Totem Poles in Pacific Northwest Native Culture

Totem poles are one of the indigenous people’s most renowned works of art, but the significance and meaning they carry in Native culture are more than the average person likely knows. Totem poles originated from the Pacific Northwest before the art later spread to other regions. To examine the cultural significance of totem poles and the meaning of the animals/symbols on the totem poles, this essay will use a very old photograph of totem poles from 1878; a somewhat old totem pole from the 1950s; Nathan Jackson, a current artist, who creates totem poles; and an interview with Buster Landin, a member of the Tlingit tribe.

In August, I visited Occidental Square Park in Seattle and was intrigued by the totem poles there. Seeing these totem poles in person, my interest was piqued as to what the symbols on them mean, and their importance in indigenous culture. The detailed carvings of several animals, such as bears, monkeys, and birds are vivid images I still remember from my trip. Having the opportunity to see the elegance of totem poles in person, persuaded me to learn more about them.

When speaking with Buster Landin, a member of the Tlingit and Anishinaabe tribes, he explained traditional totem poles had been carved from red cedar wood because of their abundance in Northwest America, which is where totem poles originated. Before harvesting a cedar tree, it was tradition for native communities/tribes to hold a ceremony thanking the earth for the tree and paying their respect. John Sutton from TheTyee said this special ceremony for harvesting cedars was known as a “potlatch.” After harvesting the tree, hundreds of different tools in various shapes and sizes were used by artists to carve and design every little intricate detail. While the art of carving and creating totem poles used to be done by only native men, it has shifted to an art performed by both men and women (Indigenousfoundations).

The first very old traditional totem pole that shows cultural significance and symbols within it is the 1878 image taken by George Dawson in British Columbia. Researchers believe that totem poles date as far back as 11,000 years ago, but the most notable pieces that were proven through photography originated around 1860. Dawson’s image displays a “forest” of over fifteen totem poles facing the shoreline of Hecate Strait (known as Haida Gwaii in their native tongue). In the early 1900s, the art of totem pole carving died off due to the attempt at the extermination of Native Americans (Sutton).

The photograph by George Dawson of these totem poles commemorates a time when the carving of totem poles was a scarcity. According to John Sutton from the Tyee, “totem poles were no longer being carved, and those that survived were in a state of decay, largely because the Indigenous peoples of the West Coast who had carved them were under intense pressure to abandon their culture.” Until the 1950s, the art of carving large totem poles died. The ones left from the 1800s that hadn’t decayed were a representation of native culture in the Pacific Northwest that was almost taken away from them; however, their culture triumphed regardless. Since there had been no artists creating totem poles for several years, the tradition was nearly lost.

The poles shown in this 1878 image are no longer standing today due to natural weathering and decay, but the forest of poles is composed of other newer poles still made by Haida Tribe artists. These specific poles in this image and poles made by the Haida commemorate memories of their chiefs and other important members of the tribe. According to René Gadacz, “Haida mortuary poles include a box at the top where the ashes of the chief or high-ranking member are placed.” The totem poles in the image and others made by Haida artists represent their family’s ancestry and honor the higher-ups that have died in their tribes. Placing the ashes of higher-ups on totem poles keeps their legacies alive, and the symbols on the poles represent key characteristics of the person. This very old art image of several totem poles on the Haida Gwaii represents the cultural significance of totem poles in their tribe and culture, and also how the specific symbols represent specific characteristics of the people they are honoring.

The second example, the somewhat old piece that signifies the importance of totem poles and symbols within Native culture, is the 1950’s carved totem pole. This totem pole was made by an artist named Andrew Nastrall, who was a part of the Coast Salish tribe located on Vancouver Island. In his tribe, Nastrall “was a medicine man, born in 1895 who was very knowledgeable in the history and culture of the Squamish nation” (mondotrading). Andrew Nastrall was able to speak the Squamish native tongue fluently and passed down his tradition of master carving to his children. Passing down the art of carving is an example of keeping a family tradition alive. Through totem poles and the specific carving techniques and symbols used, their family’s heritage and stories remain alive.

In this Coast Salish Tribe piece, several traditional animals are symbolized within the piece. According to Devon Denomme, some of the most popular and traditional animals that have unique, universal meanings among tribes include the raven, eagle, thunderbird, bear, wolf, killer whale, beaver, shark, and whale. When talking to Buster Landin, he explained that the reason for these specific animals is because of the way tribes are divided. “Almost every tribe is split into two modes: crow/raven and eagle/wolf. Below each mode is a clan and these are where the other traditional animals come from. Certain animals fall under each mode and their traditional meanings in oral stories determine this.” These animals are important symbols in native culture to represent where a person comes from and are then used as symbols in native art.

Based on my interpretation of the artist’s creations, there are several of these animals within this traditional Coast Salish totem pole. From top to bottom are a thunderbird, bear, killer whale(side view), eagle(side view), beaver(side view), unknown animal, and frog. Each animal is the symbol for the characteristics given to that specific animal, and these animals represent their tribal history along with remembering past ancestors. Based on the information from Devon Denomme and Nativeamericanvault, the animals symbolize the following. First, The thunderbird is a spiritual animal and supernatural being that represents power, strength, and leadership. A bear is a protector that symbolizes strong will and physical strength. The next one is the killer whale. It is a symbol of strength, unification, and large numbers brought together. After that, the eagle demonstrates a connection to the creator, intelligence, healing, and freedom. Next, beavers are symbols of determination, strong will, building, and overseeing. At the bottom, the frog represents a cleansing of the soul, sensitivity, peace, and adaptability.

While the intention of Andrew Nastrall’s piece isn’t exactly known, the figures he used hold a distinct and important purpose. “The stories that totem poles tell may be a myth, a legend, or honor Indigenous peoples through symbols. The crests on a totem pole belong to a family and tell its story. Once the stories of each crest are known, the totem poles really come alive” (Government of Canada). By just viewing Andrew Nastrall’s masterpiece, the meaning of it can’t truly be known without hearing the story behind it. Each totem pole has its own story that tells about history or other stories and signifies the importance of totem poles in the six First Nation tribes. The analysis of the different animals also represents symbolism within each carved figure and the importance of the different animal symbols.

Another example that helps better explain the cultural significance of totem poles in indigenous culture is current Native artist Nathan Jackson. Jackson is a part of the Tlingit tribe and also Chilkoot. He is much more than a woodcarver in society. Nathan Jackson is a metalsmith, fisherman, ex-military personnel, traditional Tlingit dancer, and creative artist in other modes of art. After completing his service in the military, Jackson was unable to commercial fish due to a case of pneumonia. During his time off, he began painting and woodcarving, which is when he found had a talent for it (National Endowment). After Jackson discovered his talent, he began creating various assortments of woodworking. He created things like large totem poles, wood panel clan crests, canoes, and carved doors. With his outstanding ability to keep traditional art and methods alive, he has received many awards. According to Dana Zigmund in 2021, Jackson received the USA Fellow Award representing outstanding artists with outstanding character. One of the most notable things Nathan Jackson did is he kept the tradition of carving totem poles and other woodworking alive in Alaska and other parts of the Northwest (First Peoples Fund). He did this by holding workshop programs for future carving artists and teaching various apprentices over the years.

While Jackson doesn’t have a specific totem pole to analyze, his motives and drive behind his carving of totem poles show how important carving totem poles are in Tlingit culture. Jackson explains that “ [A]n accomplished traditional artist must know the meanings of these symbols and stories, and a totem carver must know the protocol involved in commissioning, carving, and raising a totem pole” (National Endowment). Respecting the traditions of harvesting a red cedar tree and the ceremonial setup of totem poles shows how important totem poles and the traditions that come with them are to indigenous culture. Jackson also explains that you must know the symbols, stories, and meanings behind them before you go off and begin creating your art. This shows that the symbolism of animals and other figures on totem poles is very important and must be correctly represented in the art to portray the right story and maintain respect for the culture. The majority of Native tribes use animals and some inanimate objects as symbols with deeper meanings. Misuse of these figures and symbols tells an improper story, which is why it is so important to understand the symbols and the importance they hold.

Totem poles used to have a specific meaning for telling stories of the history and honoring people, but Nathan Jackson’s art has shifted to a more modern intention that still represents the Tlingit tribe through traditional techniques. Jackson states, “[T]he practice of my art in the community helps to bring attention to cultural issues and helps to maintain pride in the community here, even with the non-natives” (First people fund). Through artists like Nathan Jackson attention is brought to traditional native culture and the issues they are facing. Art like this sheds light on the fact that almost all of their culture was taken away from them and because of it, natives now face other issues. By using traditional techniques and respecting the process of creating totem poles, Jackson shows pride in his culture and also shows the cultural significance of what totem poles have on Pacific Northwest tribes in the modern-day.

The last example where I found much more detailed and personal information about totem poles in Native culture was through my interview with Buster Landin. He spent several years learning about the culture and art in the Pacific Northwest. Buster Landin is a member of the Tlingit and Anishinaabe tribes and learned from both his family and community about totem poles and their significance. Landin explains that totem poles are most commonly commissioned to be a memorial that represents someone important to the tribe. He explained that the animals and symbols on the totem pole outline the lineage of the person’s clans. Landin states that “[Y]ou inherit your mother’s clans, and you are a child of your father’s clan, and both clans are represented on a memorial totem pole.” Memorial totem poles show the lineage of a person and are significant because they represent their heritage and the clans they came from.

While memorial totem poles are the most common form, Buster Landin also talked about other meanings totem poles can hold. Landin said, “[S]ometimes totem poles are reminder poles to remind different tribes of an owed debt and are done to ridicule the tribe. Years ago, poles also ridiculed European colonists in Alaska. Totem poles can also just tell a story.” In Native culture, totem poles are used to represent almost anything in a large manner, so they are ways of expressing things that are important to the tribe that created them. As Mr. Landin said, “Traditionally when you come into an area totem poles are important because they tell you who the people that created them are. Totem poles send a signal to whoever is passing by and are decorated to tell who they are.” Based on Landin’s information, totem poles are significant because aside from being memorials, they can tell the stories of tribes and represent who they are. They also are so large that the stories and meanings the pole holds can be seen from far away.

One other thing Buster Landin mentioned was that sometimes the way animals are created or the objects represent deeper meaning within the symbols. For example, Landin talked about a bear holding a plate with fish in it. This showed the clan’s wealth and meant that they had access to a stream. He also said things like “teeth grinning on a bear and a salmon in the mouth means the bear is full, a bear with its tongue out means the clan/tribe is hungry.” Landin helped explain the further symbolization of totem poles and how details on the animals help tell a story that further develops the significance of totem poles in Native culture.

After learning more about indigenous people’s traditional totem poles, it’s clear that the poles I saw in Seattle weren’t from the original tribes, but still carry significance. While it may be due to the fact the weathering has caused wear on the poles or solely variation in artistic techniques, I noticed the grooving and detailing of these poles was carved much less deep than traditional totem poles and images I’ve analyzed. Also, one of the poles had been mainly a monkey figure, which is not one of the main symbols. Aside from the monkey, I noticed many of the animals and other figures used had been the same as those used on traditional poles. I recall seeing a bear totem pole which is one of the main traditional symbols and along with that, there was also a pole that had an eagle displayed on top of it. Both are traditional symbols well represented on the poles. While the totem poles I saw may not have been created by the original six tribes, many of the important aspects were still visible. These poles represent other tribes’ take on the original totem poles and symbols/animals that are significant to their particular tribes. It’s visible that even with variations in totem poles, the main aspects were well represented showing the significance of respecting the original six tribe’s traditions and culture.

In Northern Wisconsin and other parts of the nation, most tribes still do have clan poles which are smaller variations of totem poles with the same aspects. Clan poles are put up and placed by natives’ homes. The original totem poles out on the Pacific Northwest coast were much larger due to the fact they used western red cedar which is significantly larger compared to the cedar trees that can be harvested in the Great Lakes region to make clan poles (St. Germaine).

From old totem poles made in the 1870s to the somewhat old totem poles from the 1950s to modern-day totem poles artists, it can be found that totem poles carry much cultural significance for indigenous people’s heritage, especially specific tribes. They represent native’s ancestry, tell stories of their history, honor their people, and commemorate past events. The symbols and figures on totems carry specific meanings that relate to what story the pole is portraying. Totem poles are especially important in the six tribes they originated from: Haida, Nuxalt, Kwakwaka’wakw, Tlingit, Tsimshian, and Coast Salish. They tell stories of their tribes and portray deeper meanings. Through the examination of these very old and old art pieces, and the indulgence of modern-day artists along with speaking to members of an original tribe, totem poles’ cultural importance in Pacific Northwest indigenous tribes can be explained along with the symbols on totem poles and the meaning they hold in native culture.

Works Cited:

“1950’s Large OLD Totem Pole By Late Andrew Natrall (1895-1988)”. My Mondo Trading, First Nations Art Gallery, mymondotrading.com/gallery/view/757-1950s-large-old-totem-pole-by-late-andrew-nat rall-1895-1988. Accessed 4 March 2022.

Denomme, Devon. “Totem Poles & Their Purpose”. Study.com, Working Scholars, 11 August 2021, study.com/learn/lesson/native-american-totem-poles-symbolism-history.html. Accessed 4 March 2022.

Gadacz, Rene. “Totem Pole.” The Canadian Encyclopedia, Historica Canada, 15 March 2007, thecanadianencyclopedia.ca/en/article/totem-pole. Accessed 14 March 2022.

Huang, Alice. “Totem Poles.” First Nations Studies Program, Indigenous Foundations Art, indigenousfoundations.arts.ubc.ca/totem_poles/. Accessed 1 March 2022.

Landin, Nils (Buster). Zoom Interview. 16 March. 2022.

“Nathan Jackson.” First Peoples Fund, firstpeoplesfund.org/nathan-jackson. Accessed 10 March 2022. “Nathan Jackson.” National Endowment for the Arts, Art, arts.gov/honors/heritage/nathan-jackson. Accessed 10 March 2022.

St. Germaine, Ernie. Short Email Interview. 14 March. 2022.

Sutton, John. “How the Totem Poles Became a Symbol of Canada”. TheTyee.ca, The Tyee, 16 November 2018, thetyee.ca/Culture/2018/11/16/How-Totem-Pole-Became-Symbol-Of-Canada/. Accessed 1 March 2022.

“Totems: The Stories They Tell”. Canada.ca, Government of Canada, 26 September 2016. rcaanc-cirnac.gc.ca/eng/1472670112251/1534962082305. Accessed 4 March 2022.

Zigmund, Dana. “A Q&A with renowned Northwest Coast artist Nathan Jackson.” Sound Publishing Inc, Juneau Empire, 10 February 2021, juneauempire.com/news/a-qa-with-renowned-northwest-coast-artist-nathan-jackson/. Accessed 1 March 2022.