Photographer Edward Curtis's 1914 orchestrally scored melodrama In the Land of the Head Hunters was one of the first US films to feature an Indigenous cast. This landmark of early silent cinema was an intercultural product of Curtis's collaboration with the Kwakwa ka 'wakw of British Columbia-meant, like Curtis's photographs, to document a supposedly vanishing race. But as this collection shows, the epic film is not simply an artifact of colonialist nostalgia. In recognition of the film's centennial, and the release of a restored version, Return to the Land of the Head Hunters brings together leading anthropologists, Native American authorities, artists, musicians, literary scholars, and film historians to reassess the film and its legacy. The volume offers unique Kwakwa ka 'wakw perspectives on the film, accounts of its production and subsequent circulation, and evaluations of its depictions of cultural practice. Resituated within film history and informed by a legacy of Kwakwa ka 'wakw participation and response, the movie offers dynamic evidence of ongoing cultural survival and transformation under shared conditions of modernity.

The first silent feature film with an "all Indian" cast and a surviving original orchestral score, Edward Curtis's 1914 "In the Land of the Head Hunters" was a landmark of early cinema. Influential but often neglected in historical accounts, this spectacular melodrama was an intercultural product of Curtis's encounter and collaboration with the Kwakwaka'wakw of British Columbia.

In recognition of the film's centennial, and alongside the release of a restored version, "Return to the Land of the Head Hunters" brings together leading anthropologists, Native American authorities, artists, musicians, literary scholars, and film historians to reassess the film and its legacy. The volume offers unique Kwakwaka'wakw perspectives on the film, accounts of its production and subsequent circulation, and evaluations of its depictions of cultural practice.Like his photographs, Curtis's motion picture was meant to document a supposedly vanishing race. But as this collection shows, the film is not simply an artifact of colonialist nostalgia. Resituated within film history and informed by a legacy of Kwakwaka'wakw participation and response, the movie offers dynamic evidence of ongoing cultural survival and transformation under shared conditions of modernity.Brad Evans is an associate professor of English at Rutgers University. Aaron Glass is an assistant professor of Anthropology at the Bard Graduate Center.

"Lively and inspiring . . . a comprehensive and completely original cross-disciplinary collection that offers a model of how new work on older cultural materials can take place." - Faye Ginsburg, director of the Center for Media, Culture, and History, New York University

"A highly original collection of essays that offers a theoretically sophisticated understanding . . . Exemplifies collaboration between indigenous communities, scholars, and artists." - Pauline Turner Strong, author of "American Indians and the American Imaginary: Cultural Representation Across the Centuries"

"Curtis's epic melodrama of the precontact Kwakwaka'wakw world has been given a new life, with the advantages of the discovery of a surviving bit of original film, the revival of the orchestral score originally composed for the motion picture, the expertise of film historians and musicians, the use of advanced film-reconstruction technology and modern concepts of restoration. It is a new chapter in the story of Edward S. Curtis in the land of the head hunters." - From the foreword by Bill Holm

The Northwest Coast totem pole captivates the imagination. From the first descriptions of these tall carved monuments, totem poles have become central icons of the Northwest Coast region and symbols of its Native inhabitants. Although many of those who gaze at these carvings assume that they are ancient artifacts, the so-called totem pole is a relatively recent artistic development, one that has become immensely important to Northwest Coast people and has simultaneously gained a common place in popular culture from fashion to the funny pages. The Totem Pole reconstructs the intercultural history of the art form in its myriad manifestations from the eighteenth century to the present. Aldona Jonaitis and Aaron Glass analyze the totem pole's continual transformation since Europeans first arrived on the scene, investigate its various functions in different contexts, and address the significant influence of colonialism on the proliferation and distribution of carved poles. The authors also describe their theories on the development of the art form: its spread from the Northwest Coast to world's fairs and global theme parks; its integration with the history of tourism and its transformation into a signifier of place; the role of governments, museums, and anthropologists in collecting and restoring poles; and the part that these carvings have continuously played in Native struggles for control of their cultures and their lands. Short essays by scholars and artists, including Robert Davidson, Bill Holm, Richard Hunt, Nathan Jackson, Vickie Jensen, Andrea Laforet, Susan Point, Charlotte Townsend-Gault, Lyle Wilson, and Robin Wright, provide specific case studies of many of the topics discussed, directly illustrating the various relationships that people have with the totem pole. Errata: http://www.washington.edu/uwpress/books/Jonaitis_errata_24.pdf

Long known as the Cannibal Dance, the Hamat sa is among the most important hereditary prerogatives of the Kwakwa ka wakw of British Columbia. Drawing on published texts, extensive archival research, and fieldwork, Writing the Hamat sa offers a critical survey of attempts to record, interpret, and prohibit the ceremony. Such textual mediation and Indigenous response over four centuries helped transform the Hamat sa from a set of specific practices. into a generalized cultural icon. This meticulous work illuminates how Indigenous people contribute to, contest, and repurpose texts in the process of fashioning modern identities under settler colonialism.

Long known as the Cannibal Dance, the Hamat sa is among the most important hereditary prerogatives of the Kwakwa ka wakw of British Columbia. Drawing on published texts, extensive archival research, and fieldwork, Writing the Hamat sa offers a critical survey of attempts to record, interpret, and prohibit the ceremony. Such textual mediation and Indigenous response over four centuries helped transform the Hamat sa from a set of specific practices. into a generalized cultural icon. This meticulous work illuminates how Indigenous people contribute to, contest, and repurpose texts in the process of fashioning modern identities under settler colonialism.