Spectacular transformation masks, called t!ahlt!ahlumhl! (folding-out mask), are used during the Tlasula. When two panels open out from the center to reveal a human face with bear's ears, the grizzly bear is dramatically transformed.

This small mask representing a female with parted hair was made to fit a child. It was worn by one of the children of the Woman Giving Birth in the atlakim dance. The modelling is direct and bold, and the typically Kwakwaka'wakw painting in strong colors contrasting with white background contributes to the effect of great vitality. (Holm, Crooked Beak of Heaven, 1972)

This small mask depicts a man wearing a cedar bark headring. He may represent Tseykami, a mythical man usually shown with the cedar bark ornaments of the Tseyka. It is representative of the low-cost souvenir carvings available in many shops. (Holm, Crooked Beak of Heaven, 1972)

The copper theme is repeated in this ceremonial rattle in the shape of that esteemed object. The face has been shaped by pounding into a rounded bulge, and a similarly rounded piece of copper has been soldered to the back, forming a cavity that holds a number of small stones, or perhaps lead shot. The characteristic T-shaped ridge appears on the lower section. (Holm, Crooked Beak of Heaven, 1972)

Many mythical creatures are represented in the Tlasula dances, according to the traditions of the family displaying the privilege. The personified earthquake is one of these. It is painted in black, red, and green on a natural wood background. (Holm, Crooked Beak of Heaven, 1972)

Coppers vary widely in size, but this one seems too small for actual use as a copper. It may have been made for some decorative use. The fact that this copper is made of brass weighs against its use as a real copper. A face is painted on the upper, flaring section, and there are stripes and stars on the two sides of the lower part. (Holm, Crooked Beak of Heaven, 1972)

Wooden dishes came in a variety of sizes and forms. Many were undecorated and can be thought of as wholly functional, although they frequently have an elegance of form and proportion that raises them above their utilitarian role. This bowl was used for serving ordinary food and is not in any way a ceremonial piece. (Holm, Crooked Beak of Heaven, 1972)

Singers who sit at the back of the house in front of a painted screen use wooden batons such as these to beat on a plank on time with their songs. The baton (in front), which has a thunderbird design, may have been carved by Willie Seaweed.

In times past the Kwakwaka'wakw did not use chairs, but sat on the floor or on the ground, sometimes leaning on the platform of the house, or on a plank fastened against stakes driven in the ground. A wealthy chief may have a more elaborate settee, carved and painted with his crests. This small settee, made by artist Willie Seaweed, was probably made for a favored child. The mythical creature depicted is called a Sisioohl. (Holm, Crooked Beak of Heaven, 1972)

The large background area of unpainted wood is more Bella Coola than Kwakwaka'wakw in style, and the simple geometric pattern of red stripes resembles some mask painting of the former tribe. The use of gambler masks in a stylized performance of the widely known Hand Game or Bone Game as part of the Tlasula is well documented. High-ranking guests are invited to play against the masked gamblers and are paid lavishly. (Holm, Crooked Beak of Heaven, 1972)