Coastal Customs

Since at least 1,300 years ago, Tlingit, Haida, and other Indigenous peoples have used an artistic technique now called formline. Formlines are curving lines that change in width as they flow around corners, and artists use them to create the shapes that make up an image. A formline design often begins with a rectangular egg-like shape called an ovoid. An artist then adds additional ovoids, U-shapes, and thin lines to compose the rest of the image. 

The wooden mask, above, is thought to have been carved around 1900 by Kwakwaka’wakw artist Bob Harris. He used formlines to create the two bird-like figures at the top. A thick, black ovoid outlines each, while another ovoid encloses the eye. A U-shape in front of the eye gives the figure structure and fills in the design. 

Since at least 1,300 years ago, Tlingit (KLING-kuht), Haida, and other Indigenous artists have used formline. Formlines are curving lines. The width of the lines change as they turn corners in a design. Artists use them to create the basic shapes that make up an image. They often start with a rounded rectangular shape called an ovoid. Then they add more ovoids, U-shapes, and lines to complete the design. 

The wooden mask, above, is thought to have been carved around 1900 by Bob Harris. He was an artist from the Kwakwaka’wakw (KWOK-wok-ya-wokw) Indigenous culture. He used formline to create the two bird-like figures at the top of the mask. A black ovoid outlines each figure. Another ovoid surrounds the eye. A U-shape in front of the eye fills in the design.

Weaving has always been a prized skill among many Northwest Coast peoples. A Tlingit artist named Mary Ebbetts Hunt created the Chilkat (CHIL-kat) robe, or chief’s robe, above, around 1880. 

Like many Northwest Coast cultural belongings, the robe includes formline depictions of human and animal faces. The Tlingit and other peoples used these symbols to convey important information, such as the clan (extended family) that the garment’s wearer was from. Together, the symbols make up a common iconography, or visual language. This means people who spoke different languages could still understand each other’s messages through their art.

Many Northwest Coast peoples have always considered weaving a special skill. A Tlingit artist named Mary Ebbetts Hunt wove the robe above around 1880. It is a Chilkat (CHIL-kat) robe, or chief’s robe.

The robe includes formline images of human and animal faces. The Tlingit and other Northwest Coast peoples used these symbols to share meaningful information. For example, they might represent the clan (extended family) of the person who wears the clothing. The symbols are part of an iconography, or visual language. People who spoke different languages could understand each other’s messages this way.

The arrival of European settlers in the late 1700s had devastating effects on Indigenous societies. Many cultural traditions were lost as settlers killed or forcibly relocated Indigenous people, or forced them to adopt European practices and beliefs. By the mid-20th century, many Indigenous artists were making objects for tourists, while passing on cultural traditions within their communities. In recent decades, a new generation of Indigenous artists has been revitalizing past traditions. 

In 2018, Tlingit artist Alison Bremner, above left, carved and painted the 10-foot-tall red cedar trunk, above right, in honor of her grandfather. She is believed to be the first woman from the Tlingit Nation to create and raise a totem pole. To master the techniques involved, Bremner studied as an apprentice under the Tsimshian artist David A. Boxley. The finished totem pole was raised in Alaska in a traditional ceremony.

Bremner carves a sitting raven at the top of the pole. This represents her grandfather’s Tlingit clan. Below the raven, Bremner depicts her grandfather holding a distinctly modern object—a thermos of coffee. “I try to incorporate humor in my work to draw the viewer in and hopefully shed some light on . . . aspects of [Tlingit] culture that aren’t immediately apparent,” she explains.

The works on this page come from just two of dozens of Northwest Coast nations with long, rich artistic traditions. Read on to learn how other Indigenous artists are adapting ancient traditions for today’s viewers.

European settlers arrived at the Northwest Coast in the late 1700s. This had devastating effects on Indigenous societies. Settlers killed Native people, forced them to move, and pressured them to practice European customs and beliefs. Many cultural traditions were lost as a result. By the mid-20th century, many Indigenous artists were making objects for tourists along with passing on traditions within Indigenous communities. In recent decades, Indigenous artists have renewed some of these traditions.

Tlingit artist Alison Bremner is shown above left. In 2018, she carved and painted the 10-foot-tall red cedar trunk, above right. The work honors her grandfather. Bremner is believed to be the first woman from the Tlingit Nation to create and raise a totem pole. Bremner learned carving techniques from David A. Boxley, an artist from the Tsimshian (SIM-shee-un) Nation. The pole was raised in Alaska in a traditional ceremony.