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Birchbark etching is a traditional cultural practice used by some Indigenous peoples in Canada, including the Dene, Anishinaabe and nations in the Wabanaki Confederacy (see also Mi’kmaq; Wolastoqiyik (Maliseet); Abenaki). Some functional vessels such as baskets and bowls were adorned with cultural iconography and floral motifs, though not all. During the 19th century, narrative-driven storytelling began to appear on the surface of functional birchbark objects. Some of these objects were sold as souvenirs to European settlers or visitors. The practice was in decline for much of the 20th century. However, the sustained efforts of artists and makers led to its reestablishment around the turn of the 21st century. Since then, birchbark etching has undergone a series of profound changes. It now appears in contemporary fashion, jewellery design, cosplay, fine art and more. The practice is also prevalent among major Indigenous art markets, fairs and competitions. Today, birchbark etching has become a strong example of Indigenous cultural renewal in Canada.
Birchbark
Birchbark has long been a survival tool for cultures throughout the world. Among some Indigenous nations in North America, it has been employed as a base material for canoes, storage containers, fire starter, shelter and more. For this reason, the birch tree (and birchbark) is often perceived as a symbol of survival, resilience and spirituality. For instance, the Midewiwin, an Anishinaabe spiritual society, share cultural teachings, spiritual lessons and sacred stories through engraved birchbark scrolls. However, these are only to be viewed and experienced by initiated members of the society and are not for public use.
In Eastern Canada, the birchbark selected for etching is generally harvested during the spring season, usually around April or May. When bark is cut away from the base of the tree, the inner bark contains a thin layer of tissue called cambium that is dark red or deep brown in colour. When water is applied to the cambium, it is easier to scrape away from the base. When scraped away, it reveals a lighter layer of bark underneath. The visual contrast between the layer of tissue and underlying bark is what artists and makers use to create their patterns and designs. Other materials, like spruce or cedar tree roots, are often used along the top of the vessel to support the rim or to provide ornamentation. Ultimately, the lengthy process of harvesting birchbark and roots is not taken lightly. Typically, harvesters offer prayer to the tree and honour the ancestral knowledge associated with it.
Renewal Efforts
Birchbark vessels were customary among some Indigenous nations in Canada for centuries. During the 18th and 19th century, members of the Wabanaki Confederacy sold functional objects to European settlers and visitors (see also Mi’kmaq; Wolastoqiyik (Maliseet); Abenaki). These objects often included etched cultural motifs such as the double curve or two lines that curve up or down in opposite directions. Around 1900, Passamaquoddy governor and guide Tomah Joseph began to etch cultural stories and scenes from everyday life onto a variety of objects including letter holders, cigar boxes, collar boxes and canoe backrests. For instance, some works appear to contain representations of hunting, cooking over an open fire, portaging and tales related to specific landmarks. These were then sold as souvenirs and mementos to patrons who hired Joseph to guide their fishing or hunting trips throughout the state of Maine. By doing so, Joseph was one of the leading figures in forging a shift in birchbark etching from idealized imagery to narrative storytelling. Though images of flora and cultural motifs were still included on functional objects, Joseph and other Wabanaki artists and makers started to use etching to record, honour and aestheticise their complex cultural history.
There are several reasons for the cultural decline of birchbark etching in the 20th century. Canada’s residential school system, the prohibition of distinct cultural traditions and the introduction of materials that replaced bark (metals, e.g. tin) reduced the ability of Indigenous peoples to practise and pass on their knowledge of birchbark etching (see also Indian Act). Around the turn of the 21st century, Indigenous artists and makers with strong connections to reserve communities fostered grassroots initiatives to restore knowledge and awareness of birchbark etching practices. These tended to take the form of one-on-one teachings, formal workshops and classes.
Contemporary Etching
Around the turn of the 20th century, some Indigenous artists and makers began to radically experiment with birchbark etching. Penobscot artist and poet ssípsis (also known as Jean Thompson) was an important contributor to this period. Her monumental 243 cm x 122 cm (8 ft x 4 ft) sculpture The Turtle Shield (c. 2003) was one of the largest birchbark sculptures ever produced. It featured 13 etched bark shields to appear like the carapace of a turtle and was rimmed with sweetgrass. The sculpture responded to the actions of Dr. Henry Perkins, a University of Vermont zoologist accused of sterilizing Wabanaki men and women. ssípsis’s important work is among the first to shift birchbark etching from its existence on functional objects to large-scale, contemporary sculpture and installation. Unfortunately, the whereabouts of The Turtle Shield are unknown.
Although The Turtle Shield was experimental and innovative for its time, the appearance of etchings on birchbark now appears frequently in contemporary fashion design, jewellery and more. For example, Shemaginish (2022) by Algonquin Anishinaabe artist Christal Ratt includes elements of birchbark etching, porcupine quillwork and beading. Shemaginish is a wearable cosplay suit of armour based on the popular Disney+ television series The Mandalorian. Some Indigenous artists and makers like Ratt have long identified with the Star Wars franchise. In part, they look to it for inspiration because many of the protagonists are similarly entangled in the apparatuses of colonialism. Ratt’s work speaks to how birchbark etching is continuously evolving.
Contrary to popular belief, harvesting birchbark does not guarantee that the tree will die. Depending on how much bark is taken, this process can weaken trees and make them more susceptible to pathogens. In the northeast, bark can be removed from the tree (and comes off the easiest) typically between May and June. The tree is most threatened when the inner bark is damaged because its natural pathways for water and nutrients become disrupted. Great care is given to this process so that the tree survives. In some instances, it is possible for bark to be removed again in the future. Still, birchbark etching is wholly dependent on the wellbeing of the birch tree, a living thing perceived as sacred and symbolic among many Indigenous peoples. Indigenous artists and makers have repeatedly expressed their concerns over climate change, toxicity and pollution. These and other environmental factors can negatively impact the health of the birch tree and therefore the future of etching practices.
