My dissertation analyzes the development of the visual culture of the people known as the Gitksan, as witnessed through the creation of ‘Ksan, a tourist village located at present day Gitanmaax (Hazelton, B.C.). I demonstrate how the fields of ‘art’, ‘craft’ and ‘artifact’ come into play in a more nuanced understanding of the development of various sectors at this key tourist site. The focus of the dissertation includes the complex motives that led to the creation of ‘Ksan. I consider the interrelationship of its art, the school as well as its business practices. I offer new insights into the developmental advantages of governmental project funding, the selection of a teaching staff knowledgeable in the arts of the Gitksan, and the reasons that led to its dramatic early success, only to be followed by an equally dramatic decline, all in a space of about 40 years. My reliance on interviews and analysis of new documents contributes to a deeper understanding of the complex history at this site. I also examine how the vision of Marius Barbeau may have contributed to the vision for ‘Ksan, articulated in part by a non-Native woman, Polly Sargent, a prime mover in the development of the site, the contributions of professionals like art historian Bill Holm, and most importantly, the dedication of the Gitksan people. While the school has closed, ‘Ksan’s positive impact on First Nations art of the Northwest Coast and its influence on the acceptability of Native art as fine art in Canada and other parts of the world, is evident. / Graduate / 0377 / 0273 / 0740 / cdubreui@sbu.edu
| Identifer | oai:union.ndltd.org:uvic.ca/oai:dspace.library.uvic.ca:1828/4991 |
| Date | 18 October 2013 |
| Creators | Dubreuil, Chisato Ono |
| Contributors | Harding, Catherine |
| Source Sets | University of Victoria |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Rights | Available to the World Wide Web |
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