Originally acquired at a BC auction as a Wolf Headdress, this is likely a Hamat’sa Bear Headdress. The Hamat’sa bear appears at the entrance to ceremonial halls, sometimes perched on the roof or platforms to greet guests, many of whom were from distant villages and not aware of the protocols of the host village. The bear is a reminder that the events to be witnessed are sacred and worthy of the full attention and respect of all present. The bear is a companion to the three cannibal birds of the Hamat’sa ritual. Beau Dick has a long history of participation in traditional ceremonies and many of his pieces were created specifically for them.

When viewed from below, the snake design on the lower jaw is prominently seen. This may refer to the Sisiutl, a supernatural snake, and a creature of great power. Beau Dick’s traditional name is Walas Gwa’yam and it is derived from the narrative of the Sisiutl. Beau frequently referred to adornments on masks as titles that equaled any diploma hanging on a wall.

Gary Wyatt

This Hamat’sa Bear Headdress is a masterful work, exquisitely detailed in its design. Fitted with two rows of fierce copper teeth, the headdress is trimmed brilliantly with roped cedar bark and features strands of bark that cascade elegantly down the rear. The colour palette is striking: a bold display of bright red and blue juxtaposed against deep blacks and white. The fluid movement of the articulated jaw and tongue lends the work a wonderfully lifelike quality. As the Hamat'sa dance embodies the transformation from wild spirit to societal integration, the inclusion of a snake, known for shedding its skin and emerging renewed, may serve to symbolize this transformation. Yet, as Gary suggests, it might also be an artful nod to the artist himself, a subtle signature linking back to his traditional name, Walas Gwa’yam, rooted in accounts of the Sisiutl.

References: See Darrin J. Martens, Beau Dick: Revolutionary Spirit, (Vancouver / Whistler: Figure.1 / Audain Art Museum, n.d. [2018]), p. 76 for other works and a commentary on the artist’s other Hamat’sa masks.