REID, Martine J.




Author Tags: Anthropology, Haida Gwaii

Martine J. Reid was married to Bill Reid for the latter half of his life when he created most of his monumental art works such as The Spirit of Haida Gwaii (also known as The Jade Canoe at the Vancouver International Airport) and The Raven and the First Men, both of which have been featured on the Canadian $20 bill.

Before he knew about his Haida heritage, Bill Reid turned to carving ship models and miniatures at the age of 12. Bill Reid Collected (D&M 2016) by Martine J. Reid reveals the only surviving work from that period is a tiny Victorian tea set that he made out of white chalk, coated with pink nail polish, for his younger sister who kept it nestled on a bed of cotton balls in a pocket-sized matchbox. The miniature tea set is one of 126 art works presented for the largest chronological collection of colour photographs of Bill Reid’s art pieces to date—including jewellery, paintings, serigraphs and large carvings. Martine Reid, his second wife, introduces a three-tiered classification sequence for his works: Pre-Haida (1948–1951), Haida (1951–1968) and Beyond Haida (1968–1998).

Martine Reid, Ph.D. is an independent curator who recalls that Reid was raised by his Haida mother, a residential school survivor who hid her family’s First Nation roots. “It would take Reid a lifetime,” she writes, “to unearth what his mother had been forced to bury.”

Martine J. Reid also edited Paddling to Where I Stand: Agnes Alfred, Qwiqwasutinuxw Noblewoman (UBC Press, 2004), the first autobiographical portrayal of a Kwakwaka’wakw matriarch. As a co-author, Kwakwaka'wakw linguist Daisy Sewid-Smith translated the memoirs of her grandmother Agnes Alfred (c.1890-1992), a non-literate storyteller and noble Qwiqwasutinuxw woman of the Kwakwaka’wakw Nation who experience a century of change within her community. Martine Jeanne Reid was married to Haida carver Bill Reid, who died in 1998. She also produced an educational children's colouring book, Myths & Legends of the Haida Indians of the Northwest: The Children of the Raven, illustrated by Nancy Conkle, that retells Haida stories. [See Bill Reid entry]

Martine J. Reid is Honourary Chair of the Bill Reid Foundation, which created the Bill Reid Gallery of Northwest Coast Art (BRG) in Vancouver, B.C. in 2008. She was Director of Content and Research, and Curator at the BRG from 2008 until 2012.

Review of the author's work by BC Studies:
Bill Reid and the Haida Canoe
Carrying on Irregardless: Humour In Contemporary Northwest Coast Art by Peter Morin, Martine Reid and Mike Robinson, editors

BOOKS:

Myths and Legends of Haida Indians of the Northwest: The Children of the Raven (Santa Barbara, California: Bellerophon Books, 1988).

Paddling to Where I Stand Agnes Alfred, Qwiqwasutinuxw Noblewoman (UBC Press, 2004). Editor.

Bill Reid Collected (D&M 2016) $19.95 978-1-77162-115-1

[BCBW 2016] "Anthropology" "QCI"

Paddling To Where I Stand (UBC Press $85)
Review



No birth records exist for First Nations children born in the 1800s, but it’s known that Agnes Alfred, the subject of Paddling To Where I Stand (UBC Press $85), was born early in the last decade of the nineteenth century and she lived for more than 100 years.

Alfred’s age and her position as a Qwiqwasutinuxw noblewoman meant she had access to a vast store of traditional knowledge. She did not speak English and she had no Western education, so she developed extraordinary skills in remembering and story-telling, as well as in memorizing myths, chants, and historical accounts.

Thus Agnes Alfred, who was forced by her family to convert to Christianity as a child, later took upon herself the task of passing her traditional knowledge to younger generations.

In a chapter entitled “Myth Time,” she tells stories such as that of the girl who is dragged into the underworld to live among the Halibut people. This girl is retrieved years later by reaching for one of her father’s halibut hooks, and so returns to her parents.

Women such as Agnes Alfred also functioned as mediators between the natural-human-profane realm and the supernatural-sacred realm.

Agnes Alfred’s transmission of her knowledge might have remained in the realm of the oral, and possibly been lost eventually, had it not been for a remarkable collaboration that occurred between Alfred, the French-born anthropologist Martine J. Reid, and the matriarch’s granddaughter, Daisy Sewid-Smith, a Kwakwaka’wakw language instructor at the University of Victoria.

After Reid came to UBC as a French Ph.D student in 1975, she began to participate in a program to preserve the heritage of aboriginal peoples—and that led her to “Mrs. Alfred.”

When Reid met Agnes Alfred, she was a widow of about eighty, but still independent and living alone in the big house built by her husband for her and their thirteen children in Alert Bay.

It was her habit during the fall and winter to make a cycle of pilgrimages to visit her many relatives and descendants in Campbell River and elsewhere. As the friendship grew, Reid would accompany her on those annual visits, and thus she met Daisy Sewid-Smith, who had long been fascinated by her Native culture.

These three women eventually formed a trusting partnership—Mrs Alfred dictating her memoirs, Daisy Sewid-Smith acting as translator, and Martine Reid transcribing and editing.

The end result is a volume that defies easy categorization. It is an academic work, but the scholarly apparatus never overwhelms or drains the vitality of the subject.

Agnes Alfred’s voice—by turns authoritative, humourous, poetic, and gnomic—rings out clearly throughout. “Poor me; I was married at such a young age.... They sailed away with me right away, and they brought me to this logging camp.... I had not even menstruated yet. I was perhaps only twelve or thirteen. I was really young. I was married for quite some time before I menstruated.”

A chapter entitled “Becoming a Woman,” describes the onset of men-
struation and an elaborate ritual that marked her passage into womanhood. She was secluded from the rest of her household for twelve days, concealed by a curtain in a corner of a room.

During this time, she sat (wearing the hat reserved for nobility), and was cared for by her mother and the tribal elders.

Besides the formal chapters, the editor has included a lively section of “Fragments of Recollections.” These include such varied topics as “My First Baby Buggy,” “My Washing Machine,” and “I Dye My Hair.”

The baby buggy was never used because “it looked so dreadful;” the washing machine was so overloaded that it toppled over and sent the wringer rollers scattering all over the floor; the hair dye, mistakenly applied like hair oil, dyed her hands black.

Paddling To Where I Stand reveals that noblewomen played a significant role in their society beyond the perpetuation of lineages through child-bearing.
Their dowries supplied men with very valuable privileges, both in tangible goods and in prestige, and the power and standing of the men were often derived from their wives.

Besides a preface, introduction, epilogue and footnotes, Paddling To Where I Stand has five appendices. These provide such information as a linguistic key to the alphabet, spelling, and pronunciation of the many words in the text written in the original language of the Kwakiutl people; an account of the Potlatch ceremony and the events surrounding its prohibition; and diagrams showing genealogy and kinship. 0-7748-0912-4

Joan Givner is a freelance writer who lives on Vancouver Island.

[BCBW 2004] "First Nations"

Bill Reid Collected (D&M $19.95)
Article (2016)


from BCBW (Summer 2016)
Before he knew about his haida heritage, Bill Reid turned to carving ship models and miniatures at the age of 12. Bill Reid Collected (D&M $19.95) by Martine J. Reid reveals that the only surviving work from that period is a tiny Victorian tea set that he made out of white chalk, coated with pink nail polish, for his younger sister who kept it nestled on a bed of cotton balls in a pocket-sized matchbox.

The miniature tea set is one of 126 art works presented for the largest chronological collection of colour photographs of Bill Reid’s art pieces to date—including jewellery, paintings, serigraphs and large carvings. Martine Reid, his second wife, introduces a three-tiered classification sequence for his works: Pre-Haida (1948–1951), Haida (1951–1968) and Beyond Haida (1968–1998).

Martine Reid was married to bill reid for the latter half of his life when he created most of his monumental works such as The Spirit of Haida Gwaii (also known as The Jade Canoe) at the Vancouver International Airport and The Raven and the First Men, both of which have been featured on the Canadian $20 bill.

Martine Reid, Ph.D. is an independent curator who recalls that Reid was raised by his Haida mother, a residential school survivor who hid her family’s First Nation roots. “It would take Reid a lifetime,” she writes, “to unearth what his mother had been forced to bury.”

978-1-77162-115-1