THE POTLATCH
The most important ceremony of the West Coast Indians, and one in which music plays a significant part, has always been the potlatch. The word is derived from the Nootka "patshetl," which means "giving" or "a gift." It was customary for the chief of a tribe to call a potlatch and to distribute to his guests nearly all his possessions, with the exception of his house. The more he could give away, the greater became his honor and prestige. In return, he expected to receive even more worldly possessions at future potlatches given by rival chiefs.
Such feasting and gift giving are almost universal. Similar customs were observed by the Maya and the Melanesians; the Maya considered it compulsory to give the return feast even in death. Kwakiutl carried rivalry, and distribution of property, to a unique extreme in that they would even destroy possessions in order to indicate superior wealth.

The potlatch was held in the fall when, after the long seasons of hunting and fishing, the Indian was free to indulge in winter dances and in the ceremonies of the secret societies, Occasions such as marriage, birth, and death were marked by the potlatch; but it might also be called in vengeance, to save face, to repair insult, or even to establish rights to certain dances, songs, legends and crests, or costumes. The raising of a totem pole, the building of a house, or the legalization of new titles were considered worthy of the potlatch; it was held also to celebrate the acquisition of the "copper," that mystic symbol of beaten metal indicative of the highest status.

A chief might give a "feast" for the men of his household in order to ratify a new decree or ordinance, but the whole community would then unite in a potlatch to sanction such new laws for the clan.
Within his own house, the chief could celebrate minor occasions, such as the bestowing of titles on his children, through the medium of the potlatch. But when he wished such honors for himself, outside chiefs must be called to the potlatch. There was fierce competition for distinguished titles and honors; their acquisition had always to be recognized through the potlatch, and in this way, a chief gained the approval of his own house and the respect of others. The greater the title, the greater the potlatch.
It was possible for even commoners to climb the social ladder by giving potlatches, for no sharp line existed between chiefs and commoners. Folktales contradict the assumption that only a chief could give a potlatch.

Titles were graded, the highest belonging to that head man or chief who owned more rights than others. Although he held great influence and prestige, be had no legal authority, except over slaves. His influence over the people of his house, as well as their support, were gained through the giving of "feasts." But in honoring visitors, he depended on the help of other chiefs in calling a potlatch.
Everything connected with the ceremony had historical meaning and the most stringent rules in dress and ceremonial were followed. At funerals, significant objects were displayed and people would pay for the opportunity of seeing them. At winter dances, small gifts were given; sometimes they were true gifts, but more often they had to be returned with added value, according to set rules. Guests of the potlatch were welcomed by the chief and led, each to his appointed place, according to rank and tribe. Each procedure was accompanied by ceremonial singing, appropriate dances were performed by the host chief and speeches and orations were made glorifying his own position.

In the old days potlatches took from four to six months. "Everybody got really fat" as Mungo Martin said. In more recent times the potlatch was rushed to two or three weeks. Mungo remembered when he was a
little boy on Taina Island a chief called a potlatch and he stayed six months. Then he went away to another potlatch for another six months, being away altogether a whole year. "They had dried salmon, dried berries, and dried clams, and sometimes five fires in one house."
The only indulgence, in addition to food, was tobacco, smoked in a pipe called "calumet." Alcohol was unknown until introduced by the white mnn.
In potlatch ceremonies, custom demands that everything be repeated four times--each song sung four times, each dance danced four times-because four is a mystical number. At the time of the potlatch, families brought out all their crests to impress the audience. Entertainment played a major role and many theatrical tricks were performed, such as pretending to burn a woman alive, or to behead the dancers. Such tricks were pure theatre, but, as Chief Billy Assu said,"The white man misunderstood such tricks, and so forbade them, thinking the Indians were very cruel."
During their feasting they told of all the glories of the past and present. The Grease Feast was a very important one during which they gave away oolichan (fish) oil, one of their most highly valued commodities.
On the very last night they took off their headdresses and danced and sang a last song, to declare that potlatch over. The chief got up and started to sing and then everybody joined in.
The potlatch was the social and cultural artery of their lives. In all its aspects (and as a present-day chieftain has aptly summed it up) "it was a cold war between families, because one wants to outdo the others."