest in making art had already been ignited. In 1943, he made his first visit to the Haida Gaiia since his early childhood. “He was a goldsmith at heart and hoped to build a career focused on modernist jewelry,” the notes say. “He was fascinated by the simple engravings his grandfather made and bracelets by John Cross his aunts wore. When he later saw the deeply carved bracelets by his great, great uncle Charles Edenshaw, he said, ‘Life was not the same after that’.”

Bill Reid was a goldsmith who incorporated French repousse technique to gold bracelets with traditional Haida elements he learned from his relatives © Karen Rubin/goingplacesfarandnear.com

He set up a studio in his basement, and then on Granville Island (which I later come upon almost by accident). He combined traditional Haida forms and figures with contemporary innovations, notably the European technique of repousse – pushing the metal out from behind, to bring a three-dimensional quality to his Haida-inspired work.

“Well, I don’t consider myself Haida or non-Haida or white or non-white,” Reid wrote. “I am a citizen of the West Coast of North America and I have availed myself of all the inheritance I got from all directions.”

Bill Reid infused Haida traditions with his own modernist aesthetic to create both exquisite small as well as monumental works that captured the public’s imagination.

“Reid was biracial,” Louie tells me. “He had to learn who he was – observe art of his ancestors, reinterpreted into his art. He started with jewelry, small pieces, then large, monumental works.”

Reid was in the vanguard of the revival of indigenous art, Louie tells me. “During the time these pieces created no other indigenous artist was doing this – now there are many.”

Throughout Reid’s life, he encouraged young artists as he was encouraged, and that is reflected in this gallery, which features exhibits of a dozen contemporary artists.

James Hart’s totem pole is the centerpiece of the Bill Reid Gallery © Karen Rubin/goingplacesfarandnear.com

The centerpiece of the gallery is a full-scale totem pole carved by James Hart of Haida Gwaii, featuring the Wasgo (Haida Sea-Wolf).

What strikes me as interesting is how some of the artists seem intent on reproducing the traditional symbols and techniques (like weaving), while others veer off into modern forms, like graffiti. But when you think about it, for these First Nations artists who live on lands that were never officially ceded to Canada (there was never a treaty so technically, according to Canadian law, the land is illegally occupied), the essence of street art is a form of rebellion, a means for people who feel displaced and disempowered to mark territory and establish identity, so it seems like a very appropriate form.

“Raven Who Kept Walking” (2021) by Corey Bulpitt, one of the contemporary British Columbia indigenous artists  on exhibit at the Bill Reid Gallery © Karen Rubin/goingplacesfarandnear.com

Monthly workshops, artist talks; guided tours are offered June-August. There is an excellent shop. Summer hours, open daily 10-5.

Bill Reid Gallery, 639 Hornby St, Vancouver 604-682-3455, https://www.billreidgallery.ca/, [email protected]

Indigenous Tourism BC offers travel ideas, things to do, places to go, places to stay, and suggested itineraries and a trip planning app (https://www.indigenousbc.com/)

Next: Walking Tours, Dining Experiences Reveal Vancouver’s Revived Indigenous Heritage

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© 2023 Travel Features Syndicate, a division of Workstyles, Inc. All rights reserved. Visit goingplacesfarandnear.com, www.huffingtonpost.com/author/karen-rubin, and travelwritersmagazine.com/TravelFeaturesSyndicate/. Blogging at goingplacesnearandfar.wordpress.com and moralcompasstravel.info. Visit instagram.com/going_places_far_and_near and instagram.com/bigbackpacktraveler/ Send comments or questions to [email protected]. Tweet @TravelFeatures. ‘Like’ us at facebook.com/KarenBRubin