Large mask. A leatherette form fits over the head, and is covered with a thick pallet of sheep wool, a long red leather face emerging at centre. Face has a trunk-like nose painted with yellow, black and white stripes, and a long red and white tongue hanging below. A moustache of sorghum sits below the nose, with bean teeth attached. Goose feathers serve as large ears along the side of the head, and long black horns emerge above. Wool pompoms and bunches of pheasant feathers top the horns, and a wreath of ribbons and paper flowers span the distance between them.

Necklace made of twisted jute string with "huayruro" seeds between four long sticks; duck (?) feathers attached at the ends of two sticks. Small stick in the centre of necklace is capped with yellow parrot feathers. Sticks are tied with black cotton threads and two of them have long thorns interspersed.

Feather headdress. Black, white and small yellow and white feathers sewn onto a plain yellow-brown woven band of plant fibre (palm?). Tied at the ends with twisted thin cords.

Felt headband with carved wooden frontlet of eagle. Band is made of red felt, with balsa wood carving of an eagle head at centre. Bird has two feathers atop the head, with large eyes rimmed in blue, and an open beak with slightly protruding tongue. Neck is painted with feathers in black. The head is attached to a piece of black leather that is sewn to the band with hide strips. Three shell buttons are sewn to band at both sides of the eagle head.

Bernice Akamine says the impetus behind her feather work is a cultural connection to her Hawaiian ancestors, and finds inspiration in the feather baskets of the Pomo people. 'Ahu 'ula is the feather cape worn by Hawaiian nobility. This basket speaks alliances leading to cultural and artistic connections throughout the Pacific. Though this basket portrays connections between people and the natural world, Akamine says that when she works with feathers, the quiet she experiences is like an isolated meditation.

Frank L. Babbott Fund