Rising from a forest mist or soaring overhead in parks and museums, magnificent cedar totem poles have captured the attention and imagination of visitors to Washington State, British Columbia, and Alaska. Discovering Totem Poles is the first guidebook to focus on the complex and fascinating histories of the specific poles visitors encounter in Seattle, Victoria, Vancouver, Alert Bay, Prince Rupert, Haida Gwaii (Queen Charlotte Islands), Ketchikan, Sitka, and Juneau. It debunks common misconceptions about totem poles and explores the stories behind the making and displaying of 90 different poles. Travelers with this guide in their pockets will return home with a deeper knowledge of the monumental carvings, their place in history, and the people who made them. Watch the book trailer: https://www.youtube.com/watch?v=iAaAnYctJcg
An indispensible guide for identifying totem poles along British Columbia's inside passage from Vancouver to Alaska. Whether rising from a forest mist or soaring overhead in parks and museums, magnificent cedar totem poles have captivated the attention and imagination of visitors to Washington State, British Columbia and Alaska. Discovering Totem Poles is the first guidebook to focus on the complex and fascinating histories of the specific poles visitors encounter in Seattle, Victoria, Vancouver, Alert Bay, Prince Rupert, Haida Gwaii (Queen Charlotte Islands), Ketchikan, Sitka and Juneau. It debunks common misconceptions about totem poles and explores the stories behind the making and displaying of 90 different poles. Travelers with this guide in their pocket will return home with a deeper knowledge about these monumental carvings, their place in history and the people who made them.
Through the mists of Alaska's rain forest, totem poles have stood watch for untold generations. Imbued with mystery to outsider eyes, the fierce, carved symbols silently spoke of territories, legends, memorials, and paid debts. Today many of these cultural icons are preserved for the public to enjoy in heritage parks and historical centers through southeast Alaska. And, after nearly a century of repression, totem carving among Alaska's Tlingit, Haida, Tsimshian peoples is flourishing again. In this newly revised edition of Alaska's Totem Poles, readers learn about the history and use of totems, clan crests, symbolism, and much more. A special section describes where to go to view totems. Author Pat Kramer traveled throughout the homelands of the Totem People—along Alaska's Panhandle, the coast of British Columbia, and into the Northwest—meeting the people, learning their stores, and researching and photographing totem poles. Foreword writer David A. Boxley also offers the unique perspective of a Native Alaskan carver who has been a leader in the renaissance. This is a handy guide for travelers in Southeast Alaska who want to learn more about Alaska's totems. There's even a guide of where to view totems in the state. Ravens, killer whales (Orca) and bears... they're all represented in the totem.
This survey of totem poles from the Tlingit settlements of Alaska to the Kwakiutl villages of Vancouver Island examines the traditions that led to their creation. It includes both the author's vivid drawings of totem poles and historical photographs of early native settlements.
Hughina Harold paints a powerful picture of a world that no longer exists in this compelling account of her experiences as a young teacher and nurse on the remote Broughton Archipelago on British Columbia’s coast in the 1930s. Fresh from nursing school in Victoria and eager to start work, Harold could not have imagined the challenges that awaited her in the tiny village of Mamalilikulla. Leaving the comforts of Victoria behind for a cold, leaky floathome that she shared with two elderly missionaries, she had to adapt quickly to her new circumstances. Travelling in unreliable boats to remote outposts to treat the sick, attending births in the most primitive conditions and teaching—from standard, middle-class textbooks—children who had never even seen a car, this gutsy young woman rose to the challenge. The clash of cultures Hughina experienced was extreme, but through it she developed a new understanding of the people she had been sent to teach and treat, discovering their age-old traditions and witnessing “things that should not be forgotten. Written decades later and based on letters Harold had written home, Totem Poles and Tea ensures that her memories will be preserved.
"Writing a poem is like trying to describe a totemic column which passes right through and beyond the world. We see it, but its existence is elsewhere." --Stanley Diamond, Totems--The Northwest Coast totem pole captivates the imagination. From the first descriptions of these tall carved monuments, totem poles have become central icons of the Northwest Coast region and symbols of its Native inhabitants. Although many of those who gaze at these carvings assume that they are ancient artifacts, the so-called totem pole is a relatively recent artistic development, one that has become immensely important to Northwest Coast people and has simultaneously gained a common place in popular culture from fashion to the funny pages.--The Totem Pole reconstructs the intercultural history of the art form in its myriad manifestations from the eighteenth century to the present. Aldona Jonaitis and Aaron Glass analyze the totem pole's continual transformation since Europeans first arrived on the scene, investigate its various functions in different contexts, and address the significant influence of colonialism on the proliferation and distribution of carved poles. The authors also describe their theories on the development of the art form: its spread from the Northwest Coast to world's fairs and global theme parks; its integration with the history of tourism and its transformation into a signifier of place; the role of governments, museums, and anthropologists in collecting and restoring poles; and the part that these carvings have continuously played in Native struggles for control of their cultures and their lands.--Short essays by scholars and artists, including Robert Davidson, Bill Holm, Richard Hunt, Nathan Jackson, Vickie Jensen, Andrea Laforet, Susan Point, Charlotte Townsend-Gault, Lyle Wilson, and Robin Wright, provide specific case studies of many of the topics discussed, directly illustrating the various relationships that people have with the totem pole.--Aldona Jonaitis is director emerita of the University of Alaska Museum of the North and professor at the University of Alaska Fairbanks. An art historian who has published widely on Native American art, she is the author of Art of the Northwest Coast and Looking North: Art from the University of Alaska Museum, among other titles. --Aaron Glass is an assistant professor at the Bard Graduate Center in New York City, where he teaches anthropology of art, museums, and material culture. He has published on visual art, media, and performance among First Nations on the Northwest Coast and has produced the documentary film In Search of the Hamat'sa: A Tale of Headhunting.
Introduces totem poles and how they were made, and their importance to Native Americans living along the coast of North America which used them as a means of recording family and tribal history.
A well-illustrated guidebook that includes the history of totem-pole carving and its West Coast native tradition, and instructions and ideas on how to design and carve a totem-pole as either a traditional design or in a personal folk-art motif.
Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination.
