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Ozette Art and the Makah Canoe

     

 

by Tim Steury

Many questions remain concerning the contents of the longhouses  excavated at Ozette. One of the most intriguing is the nature of its art, which was pervasive. More than 400 artifacts stored at the Makah Cultural Center might be considered art. Although a few pieces, such as the well-known carved whale saddle,

 

are (presumably) ritualistic, most are everyday objects, combs, bowls, clubs, embellished with designs.

Jeff Mauger (PhD ’78), an archaeologist at Peninsula Community College in Port Angeles, earned his doctorate from WSU, analyzing the shed-roof style of the houses at Ozette and their relation to the style throughout the Northwest coast. Since then he has gradually left field work, turning instead to research and analysis—and to art.  Besides his science, Mauger is a silversmith, creating jewelry inspired by Northwest  Coast and Makah design.


“For whatever reasons,” he writes in an artist’s statement, “tribal art has always evoked a deep emotional response within me and Northwest Coast Indian art traditions in particular are an early and continued passion.”

Mauger’s work is inspired by Makah designs. “I try to understand the structure and elements of those designs to produce art that falls in that tradition.”

Individual designs are owned  by families or individuals themselves.  The design may have come to the creator in a dream. “It is a very personal and closed expression of their culture,” says Mauger, “and there was this concern, they saw a lot of people doing Northwest coast art and benefitin commercially from it, who from a cultural perspective really had no business doing it.

“I have to say I was probably one of them, too,” he says, referring to his early days before the truth dawned on him.

“To work within the tradition, which is what I try to do, you have to reach a level of technical competence and an appreciation and acknowledgement of where that art comes from.”

Mauger is also now at work on a book about Ozette art. “Ozette  gave us the largest single collection of southern Northwest coast art from a single place in a single period,” he says. “Not only that, but you can look at variations between households and families. There’s great potential.”

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