Cedar bark has been a primary weaving material across the Pacific Northwest for thousands of years. On the coast of what is now British Columbia, western red cedar (Thuja plicata) provided the raw material for baskets, mats, hats, capes, and a range of utility items used daily in Coast Salish, Haida, Tsimshian, Nuu-chah-nulth, and many other First Nations communities.
Harvesting and Preparation
Cedar bark weaving begins long before the loom or the hands begin their work. The inner bark — the soft layer between the outer bark and the sapwood — is harvested in spring and early summer when the sap is running and the bark peels more cleanly. Traditionally, strips are pulled vertically from living trees, taking care to leave enough bark that the tree continues to grow.
After harvesting, the bark is dried and stored. Before weaving, it is re-dampened to restore flexibility. The width and thickness of prepared strips determines the fineness of the finished piece. Weavers working in fine basketry may split strips to near-ribbon width; those working with mats or capes use broader, rougher preparation.
The decision of how much bark to take from a single tree, and how to read the tree's health before harvesting, represents knowledge that is passed between generations through direct instruction — not documentation.
Regional Variation in Technique
While cedar bark is used across coastal BC, the specific techniques and finished forms vary significantly by region and nation. Some documented distinctions include:
- Coast Salish basketry — often features a twined or plaited structure and is used for carrying, food storage, and ceremonial purposes
- Haida weaving — Haida weavers have a distinct tradition of spruce root basketry alongside cedar bark work; Haida hats woven from cedar bark and spruce root are among the most technically complex forms in Pacific Northwest weaving
- Nuu-chah-nulth — whalers' communities on the west coast of Vancouver Island developed a basket and mat tradition that reflects both function and status
- Northern traditions — communities in the Skeena and Nass River regions integrate cedar bark weaving with button blanket and button work as part of ceremonial regalia
The Material Beyond Baskets
Accounts and museum collections from the late 19th and early 20th centuries document cedar bark's use in rain capes, mats for sitting and sleeping, cradles, and as raw material for rope and cordage. The bark's natural oils offer some water resistance, which made it practical for wet coastal conditions.
Contemporary weavers working in this tradition often reference historical museum collections — held at institutions including the Royal BC Museum in Victoria and the Museum of Anthropology at UBC — as documentation of forms and techniques that were not widely taught during the early-to-mid 20th century.
Contemporary Practice
Cedar bark weaving has experienced renewed interest since the 1970s, alongside broader revitalisation of First Nations cultural practices in BC. Weavers including Musqueam artist Debra Sparrow and her family have been prominent in documenting and teaching traditional Coast Salish weaving techniques.
Non-Indigenous fibre artists working in BC have also incorporated cedar bark into contemporary textile practice. This context is distinct from traditional practice, and the two exist alongside each other in the regional craft landscape.
Craft guilds and arts organisations including the Weavers and Spinners Society of BC periodically offer workshops on bark preparation and weaving techniques. Some of these are led by First Nations instructors; others by textile artists approaching the material from a studio practice background.
Finding Weavers and Their Work
Cedar bark baskets and woven pieces appear at a number of recurring markets and cultural events in BC:
- The Salt Spring Island Saturday Market (April through October) includes fibre arts vendors, some working with natural materials including cedar bark
- Museum gift shops — the MOA at UBC and the Royal BC Museum carry work by Indigenous artists including weavers
- Band cultural centres, particularly on Haida Gwaii and Vancouver Island, occasionally sell or display weaving by community members
Work sold as "authentic" cedar bark weaving varies considerably in quality, origin, and technique. Buyers interested in Indigenous-made pieces are encouraged to ask directly about the maker's background and where the piece was made.
Last updated: May 2026