Totem pole

Totem poles are monumental wooden carvings found along the Pacific Northwest Coast.

These structures serve as vital expressions of Indigenous Northwest Coast art. They are found in British Columbia, Canada, and coastal areas of Washington and southeastern Alaska. Various First Nations and Indigenous communities create them, including the Haida, Tlingit, and Tsimshian. The term "totem" comes from the Algonquian word *odoodem*, which means "kinship group." It is a common misconception that these poles are worshipped or used for spiritual practice. Instead, they function as visual records of history, lineage, and culture.

The creation of a totem pole begins with selecting a massive tree. Most carvers use the *Thuja plicata*, known as western red cedar. This specific wood is highly rot-resistant, which is essential in the moist, rainy climate of the Pacific Northwest. Artists carve figures and symbols into the trunk to form a vertical narrative. These figures interlock one above the other to create a single design. Some carvings are large and central, while smaller figures might be tucked into ears or mouths. These designs can rise to a height of many feet. The final pole serves as a complex symbol of a family's history or status.

Totem poles serve many distinct purposes depending on the community and the occasion. Some poles act as mortuary vessels to hold the remains of deceased ancestors. Others function as welcome signs for visitors arriving at a village. Some are used as functional architectural features, such as house posts. A pole might also be commissioned to commemorate a notable event or a specific legend. In some cases, poles were even used to publicly ridicule an individual. Because the meanings are so complex, an observer must understand the specific culture to truly read the pole.

The history of these carvings shows a significant evolution in technology and style. Before the arrival of iron and steel, artists used tools made of stone, shells, or beaver teeth. This made the carving process very slow and laborious because axes were not yet available. By the late 18th century, the introduction of metal cutting tools changed everything. This allowed for more complex designs and a higher rate of production. Some scholars, such as Eddie Malin, suggest that the practice began with the Haida people of Haida Gwaii. He proposes that the tradition spread to the Tsimshian and Tlingit, eventually moving down the coast.

During the 19th century, the development of totem poles saw both growth and decline. Between 1830 and 1880, the maritime fur trade and fisheries brought wealth to coastal peoples. This wealth was often shared during lavish potlatch celebrations, which were frequently linked to erecting poles. These monumental poles represented the social status and prestige of wealthy family leaders. However, later policies of assimilation and religious practices caused a sharp decline. In the 19th and early 20th centuries, many Indigenous religious practices were outlawed. Christian missionaries often urged people to stop making poles or even to destroy them. By 1901, almost all totem-pole-making had ceased.

Despite this difficult period, the tradition experienced a significant renewal in the late 1930s. This revival was driven by artistic movements and growing scholarly interest. In 1938, the United States Forest Service began a program to reconstruct and preserve old poles. They successfully salvaged about 200 poles, which was roughly one-third of the known standing poles at the end of the 19th century. By the 1960s and 1970s, new poles were being erected across the coast. Artists also began using new media, such as stone, blown glass, and etched glass, to express these traditional themes.

Today, totem poles continue to connect Indigenous peoples to their ancestors and stories. A recent example is the Sealaska Cultural Values Totem Pole, unveiled in June 2022 in Juneau, Alaska. This structure was carved from a 600-year-old cedar tree. It is a 360-degree pole that represents three different tribes: the Lingít, Haida, and Tsimshian. The carvings use specific symbols to tell stories, such as a raven with a long, straight beak or an eagle with a curved beak. These symbols allow people to recognize shared legends across different groups. The tradition remains a powerful way to display clan lineage and cultural heritage.