<P> In the early 20th century, very few First Nations artists in the Northwest Coast region were producing art . A tenuous link to older traditions remained in artists such as Charles Gladstone, Henry Speck, Ellen Neel, Stanley George, and Mungo Martin . The mid-20th century saw a revival of interest and production of Northwest Coast art, due to the influence of historians, artists and critics including Bill Reid, a grandson of Charles Gladstone and Bill Holm . A revival of traditional ceremonial ways also drove the increased production of traditional arts . This time also saw an increasing demand for the return of art objects that were illegally or immorally taken from First Nations communities . This demand continues to the present day . Today, there are numerous art schools teaching formal Northwest Coast art of various styles, and there is a growing market for new art in this style . </P> <P> The revival of ceremonial life, following the lifting of the potlatch ban - have also driven production of traditional clothing, painting and carving for use in ceremonies . </P> <P> Although neighbouring peoples such as the Coast Salish peoples also traditionally produced art which shares some characteristics of Northwest Coast art, these styles of art are not usually included in the term, since the patterns and artifacts produced are rather different . For example, Salish peoples traditionally created standing welcome figures not created by other Northwest Coast peoples, did not traditionally create totem poles, and did not traditionally use the form lines and shapes of other Northwest Coast peoples . One corollary of this fact is that--contrary to popular belief--other than some of the peoples of the Olympic Peninsula, no Native American nations of Washington and Oregon states produced totem poles and other characteristic, formline, Northwest Coast - style art objects before European contact . </P> <P> Traditionally, within a given community, some patterns and motifs could be used only by certain families and lineages, or with the agreement of those families and lineages . Today, in British Columbia, it is a point of contention whether only First Nations artists of the appropriate nation have the moral right to produce art of given types and using given motifs, or whether only the intent of the person and the respect given to the respective peoples are significant . Some non-Native artists, such as John Livingston, have been adopted into First Nations and have thus formally acquired the right to produce such art . In some nations, such as the Haida, adoptions are seen by some only as gestures, and production of work in their trademark style by outsiders may, in some contexts, be viewed as economic and cultural appropriation . </P>

What are common elements of west coast first nations art