This thesis undertakes a comparative study of two adjacent, yet linguistically distinct Fraser River Canyon groups -- the Tait and the Lower Thompson -- through an examination of ethnographic and archaeological data. The archaeological examination is based on results provided by an excavation at the recent Tait pit house village of Esilao in the Canyon near Yale, British Columbia. There were two related objectives. The purpose of the archaeological study was to test whether there was a discernible overlapping of ethnographic and archaeological data. Secondly, the Canyon culture was to be examined to determine whether it showed a greater alignment with the coast or with the interior. The results of ethnographic study show considerable uniformity of Canyon culture and pronounced interior affinities. The archaeological investigation reveals much overlap between ethnographic and archaeological data and indicates that the Esilao village assemblage had a definite interior alignment, thus lending support to the ethnographic findings. / Arts, Faculty of / Anthropology, Department of / Graduate

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This dissertation considers the Native North American repatriation movement as a sociocultural study, in which traditional knowledge and other information accompany returns to tribes. I engage this process with the Cayuse, Umatilla, and Walla Walla Tribes of northeastern Oregon (the Confederated Tribes of the Umatilla Indian Reservation) as they present, preserve, and perpetuate tribal history and culture at their museum, Tamástslikt Cultural Institute. I also explore self-representation and Native participation at the Pendleton Round-Up rodeo and "wild west" pageant in the neighboring town of Pendleton, Oregon. Investigating the connectivity between repatriation, collaboration, and representation, I ask how repatriation defines itself beyond the return of objects of cultural patrimony to influence the development of a tribal cultural and historical narrative. I argue that newly developed tribal perspectives are therefore a bi-product of repatriation. By presenting tribal perspectives based in negotiation, repatriation thus leads to self-representation via collaborative processes. Collaborative processes allow for anthropological research and knowledge to be shared, accessed, and controlled by Native communities, thus allowing for multiple forms of repatriation to manifest. Working within a collaborative framework based primarily in grounded and emergent theory, I also brought theories of the diaspora, historical memory, and trauma to bear on my research in hopes of exploring how return is further complicated in both a literal and a figurative sense. I am informed by Native American and Cultural Studies, yet rather than rejecting or discarding the historical relationship of contact between Anthropology and Native America, this dissertation favors a discussion of changes and adjustments within it. My work contributes to the anthropological literature on tribal museums and representation, and to new understandings of the repatriation of identity and knowledge. I also hope to contribute to growing collaborative action/advocacy-based ethnographic models for conducting research with Native North Americans. An applied and collaborative methodology was employed as I assisted in realizing projects initiated by the Tribes' and operating within a particular Native worldview, spanning from curation to interpretation, at Tamástslikt. While remaining separate and distinct, my own dissertation project was nevertheless structured, informed, and achieved alongside, and in conjunction with, tribally controlled projects.

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The archaeology of EeQw:1, a burial site near Chase in south central British Columbia, is a study of a recent Plateau site in territory inhabited ethnographically by Shuswap. In September 1960 a small field party sponsored by the National Research Council of Canada and the University of British Columbia excavated five burials from the desecrated site. All the interments were flexed, either to the left or to the right, and were placed in unmarked pits. Among the collections from EeQw:1 were many varied and finely fashioned artifacts including: chipped points and knives, jade celts, steatite pipes and carvings, antler digging stick handles and harpoons, antler carvings, bone awls, whale bone clubs, sea-shells, a birch bark container, copper ornaments and a wooden mask. An examination of assemblages of other Plateau sites indicated that material from Lytton, Kamloops, and the upper Columbia River in Washington corresponded most closely with the material from EeQw:1. A close correlation between the assemblage from EeQw:1 and one from Kamloops excavated by H. I. Smith, leads to a tentative proposal of four periods in the recent prehistory of the Kamloops - Chase Area. A review of published and unpublished sources of Plateau prehistory indicated many extra-areal influences, especially from the Coast. In the Canadian Plateau, a number of traits may be attributable to the Coast Salish, and include mortuary practices and artifacts. It has often been suggested that crematory burial practices in the Plateau could be traced to the Tsimshian via the Carrier; however, in the light of the probable antiquity of cremation burial in the Plateau, this position is no longer tenable. Using ethnographic accounts of Plateau societies, Ray has divided the culture area into six sub-areas. These divisions can also be demonstrated in the archaeological record. Finally, the study has raised a number of pertinent questions and problems concerned with Plateau prehistory. The answers to many of these queries may be gained through more fieldwork in any one of three selected locations: the Chilcotin, the Lytton to Lillooet region, and the Kamloops - Chase Area. / Arts, Faculty of / Anthropology, Department of / Graduate

This thesis is a stylistic study of the prehistoric art record from the Northwest Coast of North America. Its purpose is three-fold: to describe the spatial and temporal variation in the stylistic attributes of prehistoric art; to evaluate theories on the evolution of the Northwest Coast art tradition; and to comment on the possible factors behind variation in the prehistoric art record. This study examines stylistic attributes related to representational imagery, concentrating on five variables: decorated forms, carving techniques, design elements, design principles, and motifs. The core sample consists of anthropomorphic and zoomorphic images from dated archaeological contexts; a total of 242 artifacts from 58 sites are examined. The material is presented in chronological order corresponding to the Gulf of Georgia prehistoric cultural sequence. The major finding of this study is that by the end of the Locarno Beach phase or the beginning of the Marpole phase the essential character of the Northwest Coast art style had developed. There are new developments in the late period, but the evidence presented suggests a previously undocumented stylistic continuity from the late Locarno Beach phase to historic Coast Salish art with no decline in quality or productivity. This study indicates that, as far back as the record extends, three-dimensional, naturalistic forms and two-dimensional incising and engraving techniques have equal antiquity. From the Locarno Beach phase onward the flat, engraved style and the three-dimensional sculpture style developed together; the formline concept developed very early out of the raised, positive lines created by deep engraving in antler. / Arts, Faculty of / Anthropology, Department of / Graduate

Analysis of Borden's papers, including unpublished (to 1975), to discover logic used to formulate and test hypotheses. Available data and explanatory patterns shown. Work characterized as search for Northwest Coast chronology with three periods: Early. Evidence from stratigraphy, geology, historical linguistics, ethnographies, study of spatial distribution of similar artifacts. Middle. Application of 0-14 dating to test and correct earlier hypotheses. Recent. Sequences of hypotheses to explain complex, puzzling phenomena involving many basic sciences. Papers shown to be series of retroductions, moving from puzzling phenomina to hypotheses from which the phenomena would follow as a matter of course.

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