Agee showed us a piece of needlework, em- broidery to be exact. We asked him how he came to do such work (he also did watercolours). He told us his daughter had taught him how to sew one time when he was bed-ridden after an accident at sea. We were told he bought most of his linens and coloured threads from vari- ous parts of the world. They certainly were most attractive. ; These seamen told us they found sketch- ing and other hobbies very good in a di- * WEST. COAST By JENNIFER LEEDHAM HOBBS For as many years as the Vancouver School of Art has existed, students have heard a small Scottish voice say these words: ". . . or you may choose West Coast Indian design”, and the fertile brains of budding artists have gone to work. Many Indian designs have been adapted and remodelled for panels, lino blocks, rugs, silk-screen prints, pottery, etc. The results are always fascinating, distinctive and in never ending variety-—-works to be proud of in their own right. There is also good reason for us to be proud of our native B. C. art, a reason to adapt and use these designs and to study and know the culture, tradition and imagination of the West Coast Tribes. We are fortunate to be able to call them "our versional sense from the strenuous battle of the elements and long tedious journeys. We, of course, could only envy such men with their wonderful places to paint. We used to dream of such places in our cabins back in Ottawa aboard our ‘Stone Frig- ate”. Another little sojourn before we close for our holiday. We decided the old North Vancouver Ferry would make an interest- ing sketch, so we settled ourselves on the ferry slip. But we didn’t realize this was Indians”, because we happen to be liv- ing in the part of the world where native arts and crafts far surpassed all other primitive cultures. The use of the word “primitive” in connection with tribal art means, to most people, crude and imper- fect workmanship and not, as with our Indians, the period when their most beau- tiful and skilful work was executed. The West Coast tribes had an art that was outstanding in its earlier forms. Today the old skills are dying out and even the best of the reraaining Indians have been affected by the machine age, and living conditions, so that the desire to create and keep alive their native art has all but vanished. There is still a hope, though, for the young Indians, that with a compre- hensive education giving them a pride in their. own achievements and cultural back- ground, the dormant artistic talents of their heritage will build up a new Indian Art. This has been proved, on a small scale, at the Inkameep Indian Reserve, in the Okanagan Valley. There, a teacher with vision saw that the children had little in- terest in academic education but, given a chance to express themselves artistically, they turned out paintings and drawings by the hundred. They made costumes for their own plays, acted the stories of their own mythology, brought to life the almost forgotten songs of their people. The re- sults were gratifying beyond measure. The contribution of primitive arts of all countries has been great, as for example, the influence of African negro art in the works of Picasso. The Indian ceremonial masks of the many tribes along the coast were of the finest. The mechanical skill by which many open and close is wonder- ful, considering that the tools used were of the crudest—chisels, knives, and scrap- ers, made mostly of stone. Totem poles and memorial poles were for describing the social position, wealth and rank of the owner’s family. These men incised, sculp- tured, carved, molded, inlaid and painted well-nigh every possession, from the bow of a war canoe, domestic utensils, fishing going to be a three hour project. It was, and then some. What with a rising tide and heaving dock, it was enough to try the patience of a saint. This wasn't all. The Ferry we were painting was the No. 4, and like all good ferries that come in normally every twenty minutes, this dizzy one did it every forty minutes. After be- coming stiff and sore, tired and very near blind, we waited for one more ferry and took the durn thing home! INDIANA RT: equipment, to the roof beams and house fronts. So powerful was the imagination of these people that of the hundreds of designs which have been recovered, very few, if any, are repetitions, although the same subject was used again and again. Almost without exception, designs fill the whole surface to be decorated. Their use of iden- tification by symbolism is seen in every- thing. The mythical Raven, most promin- ent in the folklore and heraldry, is symbol- ized by a long, straight beak. The Killer Whale, one of the oldest crests, is to be recognized by the large dorsal fin and oval eye. An Eagle has its beak curved down, while the Hawk has a sharp, hooked beak, curving backward. The Black Bear is always shown as a humorous figure with a toothy grin and protruding tongue, while the feared Grizzly bear has great fangs and claws. The frog has a wide, toothless mouth with the corners turned down; while other fish and animals have different personal symbols. Almost all Indian designs were painted with earth colours or vegetable dyes in lovely shades of rust, red, grey-blue, dark green, burnt yellows, browns and black. Skilful basketry, patterned with geo- metric designs, was done by the women. Spinning and weaving the cedar bark for clothing, mats, and wall hangings was then the highest test of a woman's skill. Today, basketry is one of the few crafts that have survived to any extent. We, of British Columbia, have a unique heritage in this outstanding art, and it would be a great pity if it were allowed to fade into obscurity. We artists have it in our power to bring art to the public. We, therefore, have an obligation to do our best, to make the most of good designs, crafts: and the hundred and one other forms of Art, and there is nowhere a more available or stimulating source ma- terial for us than in our Coast Indian heri- tage. ——_—e a showed us a piece of needlework, om. broldery to be exact. We asked him how he came to do such work (he also did watercolours). He told us his daughter hhad taught him how to sow one time when he was bedridden after an accident at sea. We were told he bought most of his linens and coloured threads from vari- ous parts of the world. They certainly ‘were most attractive. ‘These seamen told us they found sketch. ing and other hobbies very good in a di «+ WEST COAST By JENNIFER LEEDHAM HOBBS For as many years as the Vancouver ‘School of Art has existed, students havo hheard a small Scottish voico say thess words: ".. . of you may chooso West Coast Indian design”, and the fertile brains of budding artists have gone to work. Many Indian designs have been adapted and remodelled for panels, lino blocks, rugs, silk-scroen prints, pottery, etc. The results are always fascinating, distinctive and in never ending variety—works to be proud of in their own right. There is also Good reason for us to be proud of our native B.C. art, a reason to adapt and use these designs and to study and know the culture, tradition and imagination of the West Coast Tribes. We ‘are fortunate to be able to call them “our versional sense from the strenuous battl of the elements and long tedious journeys. We, of course, could only envy such men with their wonderful places to paint. We used to dream of such places in our cabins back in Ottawa aboard our “Stone Frig ats”. Another little sojourn before woe close for our holiday. We decided the old North Vancouver Ferry would make an interest ing sketch, so we settled ourselves on tho ferry slip. But wo didn’t realize this was Indians", because we happen to be liv- ing in the part of tho world where native arts and crafts far surpassed all primitive cultures. “primitive” in conn moans, to most people, fect workmanship and not, as with ou Indians, the period when their most beau- tiful and skilful work was executed. Tho West Coast tribes had an art that ‘was outstanding in its earlier forms. Today the old skills are dying out and even best of the remaining Indians have besn affected by the machino age, and living conditions, so that the desire to ‘and keep alive their native art has all but vanished. There is still a hope, though, for the young Indians, that with a compre: hensive education giving them a pride in jit own achievements and cultural back: ground, the dormant artistic talents of their heritage will build up a new Indian This has boon proved, on a small sc fat the Inkamoep Indian Reserve, in the Okanagan Valley. There, a teache vision saw that the children had lit terest in academic education but, i chance to express themselves artistically, they turned out paintings and drawings by the hundred. They made costumes for their own plays, acted the stories of their own mythology, brought to life the almost forgotten songs of their people. The <2: sults were gratifying beyond 1 asure. ‘The contribution of primitive arts of all countries has been great, as for example, the influence of African negro art in the ‘works of Picasso. The Indian ceremonial masks of the many tribes along the coast ‘were of the finest. The mechanical skill by which many open and close is wonder- ful, considering that the tools used were of the crudest—chisels, knives, and scrap: ers, made mostly of stone. Totem poles and memorial poles were for describing the social position, wealth and rank of the owner's family. These men incised, sculp- tured, carved, molded, inlaid and painted wellnigh every possession, from the bow of a war canoe, domestic utensils, fishing going to be a three hour project. It was, and then some, What with a rising tide and heaving dock, it was enough to try c ‘wasa't all. ‘Tho Ferry we were painting was the No. pationce of a saint 4, and like all good ferries that come in normally every twenty minutes, this dizzy 2 did it every forty minutes. After be: coming stiff and sore, tired and very near blind, we waited for one more ferry and took the dum thing home! INDIAN ART ¢ equipment, to the roof beams and house fronts. So powerful was the imagination of these people that of the hundreds of designs which have been recovered, very few, if any, are repetitions, although the same subject was used again and again. Almost without exception, designs fill the whole surface to be decorated. Their uso of iden. tification by symbolism is seen in every thing. The mythical Raven, most promin- ent in the folklore and heraldry, is symbol ized by a long, straight beak. The Killer Whale, one of the oldest crests, is to be recognized by the large dorsal fin and oval eve. An Eagle has its beak curved down, whilo the Hawk has a sharp, hooked beak, curving backward. The Black Bear ig always shown as a humorous figure ‘with a toothy grin and protruding tongue, ‘while the feared Grizzly bear has great fangs and claws. The frog has a wide, thless mouth with the comers turned ‘while other fish and animals have different personal symbols. Almost all Indian designs were painted with earth colours or vegetable dyes in lovely shades of rust, red, groy-blue, dark green, burt ws, browns and black, dow Skilful basketry, patterned with geo. mot designs, was done by the women. Spinning and weaving the cedar bark for clothing, mats, and wall hangings was ma the highest test of a woman's skill. Today, baskotty is one of the few crafts that have survived to any extent We, of British Columbia, have a unique heritage in this outstanding art, and it ‘would be a great pity if it were allowed to fade into obscurity. We artists have it in ‘our power to bring art to the public. We, thorefore, have an obligation to do our best, to make the most of good designs, crafts’ and the hundred and one other forms of Art, and there is nowhere a ‘more available or stimulating source ma- torial for us than in our Coast Indian her! tage.