Weaving, Beading, and Belonging: Kwakwa̱ka̱’wakw Artistic Tradition

April 1, 2025

U’mista Cultural Centre is proud to present a powerful new dual exhibition opening in April 2025 and running through March 2026. Curated by two staff members of the Centre, the exhibit features Back to Our Roots: Weaving Generations Together by Kimberly Willie and Kwakwa̱ka̱’wakw Beadwork Timelapse by Ivy Peers. Together, these two exhibitions offer a rich and personal view into the evolving practices of weaving and beadwork within Kwakwa̱ka̱’wakw culture.

While distinct in medium, both curators explore the relationships between tradition and innovation, generational knowledge and personal discovery. Each exhibition traces a story of reconnection to cultural practices that are not only surviving but thriving in the hands of today’s artists and knowledge keepers.

Back to Our Roots: Weaving Generations Together

Curated by Kimberly Willie (Arts Program & Collections Assistant)
Mentored by Jay Stewart

For Kimberly Willie, the journey into curating this exhibit began with her own hands – learning the meticulous and meditative art of spruceroot weaving. The result is a deeply personal collection of woven works that spans generations, offering a tangible thread between past and present.

Among the items on display is a spruceroot hat woven by Kimberly’s great-grandmother, Jane (Duda) Willie, who sold it in 1961 for $25. Now on loan from the Alert Bay Library and Museum, it sits beside a small basket woven by Kimberly – a pairing that speaks volumes about lineage, tradition, and continuity. Also featured are painted potlatch hats, halibut hooks, clam baskets, and a basket by weaver Steven Smith.

Kimberly’s Curator Statement:
The art of spruceroot weaving has remained dormant for many years, but it is now experiencing a resurgence thanks to the dedicated efforts of the Kwakwa̱ka̱’wakw people. These individuals are actively learning, practicing, and weaving in order to revitalize this beautiful and culturally significant art form.

Kimberly’s Inspiration Statement:

I have always been an admirer of spruceroot basketry and hats. When the opportunity arose to be a part of the work that goes into these beautiful pieces, I was ecstatic.

Spruce root weaving is a process that extends far beyond the act of weaving itself. It begins with respectfully gathering roots from the land, followed by the labour-intensive steps of cleaning, splitting, and preparing the material for use. Each phase demands patience, care, and a relationship with the natural world. As I worked through these stages, I began to understand the depth of knowledge, intricacy, and respect that this tradition holds.

Kwakwa̱ka̱’wakw Beadwork Timelapse

Curated by Ivy Peers (Project Manager)

In this companion exhibition, Ivy Peers presents a time-spanning exploration of Kwakwa̱ka̱’wakw beadwork – from the early days of colonization through to present-day fashion and fine art. The show features traditional ceremonial pieces alongside contemporary designs that incorporate beadwork into modern regalia, jewelry, and high-style fashion, demonstrating the enduring adaptability of this intricate art form.

This exhibition draws a strong connection between cultural resurgence and artistic innovation, especially during times of collective challenge such as the COVID-19 pandemic, when many Indigenous artists returned to beading as a source of healing, purpose, and connection.

Ivy’s Curator Statement:
Kwakwa̱ka̱’wakw Beadwork Timelapse offers a compelling glimpse into the evolution of beadwork within Kwakwa̱ka̱’wakw communities, tracing its journey from the time of colonization to the present day. The exhibition highlights a diverse collection of beadwork pieces that reflect both the historical and contemporary significance of this enduring art form.

Focusing on the creation of regalia and jewelry, the exhibit explores how beadwork has transformed over time – from traditional ceremonial use to modern artistic expressions. Contemporary artists draw from their rich cultural heritage, reinterpreting beadwork in innovative ways that honor ancestral practices while embracing current artistic visions.

Through this time-spanning exploration, visitors are invited to consider how the use of beads continues to hold cultural meaning, functioning not only as decoration but as a powerful medium of storytelling, identity, and resilience. Kwakwa̱ka̱’wakw Beadwork Timelapse celebrates the artistry, adaptability, and enduring cultural legacy of Kwakwa̱ka̱’wakw beadwork in both past and present contexts.

Ivy’s Inspiration Statement:
My experience in the Stó:lō territory, learning and teaching Kwakwa̱ka̱’wakw-inspired beadwork, highlighted the resilience and adaptability of Indigenous artistic practices. The COVID-19 pandemic catalyzed a resurgence in beadwork, as artists sought both creative expression and cultural connection during challenging times.

The Kwakwa̱ka̱’wakw traditionally adorned their regalia with beads, shells, quills, and buttons, incorporating these elements into ceremonial attire, jewelry, and regalia. During the pandemic, many Indigenous artists embraced beadwork as a means of healing and cultural expression.

My exhibit, Kwakwa̱ka̱’wakw Beadwork Timelapse, serves as a testament to this vibrant resurgence by documenting the evolution of Kwakwa̱ka̱’wakw beadwork. It is a contribution to the ongoing narrative of cultural resilience and adaptation. Such initiatives play a crucial role in preserving and revitalizing Indigenous artistic traditions for future generations.

Together, these exhibitions offer a moving testament to the power of reconnection, the beauty of tradition, and the creative spirit of the Kwakwa̱ka̱’wakw people. Whether through roots gathered from the forest or beads stitched into new patterns of self-expression, the stories held in these works remind us that culture is not just remembered – it is lived.