Two of the items displayed in this case are items of practical use in a subsistence economy. One is from Southeast Asia and the other from the Northwest Coast of Canada. These illustrate one way art is related to economy.

No Pic U992.23.54A-B
Fish trap
Rattan; Bamboo; Coconut shell
Sarawak or Kalimantan; Borneo
20th century

This conical fish trap is typical of those made in Borneo for practical use ("Serang Kong"). Rods of split bamboo are twined together with thin strips of reed or rattan. Two funnel forms are inside the outer structure, and these have narrow openings toward the neck. A coconut shell provides the cap for the outer structure of the fish trap.

Fishing is a common occupation among the Bidayuh (Dayak) and involves people of all ages. Methods of catching fish vary according to tradition. This type of fish trap is used by a person wading along a muddy bank of the river where it is sunk in the pools. Most river fish traps involve the construction of some sort of small dam with one opening which leads to a sloping chute where the fish are stranded. The function of the funnel inside the trap is to allow the fish to move in, but not out of the trap.

From the Collection of Colin Henderson Smith and Gloria (neé Burroughs) Smith.

Bibliography: Heyward (1963); Edmund and Kaboy (1989); Heseltine (1982); Chin and Mashman, Sarawak: Cultural Legacy; Richter, Arts and Crafts of Indonesia;
No Pic U981.3.2
Cod Lure
Cedar and Spruce Root
Canada (Northwest Coast), Late 19th century

The central wooden point is bound to three flanges by spruce root. This item was donated to the Universityof Victoria in July 1966 by D. L. Cox of Gabriola, B.C.
Art is also related to economy through its value for sale or trade. Many items which are similar to works made for practical or spiritual function have, thorugh contact with other cultures, been modified to meet changing economic needs.
No Pic U993.3.38A-B
Rattan ? or Bemban ?; Bamboo; Dye
Coastal Melanu
Sarawak or Kalimantan; Borneo
20th century

This storage basket has a square base with split rattan or bamboo rods around the bottom edges, up the sides from the base corners, and supporting the circular edge of the top of the basket and bottom of the cover. The top of the cover is also a square shape. The handles are made of braided strips of rattan or bemban, and are lashed to the vertical support rods.

Designs on this basket are worked in red, black and natural colours. The flower motif has been identified as the "tigertrack." A second motif may represent a type of edible fern, or as a "caterpillar" design. The pointed triangle and S shape may be the "Bunut kava," symbolizing a type of tree and a small yellow wood-worm which is found on it.

Basketwork is generally done by women while the collection and prepartion of the material is done by both men and women. The rattan is a type of climbing, spiny palm. It is prepared by splitting the strips and smoothing the inner surface with a knife. The bemban reeds grow by river banks, and they are also split and dried, after which they can used in making baskets.

From the Collection of Colin Henderson Smith and Gloria (neé Burroughs) Smith.

Bibliography: Chin (1980); Hose and McDougal; Klausen (1957); Chin and Mashman, Sarawak: Cultural Legacy; Richter, Arts and Crafts of Indonesia;
No Pic U981.2.43
Birch Bark; Porcupine Quills; Cotton Thread
South Arctic/Woodlands
Canada, n.d.

This birch bark container is bound together at the rim with white cotton thread in a simple loop stitch. The sides are attached to the bottom by threads, also in a loop stitch, and by the extension of the quill-work decoration over the bottom rim of the basket. About two-thirds of the body of the container is decorated by the vertical attachment of porcupine quills to the bark. The lid is entirely covered with quills which form three floral motifs. The container was donated to the University of Victoria in December 1966 by Commander and Mrs. A. J. Tullis. Bibliography: Condition Report (document file)
The "Arts and Economy" display includes three basketry-covered bottles. Bottles come in a variety of shapes and sizes; the technical mastery of the art of basketry is displayed through these modified arts made largely for trade.
No Pic U990.7.5A-B
Bottle Basket
Cedar bark; Bleached and Dyed Grass; Glass Bottle
Nuu-chah-nulth - Makah
West Coast
Late 19th-early 20th century

This bottle is an unusual conical shape. Coloured bands provide the decorative elements.

From the Tony Hunt Collection of Historic West Coast Baskets.
No Pic U990.8.2A-B
Bottle Basket
Spruce Root; Bleached and dyed grass; Cedar root
Nuu-chah-nulth ? or Tlingit ?
West to Northwest Coast
Late 19th-early 20th century

Another bottle of unusual shape, this has a variety of elements which would pose a challenge to the basketry artist. The decorative motifs are simple and have faded.

From the S. W. Jackman Collection.
No Pic U996.9.30A-B
Bottle Basket
Ceramic; Cedar bark; Swamp Grass; Dye
Canada, Late 19th century

The jar used for this basket-work is pottery rather than glass. It is probably Chinese, and indicates an older work. The foundation for the lid is of hand-carved red cedar. Cedar bark also provides the foundation for the basketry which is woven and dyed swamp grass.

The designs on this bottle are unusual. It consists of two squirrels, two elk or deer, and floral patterns. Five different dyelots have been identified.

From the John Moore Collection.

Bibliography: Assessment notes (document file).
No Pic U994.13.9
Bear Mask
Samuel Henderson
Wood; Paint
Canada (Cambell River), c. 1970

This mask was made for the tourist market by Kwagulth artist Samuel Henderson. Henderson is from the Wai-wai-kum Band and has been carving since the 1950's.

From the S. W. Jackman Collection.

Bibliography: Biographical information sheet on Mark Henderson, Open Graphics - in Northwest Coast Graphics Collection, 1989, Vol. 1 (in Maltwood library).