Looking at Edward Curtis

Barb Cranmer explains why she believes that Edward Curtis' film could not have been made without the input of her great grandfather George Hunt, a Tlingit-English linguist and ethnologist.

Two young women from Haida Gwaii, Chelsea and Tia, describe their feelings when looking at a portrait done by Edward Curtis - they are inspired by the women in their society.

Filmmaker Colin Browne gives insight into how Edward Curtis' film "In the Land of the Head Hunters" was mistakenly seen by many as a documentary about pre-contact life.

Connie Watts reflects on how the subjects in Edward Curtis' photos showcased their pride in the clothing they made, but at the same time the superficiality of their staging had its disadvantages.

85 year old Haida resident Delores Davis gives her insight into a photo by Edward Curtis despite the fact that she never actually knew who he was.

We examine a striking photograph from Edward Curtis that captured Mike Dangeli's imagination, an image he feels shows how his people raged to preserve their culture.

Tsimshian native Dr. Mique'l Dangeli explains why she feels that Edward Curtis missed an opportunity of accurately documenting Indigenous lives in the early 1900s.

With roots among both the "invaders and the invaded", Noel Purserto of Seattle, Washington reflects on the value of Edward Curtis' "non-native lens" on his Indigenous subjects.

Reg Davidson explores the relationships and connections that Edward Curtis seemed to be able to make that allowed Indigenous people to trust him and give him the access that they did.

Wayne White sees the photos of his ancestors by Edward Curtis as an unintended gift to his people from a European culture that was doing its best to obliterate it.

Teri Lynn Williams Davidson reflects on portraits of Indigenous women by Edward Curtis and how such images have contributed to the literal erasure of Indigenous women's power today.

Haida carver Timothy Boyko found inspiration in Edward Curtis' photos as a young man, and credits them with awakening his desire to be a carver.

Trevor Isaac of Alert Bay grew up with the images of Edward Curtis and feels that he is lucky that his ancestors were photographed, although the images are posed they still convey a sense of nobility.

Alert Bay's Edwin and Vera Newman are grateful for the legacy of Edward Curtis. His films and photographs are a visual reminder of who they are that otherwise might never have existed.

Wayne Alfred remembers the stories his uncle told him about the making of "In The Land of the Headhunters" and how the movie began a shift in the public perceptions about Indigenous life.

Dr. Mique'l Dangeli shares her disdain for Edward Curtis' practice of clothing his subjects in costumes and regalia that may or may not have been true to their culture.