KEY POINTS:
One of the most valued artifacts on display in the U'Mista Cultural Centre on remote Cormorant Island, off the northwest coast of Canada, is a laughing mask.
"Each of our masks conveys a piece of wisdom from the old people," explains curator Lillian Hunt.
"This one," she says gesturing at a headdress in the likeness of a wolf, "tells us that we should learn from the wolf that families should stay together and help each other.
"And this one," she adds, pointing to a black and red facemask dominated by a huge open-mouthed smile, "is to remind us of the importance of being able to laugh no matter how difficult it might be."
You'd imagine that for much of last century it might have been hard advice to take because her Namgis people were in mourning since their tribal treasures - including the laughing mask - were confiscated by the authorities and taken to museums far off in Ottawa and Toronto.
The dance masks and other regalia were used in potlatch ceremonies - the word means "to give" - which Canada's indigenous people have for centuries held to celebrate special occasions like naming children, marriage, the transfer of rights or the mourning of the dead.
But in the 1800s they began to be opposed by missionaries, for encouraging "heathenish dances", and by British administrators, because the associated gift giving was seen as "wasteful", and a law was passed banning them.
The ceremonies continued regardless - "they used to hold them in bad weather when Indian Agents couldn't get to the islands", laughs Lillian - and the authorities became increasingly frustrated.
Then in 1921, following a large potlatch ceremony on Village Island, the Indian Agent swooped, 45 people were charged, 20 sent to jail and ceremonial regalia such as masks, whistles and rattles was confiscated and sent to the museum.
It was not until 1980, after decades of campaigning, that the items were returned and the cultural centre built to house them.
Lillian says the name chosen for the centre, U'mista, usually refers to the return of loved ones taken captive by enemy raiding parties. "The old people said the return of our Potlatch Collection was a form of U'mista so it was the appropriate name to use."
A documentary on the arrival of the confiscated items, shown to visitors to the centre, makes it clear what an emotional occasion it was.
Many people wept. An elderly chief was so choked with emotion he was unable to speak. When the artifacts were unpacked and placed on display in the centre for the first time the local people were finally able to see and touch these lost treasures.
Today visitors are allowed to see the potlatch collection - with some reluctance on the part of the tribal elders by the sound of it - though touching or taking photos is forbidden.
The masks are displayed roughly in the order they would have appeared at a potlatch ceremony:
First the coppers - shield-shaped pieces of beaten copper, painted or engraved with symbols documenting important family events such as marriages, births and deaths.
Next are several Hamsami, or birds of the cannibal spirit, remarkable masks with long beaks, able to be opened and shut by pulling on cords, which were so heavy the dancers had wear special harnesses.
Then follow the Atlakim, or forest spirits; the Dzunukwa, a sleepy-eyed giant; and Bakwas, chief of the ghosts, with a skeletal face and beard of feathers; and the Nulamala, called the cool dancer, whose mask has a huge nose and whose job is to enforce proper potlatch protocol.
There are several masks representing the Xisiwe, or wolves; a single ferocious Gala, or grizzly bear, with huge teeth; lots of Pipalumas, or winged creatures, including the eagles, the chief of the sky, and the mythical thunderbird; and finally the Max'inux, or orca, a mask so large it was worn on the dancer's back, with hinged parts being used to make whale-like movements.
They were apparently carved by individual chiefs for their own use - Lillian was able to point proudly to two carved by her grandfather - and the workmanship is extraordinary.
The return of the potlatch collection has sparked a cultural revival in Alert Bay, with greatly increased interest in the Kwak'wala language, carving, the dances used at potlatch ceremonies and other traditional skills.
It's an interesting community, half a native reservation, run by the Namgis tribal council, and half a municipality, run by a mayor and council, who have signed an accord - hailed as "the first such agreement between native and non-native governments - to work together".
As a result, while the settlement has all the amenities you would expect, it certainly has a distinctive First Nations flavour.
At the wharf where the ferry from Port McNeil on Vancouver Island berths - providing the main link with the outside world - there is a carved entrance with a sign proclaiming, "Namgis First Nation: Gilaka'la. Welcome."
The waterfront is lined with modern fishing boats and pleasure craft - fishing being important as a source of income, food and recreation - but there is also a brightly painted canoe offering "traditional canoe excursions".
There are a few abandoned buildings - most notably the old fish cannery which was once the mainstay of the economy - which somehow add a quaint rather than dilapidated air.
But there are also some big new buildings which add to the native presence. The frontage of the U'Mista centre carries a huge painting of a thunderbird and a whale, and the grounds are dotted with totem polls, including one 53m high which is said to be the tallest in the world. Up above, dominating the village from on high, is a traditional big house, where today's potlatch and other ceremonies are held, its frontage carrying a stylised orca.
Less visible, but just as important, are a sprawling collection of buildings which house a school to teach the Kwak'wala language. Nearby, with a totem pole and a stone bearing a traditional pictograph outside, is the headquarters of the tribal council is based.
And right in the centre of town, amid the shops and offices of a small settlement, is a Namgis burial ground dotted with totem poles.
"There is still much to do to retain our culture," says Lillian, "but we have made huge progress since the potlatch regalia was returned."
It seems the reminder provided by the laughing mask - of the importance of being able to laugh - is not so necessary these days.
GETTING THERE
Air New Zealand now flies non-stop Auckland to Vancouver. It will initially have three flights a week, reducing to two a week in April, May, June, September and October. Pacific Economy class fares start at $2389 return, including all pre-payable airport and government costs. See www.airnewzealand.co.nz, call 0800 737 000 or visit an Air New Zealand Holidays Store.
PACKAGES
House of Travel has Vancouver Island Self Drive Packages from $3565 per person share twin (book and pay by December 15 and save $430 per person using Earlybird airfares) for travel during May.
The package includes return economy-class Air New Zealand airfares between Vancouver and Auckland, airport transfers in Vancouver, two nights' accommodation at Sandman Hotel and Suites and a Hop-on Hop-off Trolley Tour in Vancouver, transport to and from Vancouver Island, two nights' accommodation at Executive House in Victoria, and a seven day mid-size rental car on Vancouver Island (accommodation additional). For more information contact House of Travel on 0800 838 747 or www.houseoftravel.co.nz.
The U'Mista Cultural Centre is best reached by ferry from Port McNeill in northern Vancouver Island.
FURTHER INFORMATION
The U'Misa Cultural Society has a website at www.umista.ca. General information on British Columbia is at www.hellobc.com.
* Jim Eagles visited U'mista with the help of Air New Zealand, House of Travel and Tourism British Columbia.
