Résumés
Abstract
The social history and aesthetic value of art made by Haida people are subjects often in conflict or marked by a lack of clarity. This essay attempts to explore the things made on Haida Gwaii for different purposes: for entirely local use and in relation to one or two mythic cycles. Then, beginning in the mid-nineteenth century, the collectors, dealers, and museum of the western world arrived; they took thousands of objects away, and by 1880 many Haida artists could assert continuity by making model houses, totem poles, and boats for growing souvenir markets.
Résumé
L’histoire sociale comme la valeur esthétique de l’art Haida sont des sujets souvent de conflits ou sont marqués par un manque de clarté. Cet article propose d’explorer les objets de Haida Gwaii pour un usage strictement local et par rapport à un ou deux cycles mythiques. Puis, à partir de la moitié du XIXe siècle, les collectionneurs, les marchands et les musées du monde occidental sont arrivés; ils se sont pris des milliers d’objets, et, en 1880, de nombreux artistes Haida pouvaient affirmer la continuité en fabriquant des maisons modèles, des totems et des bateaux pour les marchés de souvenirs.
Parties annexes
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