Nuu-chah-Nulth or Makah Bird Rattle

Nuu-chah-Nulth or Makah bird form rattle. Circa 1890-1920. 10 1/2" x 2"x 3". This late 19th or early 20th century bird rattle originates with either the Makah of Northwestern Washington State or their close relatives and neighbors, the Nuu-chah-nulth of Vancouver Island in British Columbia. According to Martha Black, “Rattles representing birds are among the most beautiful and sacred of Nuu-chah-nulth carvings. Some are abstract while others are realistic depictions of waterfowl and other kinds of birds. A rattle can convey the recognizable qualities of a specific bird and, at the same time, a supernatural bird that has appeared in a dream or vision. The visual and conceptual unity of the natural and supernatural realms is the source of much of the power of Nuu-chah-nulth art. Rattles are often used in ceremonies to accompany songs and chants.” [1] As Black points out in the above quote, Nuu-chah-nulth and Makah bird rattles are deeply imbedded in cultural practices and ceremonies. These Nuu-chah-nulth and Makah rattles markedly differ from the highly standardized Raven rattles of the Tlingit, Haida, and Tsimshian communities, in that the former were much freer to create novel compositions to represent deeply personal spiritual encounters. In form and practice, Makah and Nuu-chah-nulth bird form rattles are more akin to Coast Salish bird rattles than to the northerly Raven rattles. As such, what might at first glance seem to be a crudeness in form or construction is actually a deeply personal and practical instrument for cultural expression. This rattle is painted black and green and appears to depict a Seabird with a Frog clasping onto its back. Originally purchased from a Vancouver auction decades ago and recently acquired by Cisco's. 1. Martha Black. 1999. HuupuKwanum Tupaat: Out of the Mist: Treasures of the Nuu-Chah-Nulth Chiefs. Victoria: Royal British Columbia Museum, 92.