I took a jaunt this afternoon out to UBC's campus, about a half hour's bus ride west of downtown Vancouver. It is a pretty campus, though not unlike many other big state schools I've visited.

I came out since it was a free admission day for the Anthropology Musem, which the hostel staff seemed to think highly of. I would have to put my recommendation (no, Keith, not that recommendation) behind it as well. I've always been really impressed by art from this region, and this was a good sampling. It's not the largest, most time-consuming musem I've been to, but its topic of "First Nations" people was well-focused, and I genuinely feel like I have a better understanding of the area after visiting.

If you're wondering why I keep using the "First Nations" terminology (I admit it does sound sound political correctness gone a step too far) ... the reason I do use it is that with a little explanation it does seem to suit the "natives" of this area, who claim that the Bering Landbridge theory or the Boats from Asia theories are equally bunk. They stand by the belief that they've always been here.

This is particularly exemplified in creation myth woodcarvings such as Bill Reid's. His was the central dominating piece of the day was Raven and Clamshell, a huge yellow cedar carving representing a popular story of the area. It really is a masterpiece.

Interestingly, Reid used to be a local television news anchor, and was not even aware of his heritage until he was informed as a young adult. Subsequently he incorporates a distinctive mixture of Western and First Nations art. I have to wonder if this is what might be the future of what can revive Native American artwork: a standout artist who mixes the current hegemony with older traditions.

Along those lines, if there was anything missing here, it was the more comtemporary artwork that tries to bridge mainstrem art and that of the "First Nations." Indeed, this seems to be a heated subject, since the tour guide mentioned that the Haida carvings are considered "more authentic" than the carvings from the Salish, who are historically pegged with the caveat of having migrated to the coast from inland. This discourse of "authenticity" is a familiar one to me, and reminded me a lot of the sensitive question of cultural identity that I explored in New Zealand.

I did notice some artists that introduced new mediums or color patterns (than the typical black/red combination), but unfortunatley these were few and scattered haphazarly (mostly by the gift store section).. The best museum that I've seen as far as contemporary representation of Native American artwork would have to be the one I saw for Navajo art, located in Sante Fe. I hope that museums slowly make their way to this ideal. In the meantime, it does give me something to ponder.

Tomorrow, I'm considering doing some kayaking in the Strait of Georgia, to get a personal touch with the habitat of "Caddy." I'll try to get some pictures up for you if I can find a spare moment.