Salmon Mask, 1999

he first non-native observers who arrived on the British Columbia coast in the late eighteenth century classified aboriginal art as primitive, and of interest only as exotic curiosities. Gradually, aboriginal art styles have come to be appreciated as aesthetic traditions worthy of serious consideration. Of equal importance, non-native people are now aware not just of the aesthetics of aboriginal art, but of the cultural protocols and traditions to which they are integrally linked. While the understanding and appreciation of non-native people have undergone significant change, those of native people regarding their own cultural rights have remained consistent.

Cultural art, to be considered seriously, must respect the traditions from which it is drawn. However, the popularity of aboriginal art has encouraged some artists and craftspeople to produce and sell aboriginal designs and crests for which they do not possess the cultural rights. Perhaps the current public debate concerning aboriginal issues should expand to include thoughtful discussions about the appropriation of cultural rights.

The traditions that form the context of aboriginal art prescribe that the creation of aboriginal crest art legitimately belongs only to those who possess hereditary rights. Mungo Martin, Henry Hunt and other elders undertook a process of educating the public to appreciate and understand native art and traditions. By adhering strictly to the traditions of his culture, Richard Hunt is continuing that process, using his accomplishments as an artist to educate, and to secure his cultural rights for future generations.

Elaborate Model Pole, 1996

"All of us must thank our ancestors for keeping our traditions and culture alive. They went through a lot of hardship for us. The main influence in my art work came from Mungo Martin and my father Henry Hunt, as well as from Willie Seaweed's work. These are the people that turned our works from being considered a craft to being regarded as historical art. Now it is time we recognize our works as cultural art.

I was thirteen when I decided that I wanted to be a carver. My brothers and I had gone berry-picking in Saanich to make money. I dreamt of berries all that night, and woke up the next morning knowing that I wanted to be a carver like my dad. My mother told me to go and learn from my father, and that's how I started, making little paddles and masks. It was a hobby that turned into a way of making an income through my school years. The more I carved, the more I realised that what I was carving came from my culture. That is why I believe that what I create is cultural art.

I would like to thank the Royal British Columbia Museum and Peter Macnair who gave me the opportunity of working with my father, which was my dream come true. Since leaving the Museum, I've had a great time creating things that I love. What a way to go through life, doing something that you love and own." RH

Exerpts taken from Through My Father's Eyes catalogue written by, Kevin Neary. Kevin Neary is an anthropology and heritage consultant. For 24 years he worked at the Royal British Columbia Museum as an ethnological collections manager. He and Richard Hunt have been close friends for nearly 30 years.

Carving Gallery (click on image for larger view)

Salmon Mask, 1999	Elaborate Model Pole, 1996
Ceremonial Masks by Richard Hunt, 1976,1979,1976,1981	30" model totem pole
Welcome Figure (bronze)	Model pole, 1990
Sun Mask, 1997	Thunderbird Headdress, 1985
Cannibal Bird Masks, 1980	Model poles by Richard and Henry Hunt, 1984 and 1999