West Coast Native Legends

Killer Whale

The legend of the Killer Whale is a tale of Natcitlaneh who was abandoned on an island by his brothers-in-law who were jealous of his prowess as a hunter. He was rescued by the Sea Lions and taken to their village in a cave where he healed their Chief. In gratitude, the Sea Lions gave him supernatural powers enabling him to carve eight wooden Killer Whales. These Whales came to life when they were placed in the sea and avenged him by killing his brothers-in-law. As a mark of respect, Natcitlaneh built a house and named it Killer Whale House. According to the legend, the ancestors visited the house located at the bottom of the ocean to obtain rights to use the Killer Whale as a crest.

Held in great awe for its power and size, it was believed a Killer Whale could capture a canoe and take it underwater to transform the occupants into Whales. Thus a Whale near the shore was a human transformed and trying to communicate with his family. The Killer Whale's song is said to be so beautiful that all creation is said to stop and listen to it. It is also said that to be splashed by a killer whale is to ensure great luck and happiness.

The Whale is a popular symbol for romance as they mate for life. The Whale, like the Wolf, stays with its family and travel in large pods. Indeed, the Killer Whale is said to have originated from a single great white wolf that leaped into the sea and transformed itself into a Killer Whale. That is why they have the white markings on their sides, travel in packs and are such skilled hunters. Another explanation for the white markings on the killer whale is the legend of the Killer Whale falling and Osprey, when the killer whale was all black. Killer Whale and Osprey loved each other and Killer Whale would jump into the air to be closer to Osprey who in turn would fly low to the water to be closer to Killer Whale. The love was so great that when their child was born she was black and white, black like Killer Whale and white like Osprey.

Moon

Moon controls the tides and illuminates the dark night. Moon is also associated with transformation and is widely regarded as an important protector and guardian spirit. Because of the powers of Moon, shamans sometimes call upon it as a spirit guide. In Alaska, Moon man is master of animals.

The Nuu-chah-nulth (of Vancouver Island's west coast), whose year features thirteen Moons, honour Moon, and his wife Sun, as the most powerful of beings, the bestowers of good luck and plentiful food. This is one of the instances in which Moon is male and Sun is female. Among other groups, personifications suggest that Moon is a female entity: she often wears a disk shaped lip labret of the type worn by high-ranking Haida women. Moon's facial expression is more delicate and serene than Sun.

The son - Wulticixaiya - of Moon in a Haida (Queen Charlotte Islands) story rescues his sister from marriage to pestilence. Nuu-chah-nulth purification ceremonies were customarily undertaken during the waxing of Moon. Moon plays a part in the peace dance of the Kwakwaka'wakw peoples (of northeastern Vancouver Island and the adjoining mainland), in which a human leaves the ceremonial bighouse and returns transformed into Moon. Moon also appears frequently in the winter ceremony of the Nuxalk.

Most tribes thank Raven for the gift of Moon, and sometimes stories describe Moon as a chip off of Sun, which Raven clumsily dropped. Moon frequently appears grasped in the long straight beak of Raven, in reference to the famous myths regarding the theft - and eventual release into the sky - of Sun, and sometimes Moon, by Raven.

One story of Raven and Moon, probably Salish, tells of its origin as a matchmaker:

Long ago in different villages by the sea, a young boy and girl grew into adults. Raven and Eagle knew the two would be perfect mates. Unfortunately, the paths taken by the young man and woman seldom crossed. He was an artist who spent his days in the forest searching for images to use in his carvings. She was a storyteller who stayed in her village teaching children. Raven and Eagle devised a plan to bring them together. They enticed each of them to take walks along the beach at night. It was a good plan, and would have worked except that in those days there was no light in the night sky. Every evening the two lovers-to-be passed in the dark; neither knowing the other was there. Undeterred Raven entered a camp and stole a burning log from the fire. It was heavier than he had expected. As he tried to fly away, it dragged along, leaving behind a bright streak of firelight on the surface of the sea. Eagle, seeing raven's problem, came to his aid using his strong wings helped lift the burning light high up into the night sky. There, it became a round flowing moon called matchmaker. When the man came down to sea, he was drawn towards matchmaker's light reflecting on the water. The young woman, starting from the other end of the beach, was also lured into the shimmering light. When the two met, they saw each other for the first time and illuminated by matchmaker's soft light, fell instantly in love. Raven and Eagle were very pleased. Ever since then they have kept the Moon fire burning so that when love.

Frog


Frog is a creature of great importance in Northwest Coast art and culture. As a creature that lives in
two worlds, water and land, Frog is revered for his adaptability, knowledge and power to traverse worlds
and inhabit both natural and supernatural realms. Frogs are primary spirit helpers of shamans. A great
communicator, Frog often represents the common ground or voice of the people. Frog's songs are believed
to contain divine power and magic. When shown in art as touching or sharing his tongue with another
creature, Frog represents an exchange of knowledge and power. Frog designs are commonly used as
decorative elements, so that Frog faces, for example, peek out from another creature's ears, mouth or
hands. In symbolic terms the emergence of frog from these orifices may represent an eruption of magic and
unseen interior and other worlds.
Frog is often associated with copper and great wealth. Legendary Haida princes are said to have attended
feasts wearing necklace chains made of living Frogs. The Haida carved Frog on house pole to prevent them
from falling over. They also included them in many other carvings, from feast bowls to totem poles. Frogs
on Haida Gwaii, B.C.'S Queen Charlotte Islands, are actually northern toads. One Haida name for Frog
(toad) is "crab of the woods".
Many legends are attached to this whimsical little animal. The Tlingit of Alaska tell of it's
distribution in a story about a chief's daughter who made fun of Frog. She was then lured into his lake
by Frog in human form, who then married her. Her angry parents drained the lake and scattered Frogs in
every direction. Some B.C. First nations told that Frog announces the end of the winter dance season. It
is said that when the last snowflakes of winter touch the ground they turn into Frogs. Then the Native
people know that there is only six weeks until the Salmon begin returning to the rivers and summer
begins.
One story about Frog tells he was volcano woman's only child. One day Frog saw evil men hunting only for
pleasure rather than necessity. When the men noticed Frog they killed him. Volcano woman erupted in her
sorrow and furry, crying great tears of lava. She destroyed the earth, but in time it would be born again
even stronger and more fertile.
Yet another Frog legend says a village was starving because no one could catch any fish or game, so a
warrior went out to try to find some food. No one had been successful for a long time. The warrior met a
bird who instructed him to follow, so he could help him. The bird brought him to a Frog, who let the
warrior wear his skin. With the Frog skin, the warrior was able to get enough food for the whole village
but, as time passed, the warrior was fully transformed into a Frog, and he went to sea. There he could
live and catch fish and other seafood. Until his days were no longer he provided these foods to his
village.

Eagle

The noble Eagle is seen as a symbol of power and prestige. Eagle also has a strong connection to peace.
This species is still plentiful in the Pacific Northwest. They have long been a source of artistic
inspiration for both traditional and contemporary Native artists.
The Eagle is considered an important Clan crest and is frequently depicted on totem poles, masks, prints
and jewellry.
Eagle down, considered sacred, was used in ceremonies to welcome someone in friendship. "Down" was
sprinkled on the ground before an important visitor came into the tribe. Eagle feathers are used for
smudging and praying. The feathers were also given as a symbolic offering to bestow honour for acts of
courage and wisdom.
The Cree consider each feather as having special meaning and distinction. They make up the Cree dancers
regalia and must be earned one at a time.

Bear

Bear is known as the protector of the animal kingdom. In Haida culture is referred to as "Elder Kinsman"
and was treated like a high ranking guest when killed. Eagle down was sprinkled before it was brought in
to the tribe to display respect.
In West Coast culture, there are several legends telling of a Chief's daughter being abducted by a bear.
The high ranking woman had been out in the woods picking berries and stepped on some Bear dung and began to curse out loud, insulting their cleanliness. Two Bears nearby heard her and decided they would not
tolerate such insolence. They felt the disrepectful woman had to be punished. To do this, one Bear
transformed himself into a very handsome man who approached this woman, and seductively lured her to
accompnay him to his mountain home. When she did, she fell in love with him and became partially
Bear-like herself.
She later married him and had twin cubs. Their children were born as little creatures that resembled
bears who could metamorphorse themselves into human form like their father.
The woman's brothers eventually found her and, in an unequal contest, killed her husband. They returned
to the village but the two bear sons did not feel comfortable and eventually left to return to the
forest. All Bear Clan members are descended from this woman and her two sons.
Because of this, it is believed that there is a bear within all of us and that we must come to terms with
this in our lives.

Hummingbird

A literal messenger of joy, this beautiful tiny bird, also called Sah Sen, represents friendship,
playfulness, and is a symbol of good luck in Northwest Coastal Native art. It is a positive sign to see
Sah Sen prior to a major event such as hunting or travelling to another village. Hummingbird's ability to
hover back and forth at great speeds is believed to be a skill for guiding the people; if they fall
behind Hummingbird can easily back up to keep pace.
One story of Hummingbird tells of a warm, spring day. Summer was coming and the wild flowers were in full
blossom. A young girl and her mother waded through the green grass, enjoying the bright colours. They
stopped as Hummingbird joined them; bussing and darting from flower to flower.
The little creature fascinated the child. She asked, "why does such a tiny bird want to fly so fast? Why
doesn't it just stay at one flower instead of visiting every one?" Her mother sat down on a hill
overlooking the field and said, "let me tell you the story of Hummingbird."
Many years ago there was a fragrant flower that rose every spring to display her beautiful petals and
bright colours for all the world's creatures to enjoy. The people and animals waited anxiously each
spring for this special flower to appear. On that day they knew the warm, kind rays of summer had
arrived. Raven saw how much joy this flower brought to the world, so the next spring when it appeared, he
transformed it into a tiny bird. The bird had the colours of the green spring grass and the flashing red
of a setting sun. Raven gave the bird a special gift - to fly like sunlight flickering through tall
trees. He also gave it a message to take to all the flowers. That's why today we see Hummingbird buzzing
from flower to flower, whispering a message. Hummingbird is thanking each flower for making our world a
more beautiful place.
The mother looked at her child and said, "as you grow up, remember that like each flower, each person has
gifts to give the world. In return that person will be thanked by the birds, animals and flowers for
helping to make our world a better place for every one."

Halibut

The Halibut is a flat fish that starts life swimming in a vertical plan and eventually turns over on its
side to become a bottom feeder. The underneath eye moves to the upper side, giving the fish its unique
appearance.
An abundant food source, the Kwagiulth believed the Halibut threw off its skin and fins to emerge as the
first Human after the Great Flood subsided.
Commonly carved in feast dishes and used for oolichan oil. The more detailed and elaborate a dish, the
more highly ranked the person was who owned it.

Raven

The Raven is the transformer, trickster and creator. Known in legends as the one who released the sun,
moon, and stars; discovered man in a clamshell; brought the salmon and the water; and taught man how to
fish and hunt.
Raven in Kwaguilth culture is known as the sky messenger of the animal kingdom. The Raven is famous for
being a somewhat mischievous glutton. He was always out to please himself and have a good time, but his
adventures always ended up bettering mankind.
The story of "Raven Steals the Lights" is legendary. An old man lived in a house on the bank of a river
with his only child - a daughter. At this time, it was pitch black everywhere and no one could see
anything. So whether she was beautiful or not, there wasn't a way anyone could tell. Thus begins the tale
of the Raven and the Sun. It's said that the old man kept the Sun locked in a box inside a box, which had
yet another box containing an infinite number of boxes until finally there was one so small that all it
could contain was all the light in the universe.
The Raven was not satisfied with the state of darkness since it led to his blundering and bumping into
everything. This slowed him down in his pursuit of the good things in life, which was what he loved more
than getting into mischief. One day he crashed into the old man's house and he heard the man and his
daughter talking about the light. He decided he wanted the light for himself so he waited for the
daughter to leave the house. He transformed himself into a pine needle to slip into a bucket of water.
When the daughter drank the water and swallowed the pine needle, the Raven transformed himself into a
tiny human being inside her. When he emerged, he was a very odd looking child, but it was too dark to
noticed his long nose and the few feathers still clinging to him.
As the Raven/Child gained the affection of the old man, he devised a plan to get the Sun. He asked for
the largest box in the house and upon being refused, he cried and screamed so loudly that the Grandfather
gave him the box. After all it was only one and there were so many more. It took many days, but after a
few well-executed tantrums the Raven/Child removed all the boxes. When only a few were left, a strange
radiance began to suffuse the room. The Raven/Child begged to hold the light for only a few moments, and
even though the Grandfather had come to love the Raven/Child with only a glimpse of him, he gave him the
light. As the light was passed to him, the Raven/Child transformed into a huge Raven. He snapped up the
light and flew up the smoke hole of the house into the darkness of the world.
The Raven now rejoiced with his new possession and was having such a good time that he did not see the
Eagle come upon him. In a panic, he swerved and dropped almost half the light he was carrying. It fell to
the rocky ground and broke into pieces. They bounced back into the sky and remain there to this day as
the Moon and the Stars.
Meanwhile, the Raven was pursued to the edge of the world and, exhausted, he finally let go of his last
piece of light. It fell to the East and that is how the Raven gave us the Sun.

Salmon

The Pacific Northwest Coast people believed that Salmon were actually humans with eternal life how lived
in a large house far under the ocean. In the Spring, they put on their Salmon disguises and offered
themselves to the villagers as food. The tribes believed that when entire fish skeletons were returned to
the sea, the spirits would rise again and change into Salmon people. In this way, the cycle could begin
again the following year. Since the villagers feared that the Salmon people would not be treated
respectfully by White people who had no knowledge of the taboos and regulations, they did not want to
sell Salmon to the first White men.
Salmon is considered the staple food of many coastal communities, brought to the rivers seas by the
Raven. The Haida tell of how Raven stole the salmon from the Beaver people by rolling up their stream and
landscape like a carpet and flying away. It was so heavy that he could only fly a short distance at a
time. He would stop wherever there was a tree to rest. The Beaver people transformed themselves back into
Beavers in order to stop him. They would gnaw down the trees that Raven stopped at and each time some
Salmon and stream would escape the rolled up landscape forming great streams and rivers of Salmon. Not
only was the salmon a favorite food of the Raven, it also became a favorite of the Haida.
In Kwagiulth culture, twins alone have the right to the Salmon dance. To give birth to twins was a sacred
gift bestowed on a mother and was believed to have come from the Salmon people.

Seal

The round harbor seal is an important family crest. It was a favorite theme of northern bowl carvers,
probably because it was an important source of oil and its meat and blubber were significant foods at
feasts. Perched on its round belly on a reef, the harbor seal is a familiar sight to coast travelers.
The Seal Dish, also named the Potlatch Dish or House Dish, was a treasured heirloom which families
brought out for great feasts. The use of the dish was an inherited privilege acquired by ancestral heroes
in the course of legendary encounters with supernatural benefactors. The forms of the dish was made to
look like Seals or Sea Lions and was linked to their function as vessels for plentiful food and not with
crest privileges of any particular family. The carvings associated with the consumption of food far
exceeded their function as mere containers for useful implements. The containers with inlaid Abalone and
shells would be reserved for high-ranking guests or chiefs.

Sisiutl

A dramatic supernatural creature, the double headed Sea Serpent is one of the most high ranking crests in
Kwagiulth culture. Its power possesses it to shift shape and transform from animal to man at anytime. As
well, a Sisiutl can change itself into a self-propeled canoe which the owner must feed with Seals.
Touching the serpent or even looking at it, or a glance from it, can cause death. Legends say Shamans
tried to kill the Sisiutl for its healing power and magic. It's closely assocated with war and strength,
death and revival, so warriors try to kill it to rub its blood on themselves to attain its skillful
strength and become invulnerable. A warrior would often wear a head band or belt in the image of a
Sisiutl to provide protection from harm.
Flakes of shiny mica found on beaches were thought to be the discarded scales from the serpent's body.
Whether carved or painted, the Sisiutl is depicted with a profile head, teeth and a large curled tongue
at each end of its serpetine form and in the centre is a human head. Fins run along its back and curled
appendages or horns rise from all three heads. The painted body represents scales and it may be carved
horizontally, formed into a U-shape or coiled into a circle.
Sisiutl guarded the entrance to the homes of the supernatural. It was painted on the sides of canoes and
hung over doorways to protect the inhabitants from evil spirits.

Wolf

The Wolf crest is a result of an ancestor who visited the houses of the wolves where he was taught
certain songs and dances. Upon returning home, he discovered that he had been away for four years,
although he thought it had only been four days. He found that he was possessed by the spirits of the

Wolves.

In ceremonies, the Wolf dance portrayed the kidnapping for the original visit, and the remainder was a
vivid dramatization of his rescue from the Wolf spirit influence. Of all the animals, Wolves have the
strongest supernatural powers. They are the most proficient hunters of land animals and were greatly
respected for their cleverness.
A whale hunter would paint a Lightning Snake on his canoe and then paint over it. The Lightning Snake has
the head of a Wolf because it is revered for its cunning hunting prowess. Although it was unseen by the
whale, the power of its presence on the canoe would aid the hunter to make a strike.
Since Wolves might bestow this hunting prowess on people, they were often called upon as spirit helpers.
The Coast Salish believed that Wolves were the spirits of deceased hunters. The Kwagiulth considered them
to be ancestors, and frequently impersonated them in religious ceremonies.
As Wolves mate for life and live in close family units usually trvelling in packs, they are regarded as a
family-oriented symbol in West Coast Native culture.
Wolf is the land manifestation of the Killer Whale as they both mate for life, protect their young and do
not separate from their families.

Sun

Released from a box by Raven, the Sun Chief inhabited the sky and it was believed he could be reached by
climbing a chain of arrows. He descended by sliding down its long rays. The Sun is often carved on totem
poles and masks, and sits atop the tallest totem in the world (Alert Bay, British Columbia). It
represents life abundance and its warmth radiates healing and peace.

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Aaron Huey: America's native prisoners of war | Video on TED.com

Aaron Huey: America's native prisoners of war | Video on TED.com

Aaron Huey's effort to photograph poverty in America led him to the Pine Ridge Indian Reservation, where

the struggle of the native Lakota people -- appalling, and largely ignored -- compelled him to refocus.

Five years of work later, his haunting photos intertwine with a shocking history lesson in this bold, courageous talk from TEDxDU.

hotographer, adventurer and storyteller Aaron Huey captures all of his subjects -- from war victims to rock climbers to Sufi dervishes -- with elegance and fearless sensitivity.

Why you should listen to him:

Aaron Huey is a masthead photographer for National Geographic Adventure and National Geographic Traveler magazines. His stories from Afghanistan, Haiti, Mali, Siberia, Yemen and French Polynesia (to name just a few) on subjects as diverse as the Afghan drug war and the underwater photography of sharks, can be found in The New Yorker, National Geographic and The New York Times.

Huey serves on the board of directors for the nonprofit Blue Earth Alliance. In 2002, he walked 3,349 miles across America with his dog Cosmo (the journey lasted 154 days), and was recently awarded a National Geographic Expedition Council Grant to hitchhike across Siberia.

"My success is not measured in money. I have no financial security, I have no savings account. I measure my success by asking myself if I’m telling a story that the world needs to hear, if I am educating people."

Aaron Huey

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This film investigates the controversy that surrounded Castaneda's book "Teachings of don Juan" and explores the practices of today's Yaqui Indians with Dr David Shorter, who has spent the last decade working among them in Mexico. An investigative journalist claimed Castaneda had faked his fieldwork and that Don Juan was merely a figment of his imagination.

Sacred Navajo Sheep called the Churro

http://www.npr.org/templates/story/story.php?storyId=127797442&sc=nl&cc=es-20100620

For as long as anyone can remember, Churro sheep have been central to Navajo life and spirituality, yet the animal was nearly exterminated in modern times by outside forces who deemed it an inferior breed. Now, on a Navajo reservation of northern Arizona and New Mexico, the Churro is being shepherded back to health.

The Navajo Nation is the size of West Virginia, and at last count, 175,000 people live here. Most people are spread out in small clusters that you see off in the distance from the highway. Amongst modern prefab houses and hogans, the multisided traditional homes of the Navajo, are often corrals with small bands of sheep grazing nearby.

"Sometimes you find me, and I just want to sit in the corral with them," Navajo weaver Roy Kady says. "Just find a corner and I sit there. They motivate me, even just to see them; it's that strong to me."

Churro sheep are smaller than most breeds and have a long, wavy lustrous fleece that is valued by Navajo weavers like Kady. He lives near Teec Nos Pos, where he's chapter president — sort of like being the town's mayor. For him, this flock is part of something larger, something he calls "din'e bi iina," the Navajo lifeway. "Din'e" is the preferred name for the Navajo, and "bi iina" means "lifeway."

"Sheep is your backbone," Kady says. "It's your survival. It's your lifeline."

For centuries, the Churro was all these things, providing the Navajo with what they needed to survive in the stark desert: meat for sustenance, wool for weaving clothing and blankets, sinew for thread. It's no wonder the Navajo are grateful, even reverential when it comes to the Churro.

"Sheep is a very important part of this whole cosmology to us," Kady explains. "You know, there are songs to where it refers to 'the first thing I see is the white sheep to the East when I wake up to make my offering. It stands at my doorway.' And that's how we know that the sheep is something that's very sacred to us."

Verse in a Navajo Song

Beauty is before me and Beauty is behind me.
Above me and below me hovers the beautiful.
I am surrounded by it, I am immersed in it.
In my youth I am aware of it, and, in old age,
I shall walk quietly the beautiful trail.
In beauty, it is begun,
In beauty, it is ended.

Reel Injun

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Reel Injun: On the Trail of the Hollywood Indian

Sunday March 28 at 10 pm ET/PT on CBC News Network.

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Cree filmmaker Neil Diamond takes an entertaining and insightful look at the Hollywood Indian, exploring the portrayal of North American Natives through a century of cinema.

Traveling through the heartland of America, and into the Canadian North, Diamond looks at how the myth of "the Injun" has influenced the world's understanding - and misunderstanding - of Natives.

Reel Injun traces the evolution of cinema's depiction of Native people from the silent film era to today, with clips from hundreds of classic and recent Hollywood movies, and candid interviews with celebrated Native and non-Native film celebrities, activists, film critics and historians.

Diamond meets with Clint Eastwood (The Good, the Bad and the Ugly, A Fistful of Dollars,Unforgiven) at his studios in Burbank, California, where the film legend discusses the evolution of the image of Indians in Westerns and what cowboy-and-Indian myths mean to America. Reel Injun also hears from legendary Native American activists John Trudell, Russell Means and Sacheen Littlefeather.

Celebrities featured in Reel Injun include Robbie Robertson, the half-Jewish, half-Mohawk musician and soundtrack composer (Raging Bull, Casino, Gangs of New York), Cherokee actor Wes Studi (Last of the Mohicans, Geronimo), filmmakers Jim Jarmusch (Dead Man) and Chris Eyre (Smoke Signals) and acclaimed Native actors Graham Greene (Dances with Wolves, Thunderheart) and Adam Beach (Smoke Signals, Clint Eastwood's Flags of our Fathers). Diamond also travels North to the remote Nunavut town of Igloolik (population: 1500) to interview Zacharias Kunuk, director of the Camera d'Or-winning The Fast Runner.

Reel Injun's humour and star power is balanced with insightful commentary from film critics and historians, including CBC film critic Jesse Wente, author and scholar of American Indian Studies Angela Aleiss, and associate professor of ethnic studies at Mills College, California, Melinda Micco.

In Reel Injun, Diamond takes the audience on a journey across America to some of cinema's most iconic landscapes, including Monument Valley, the setting for Hollywood's greatest Westerns, and the Black Hills of South Dakota, home to Crazy Horse and countless movie legends. Was Crazy Horse the inspiration for the mystical warrior stereotype? In search of answers, we meet his descendants on the desperately poor Pine Ridge Indian reservation in South Dakota.

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Scrimshaw artist keeps tradition alive in Palermo - Bangor Daily News

Scrimshaw artist keeps tradition alive in Palermo - Bangor Daily News

3/6/10

1 comment

‘Scratching for a living’

Scrimshaw artist keeps tradition alive in Palermo



By Lynn Ascrizzi

Special to the NEWS



PHOTO BY LYNN ASCRIZZIScrimshaw artist Connie Bellet works on a range of material and creates much of her work for knife makers. Buy Photo











For scrimshaw artist Connie Bellet, capturing the natural beauty of Earth’s wild creatures is at the core of her highly detailed artwork.



“Wildlife is my thing,” she said recently, while seated at a small worktable in her colorful studio located at the Palermo Community Center in Palermo.



To demonstrate her art, she showed a decorative, black belt buckle on which she had inscribed the head of a gray fox. Her drawing was so finely rendered that the fox’s yellow eyes glowed and every hair on its thick fur bristled.



As a scrimshaw artist, or scrimshander, she incises or “scratches” designs on hard, nonporous material, such as polished antler, fossilized bone and antique and synthetic ivory. Beneath her expert hand, realistic, colored images of wildlife leap to life — prowling lions, wolves and foxes, bellowing elk, keen-eyed eagles — and more.



Mostly, her work enhances the polished handles of fine, custom-made knives, but she also creates scrimshaw art for gun handles and other well-crafted objects.



“I do a lot of Colt factory ivory pistol grips. A lot of people are into Colt firearms, and there are a lot of Colt collectors,” she said.



Bellet is one of only a handful of professional scrimshanders in Maine. “I think there are five of us in the state who do colored scrimshaw,” she said.



Her method is low-tech but effective. While peering through a large magnifying lens mounted on her worktable, she carefully etches her designs with the sharp tip of a No. 11 X-Acto utility knife. The lines are then inked and colored. The process can take from five to hundreds of hours, depending on the project, she said.



“Some scrimshanders use mechanized tools, but I am not comfortable with them and don’t use them,” she said.



In her scrimshaw art, two basic techniques are involved — line engraving and stippling, a pointillist style made with tiny dots created by a sharp needle.



“It’s a lot slower work than scratching,” she said, of stippling. “The needle produces a velvety texture.”



The illuminated magnifier on her worktable helps her cram an amazing amount of exacting details into a small space, down to a single hair on an animal’s coat. Her subject matter varies from a lone animal to whole scenes — such as buffaloes fighting in the snow or hyenas hassling a lion.



“I like to put in a lot of action,” she said.



Color is applied in painstaking stages. The technique takes time and patience.



“Each color is an entire process and modifies the color or colors beneath it. Some pieces have 24 layers of color and may take hundreds of hours,” she said.



Cutting-edge collectors



Bellet, 61, jokingly calls her art “scratching for a living.” Despite her down-to-earth modesty, she has been earning a successful livelihood with her art for more than 30 years.



“The bulk of my work is for collectors and knife makers. I work directly with collectors, not galleries. There is no commission to pay, and I don’t have to buy materials, which are hugely expensive. Collectors send their knives to me,” she said.



The knives she works on are pieces of art in themselves, such as those crafted by renowned knife maker Dalton Holder of Peoria, Ariz., founder of D’Holder Custom Knives and past president of The Knife Guild.



“He’s one of the top dudes,” she said of Holder. And she does scrimshaw work for fine artisans such as knife maker Dennis Friedly, owner and operator of Friedly Knives in Cody, Wyo.



“He was one of my first knife-making partners. He has sent me hundreds of knives. His hunting knives are some of the very best,” she said.



Fine, handcrafted knives, without scrimshaw, can range from $500 to $10,000, said Bellet, who has worked on knives in the $5,000 range. “I work by the hour; I want my work to be affordable; I charge $25 per hour,” she said.



Her work has been featured in custom-knife magazines such as Knives Illustrated and Blade Edge. She takes her scrimshaw wares to big knife shows like Safari Club International in Las Vegas. This April, she will head to the 2010 Solvang Custom Knife Show in Solvang, Calif.



She won first place for color scrimshaw in the 2006 First Annual Mystic Seaport International Scrimshaw Competition. She has earned numerous accolades for her work from collectors around the world. Her work also is represented in the second edition of “The Art of Scrimshaw” (1983) by Bob Engnath.



Reviving an old tradition



Bellet’s scrimshaw work helps to preserve an indigenous American folk art that has its roots in prehistory. One of the oldest known pieces of scrimshaw was carved on the shoulder blade of a mammoth, she said.



In her studio that day, she showed a piece of fossilized walrus tusk.



“It died 10,000 years ago,” she said of the walrus, whose tusk had been shaped into a scraper by an ancient Inuit hunter, one of the indigenous people inhabiting the Arctic.



“It got hard by a process of mineralization after laying in the tundra mud, freezing and thawing. It has teeth carved on the edges,” she said, running her thumb along the now-dull edge of the dark-amber-colored scraper. “It was used to scrape the fat and flesh off walrus skin.



Most people associate scrimshaw with the nautical folk art created by 19th century New England sailors who used sail needles and lamp black to scratch designs on whalebone, whale teeth or baleen. Their black-and-white handiwork helped them while away the hours during long, whale-hunting voyages.



Ron Newton, author of “Learning How to Scrimshaw” (AuthorHouse, 2006), called traditional scrimshaw “a dying art form.”



But today, modern scrimshaw has progressed to a fine art, said Bellet. Although practitioners are few and far between, the art form appears to be attracting a new level of artist, according to scrimshander Eva Halat, author of “Contemporary Scrimshaw” (Schiffer, 2008).



“[M]odern scrimshaw technique has reached a very high level, and the scrimshaw itself is often of exceptional artistic quality,” Halat said.



Some of the diverse materials Bellet has worked on include: elk antler, hippo and warthog tusk (“very tough”), water buffalo and American bison horn (“black”), cow horn (“white or black”), ox leg bone, Sambar stag antler, fossilized walrus, mammoth and mastodon tusks, elk and orca teeth, mother-of-pearl and faux ivory.



“Most of the knife handles I do are made of the Sambar stag antlers or fossilized ivory used by the knife makers,” Bellet said.



She has also worked on registered elephant and walrus ivory. Both animals are protected by the Endangered Species Protection Act and the Marine Mammal Protection Act.



“Use legal ivory only and make sure it is registered,” she said.



Living culture



Bellet and her husband, Phil White Hawk, a Native American of Cherokee descent, are artists in residence at the Palermo Community Center. They live next door to the center.



Bellet also is president of the Living Communities Foundation, a nonprofit charitable organization whose purpose is to “build sustainable Maine communities using green technology, ancient wisdom and common sense,” according to their Web site: yourlandmainely.org.



“The Living Communities Foundation is about helping Maine communities become more sustainable on a lot of levels — economically, agriculturally, educationally and fostering local interdependence,” Bellet said.



The couple takes their creative programs on sustainability and community well-being to communities throughout the state. People from several counties also use the center for meetings or events, they said.



White Hawk is a singer-songwriter. A musical engineer, he runs a digital sound studio in a lower level of the Palermo center. One of the couple’s lifelong goals is to educate people about Native American cultural traditions, said Bellet, who also is a painter.



The important role that Native American symbology plays in their lives can be seen in Bellet’s vivid, mural-like oil paintings in her studio, such as “Medicine Daughter,” displayed near her worktable.



In the studio that day was a painting she created on the rawhide head of a large hand drum crafted by Holly Soft Stone, a Passamaquoddy singer and drummer who lives in Bucksport. The drum art, which depicts a medicine man with long, snakelike hair and a rainbow winding like a river from his mouth, is called, “Singing Beauty Out of Chaos.”



“The hair represents chaos — the rainbow, beauty,” Bellet said.



Lynn Ascrizzi is a poet, gardener and freelance writer who lives in Freedom.

Chief Seattle's Daughter

YouTube - Broken Rainbow - Part 1 of 7

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This old picture was in the first book I bought as a kid.