Wood, cedar, bark
C.a. 1900
Portland Art Museum
The March 2025 Art In Medicine topic is about Kumugwe, from the Pacific Northwest.
Lucinda Bennett, the Medical Librarian at Ascension St Agnes Hospital in Baltimore, MD, publishes a regular series on Art in Medicine and The Health Humanities.
It's only 1-2 pages with gorgeous images, so it won't take you long to read
... and just might enrich your life.
Kumugwe
“In examinations of world religions, the Pacific Northwest region of the United States and Canada tends to be
overlooked. This doesn’t mean, though, that its inhabitants haven’t fashioned for themselves a plethora of gods and
spirits. Kumugwe, the god of health for the indigenous Kwakwaka’wakw people, is a great example of a fascinating
and understudied deity ... As the god of health and wealth, Kumugwe can heal sickness and reward humans with
great riches. Between his power over the oceans and his healing capabilities, Kumugwe deserves a spot among the
great gods of health in global religious traditions.” (8 Gods of Healing from Around the World)
In the United States, the history of indigenous people is not often
taught in a comprehensive manner or not until later in the
education system. As such, the varied beliefs and practices of
Native Americans are unfamiliar to many and are often
misunderstood; especially considering that said practices are still
in existence and not a chapter in a history book. So for this
month’s topic, we are going to look at a deity of healing who also
inhabits some unexpected realms and how his presence is
important to contemporary spiritual practices in the modern day.
When one thinks of healing deities that tends to be the only aspect
that god or goddess inhabits, but not so with Kumugwe.
“God of the land beneath the sea, Kumugwe is associated with
tremendous wealth and lives with his wife in an undersea palace
made of copper planks guarded by an assortment of sea creatures.
It is said that the posts of his house are living sea lions and its
doors are like giant, snapping mouths, and that within the walls of
his palace is hidden great treasure. If a mortal could reach the sea
god’s palace alive they would return home as wealthy and
powerful men, for Kumugwe can bestow not only wealth but also
magical powers. He is also regarded as the adversary of the
Thunderbird.” (Milwaukee Public Museum)
Classical deities of health, such as Asclepius, are more commonly recognizable as our country drew so heavily on Greco/Roman traditions ranging from symbolism and architecture to the reading of mythology and history. While the staff of Asclepius is possibly one of the most recognizable emblems in today’s medical world, present on nearly every ambulance in the nation. Yet
how many symbols of native religions are easily identified in the United States? The examples given here, in the
form of ceremonial masks, are the means by which this god of so many epithets is depicted in ritual and celebration.
Masks are representations of animals associated with specific ancestors and/or gods, who then gifted the images to
their descendants. Another example, more commonly known, of this practice is the totem pole.
“Masks of Kumugwe often show him with sea creature attributes, such as rounded fish eyes, rows of gills at the
corners of his mouth, fins encircling his head, the suction cups of an octopus, and fish and aquatic birds which
frame or sit upon his head. His most important totemic animals are loons, seals, sea lions, octopuses, orcas, and
sculpins.” (Wikipedia) Some of those animal associations can be found in the visual art representing Kumukwe,
with some masks including gills, shells, or eyes similar to the creatures which fill his domain. Understanding this
Ar in Mede
March 2025
deity of good health, wealth and the sea is bolstered by educating oneself on contemporary practices made in his
honor. That includes a quick lesson on Pacific tribal cosmology.
Wood & pigment
Kwakwaka'wakw (Kwakiutl) culture
1880-90
Metropolitan Museum of Art
“The beings that make up Kwakiutl mythology are remarkably diverse.
Accounts of their interactions with humans and each other are passed
along through stories that not only form the basis of traditional Kwakiutl
spiritual and ceremonial life and lore, but also connect Kwakiutl families
to their ancestral pasts. Many contemporary Kwakiutl identify
themselves as Christians but incorporate traditional mythology into their
faith, freely blending elements of Christian and indigenous religion.
Broadly speaking, Kwakiutl mythology divides the world into several
realms: the mortal world, the sky world, the land beneath the sea, and the
ghost world. In reality, however, it is difficult to discuss Kwakiutl
mythology uniformly owing to the diverse accounts found among the
many bands that constitute the Kwakiutl First Nations, though some
underlying commonalities exist.” (Milwaukee Public Museum)
A quick search online will of course surface Wikipedia, and though
short, the entry on Kumugwe (also known as Komokwa) highlights the
breadth of diversity in the many groups who incorporate this deity into
their spiritual practice. According to that entry, Kumugwe is also attributed to Qaniqilak, a spirit associated with the summer fishing season and in opposition to Tseiqami (the Thunderbird) who guides the winter dance season. Said dance is a celebration that is held to this day in various locations along the western coast of North America, both in the United States and Canada. It is important to note that such performances were illegal for
many years under the governments of both aforementioned nations, with sacred items such as the masks shared here
being confiscated and sold or donated across the globe to collectors. The revitalization of those spiritual practices
and reclamation of said objects, is an ongoing effort.
“The Winter ceremonials summon the fearsome and powerful beings of the spirit world, including the most
powerful and dreaded of all the supernatural beings, the Cannibal Spirit. This spirit possesses initiates of the most
highly ranked of the Kwakiutl secret dance societies, the Hamatsa (cannibal society), and can only be forced to
leave the body of the initiate with the guidance and intervention of shamans and close relatives. These performers,
adorned with eagle down, red cedar bark (representing human flesh) and black paint, give embodiment to a wide
array of animated spirits like cannibal birds (servants of the Cannibal Spirit, such as Raven, Crane, Crow and
Crooked Beak), Nu?ama?a (Fool Dancers), and others.” (Milwaukee Public Museum)
At time of writing, there is not a tremendous amount written on Kumugwe, but hopefully in the future that will
change.
References:
Reprinted with the generous permission of Ms. Bennett.
.jpg)
