Machine generated contents note: PART ONE. CREATING THE CLASSICAL IMAGE OF KWAKWAKA'WAKW ART AND CULTURE (1875-1950) -- 1. Collecting 19 -- Who Were the Collectors? 19 -- What Did They Collect? 39 -- How Did They Collect? 55 -- Collecting and Native Traditions 63 -- 2. Anthropological Representations 73 -- Scholarship 73 -- International Expositions 79 -- Exhibitions in Anthropology Museums 94 -- Object and Context: The Display of the Classical Kwakwaka'wakw -- Artifact 105 -- 3. Aesthetic Appropriation 111 -- Anthropological Neglect 112 -- From Ethnology to Art: The Creation of an Art World 117 -- Primitivism and Kwakwaka'wakw Art 132 -- PART TWO. THE "RENAISSANCE" OF KWAKWAKA'WAKW ART AND CULTURE (1950-1980) -- 4. Mungo Martin and the Renaissance of Kwakwaka'wakw Art 137 -- Totem Pole Parks before 1950 137 -- Mungo Martin among the Anthropologists 147 -- From Replication to Creation 172 -- 5. The Contemporary Art World: Ethnic Fine Art 174 -- The Development of the Art Market 177 -- Display 186 -- Artists and the Hobbyist Tradition 193 -- Authenticity and Ethnicity in the Northwest Coast Indian Art World 201 -- 6. Contemporary Anthropology: The Kwakwaka'wakw Object in -- History 207 -- Collecting 209 -- Conservation 217 -- Display 221 -- Performance: The "Museum Indian" 246 -- Scholarship 252 --PART THREE. REPATRIATION: 'GIVING THE ART BACK TO THE INDIANS" (1950-1980) -- 7. The Museum as Patron 267 -- Commissions 268 -- Training Programs 283 -- Loan Programs 293 -- Museums as Reference 300 -- The Uses of Museums: Tradition and Creativity 306 -- 8. Native Cultural Programs 309 -- On Home Ground: Dances, Totem Poles, and Houses 310 -- Marketing 334 -- Training Programs 337 -- Scholarship 339 -- 9. Native Museums 345 -- Founding Process: Repatriation as Social Drama 345 -- The Museum and the Cultural Center 353 -- Museum Forms and Functions 356 -- Culture and History in the Kwakwaka'wakw Museums 373 -- Epilogue: Continuity and Influence 379 -- Notes 395 -- References 425 -- Index 449.