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Given the complexity and symbolic meanings of these various carvings, their placement and importance lies in the observer's knowledge and connection to the meanings of the figures and the culture in which they are embedded.

Totem poles serve as important illustrations of family lineage and the cultural heritage of the Native peoples in the islands and coastal areas of North America's Pacific Northwest, especially British Columbia, Canada, and coastal areas of Washington and southeastern Alaska in the United States.

Because of the region's climate and the nature of the materials used to make the poles, few examples carved before remain. Totem poles are the largest, but not the only, objects that coastal Pacific Northwest natives use to depict spiritual reverence, family legends, sacred beings and culturally important animals, people, or historical events.

The freestanding poles seen by the region's first European explorers were likely preceded by a long history of decorative carving. Stylistic features of these poles were borrowed from earlier, smaller prototypes, or from the interior support posts of house beams.

Although 18th-century accounts of European explorers traveling along the coast indicate that decorated interior and exterior house posts existed prior to , the posts were smaller and fewer in number than in subsequent decades.

Prior to the 19th century, the lack of efficient carving tools, along with sufficient wealth and leisure time to devote to the craft, delayed the development of elaborately carved, freestanding poles.

The process was slow and laborious; axes were unknown. By the late eighteenth century, the use of metal cutting tools enabled more complex carvings and increased production of totem poles.

Eddie Malin has proposed that totem poles progressed from house posts, funerary containers, and memorial markers into symbols of clan and family wealth and prestige.

He argues that the Haida people of the islands of Haida Gwaii originated carving of the poles, and that the practice spread outward to the Tsimshian and Tlingit , and then down the coast to the indigenous people of British Columbia and northern Washington.

Accounts from the s describe and illustrate carved poles and timber homes along the coast of the Pacific Northwest.

In the 19th century, American and European trade and settlement initially led to the growth of totem-pole carving, but United States and Canadian policies and practices of acculturation and assimilation caused a decline in the development of Alaska Native and First Nations cultures and their crafts, and sharply reduced totem-pole production by the end of the century.

Between and , the maritime fur trade , mining, and fisheries gave rise to an accumulation of wealth among the coastal peoples.

In the 19th and early 20th centuries, before the passage of the American Indian Religious Freedom Act in , the practice of Native religion was outlawed, and traditional indigenous cultural practices were also strongly discouraged by Christian missionaries.

This included the carving of totem poles. Missionaries urged converts to cease production and destroy existing poles.

Nearly all totem-pole-making had ceased by Beginning in the late s, a combination of cultural, linguistic , and artistic revivals, along with scholarly interest and the continuing fascination and support of an educated and empathetic public, led to a renewal and extension of this artistic tradition.

Totem poles can symbolize the characters and events in mythology, or convey the experiences of recent ancestors and living people.

Pole carvings may include animals, fish, plants, insects, and humans, or they may represent supernatural beings such as the Thunderbird. Consistent use of a specific character over time, with some slight variations in carving style, helped develop similarities among these shared symbols that allowed people to recognize one from another.

For example, the raven is symbolized by a long, straight beak, while the eagle's beak is curved, and a beaver is depicted with two large front teeth, a piece of wood held in his front paws, and a paddle-shaped tail.

The meanings of the designs on totem poles are as varied as the cultures that make them. Some poles celebrate cultural beliefs that may recount familiar legends, clan lineages, or notable events, while others are mostly artistic.

Some of the figures on the poles constitute symbolic reminders of quarrels, murders, debts, and other unpleasant occurrences about which the Native Americans prefer to remain silent The most widely known tales, like those of the exploits of Raven and of Kats who married the bear woman, are familiar to almost every native of the area.

Carvings which symbolize these tales are sufficiently conventionalized to be readily recognizable even by persons whose lineage did not recount them as their own legendary history.

Those from cultures that do not carve totem poles often assume that the linear representation of the figures places the most importance on the highest figure, an idea that became pervasive in the dominant culture after it entered into mainstream parlance by the s with the phrase "low man on the totem pole" [26] and as the title of a bestselling humor book by H.

Allen Smith. However, Native sources either reject the linear component altogether, or reverse the hierarchy, with the most important representations on the bottom, bearing the weight of all the other figures, or at eye level with the viewer to heighten their significance.

There are six basic types of upright, pole carvings that are commonly referred to as "totem poles"; not all involve the carving of what may be considered "totem" figures: house frontal poles, interior house posts, mortuary poles, memorial poles, welcome poles, and the ridicule or shame pole.

Its carvings tell the story of the family, clan or village who own them. These poles are also known as heraldic, crest, or family poles.

Poles of this type are placed outside the clan house of the most important village leaders. Another type of house frontal pole is the entrance or doorway pole, which is attached to the center front of the home and includes an oval-shaped opening through the base that serves as the entrance to the clan house.

Carvings on these poles, like those of the house frontal poles, are often used as a storytelling device and help tell the story of the owners' family history.

The rarest type of pole carving is a mortuary structure that incorporates grave boxes with carved supporting poles. It may include a recessed back to hold the grave box.

These poles may have a single figure carved at the top, which may depict the clan's crest, but carvings usually cover its entire length.

Ashes or the body of the deceased person are placed in the upper portion of the pole. This type of pole, which usually stands in front of a clan house, is erected about a year after a person has died.

Traditionally, the memorial pole has one carved figure at the top, but an additional figure may also be added at the bottom of the pole.

Memorial poles may also commemorate an event. For example, several memorial totem poles were erected by the Tlingits in honor of Abraham Lincoln, one of which was relocated to Saxman , Alaska, in After American soldiers at the fort and aboard the Lincoln provided protection to the Tongass group against its rival, the Kagwantans, the Tongass group commissioned the Lincoln pole to commemorate the event.

Poles used for public ridicule are usually called shame poles, and were created to embarrass individuals or groups for their unpaid debts or when they did something wrong.

Shame pole carvings represent the person being shamed. It was created to shame former U. Secretary of State William H.

Seward for not reciprocating the courtesy or generosity of his Tlingit hosts following a potlatch given in his honor. The intent of this pole is indicated by the figure's red-painted nose and ears to symbolize Seward's stinginess.

This pole was erected by Chief Shakes to shame the Kiks. When the Kiks. It is not known if the debt was ever repaid.

The pole's unique crossbar shape has become popularly associated with the town of Wrangell, and continues to be used as part of the Wrangell Sentinel newspaper's masthead.

In , the U. Forest Service commissioned a pole to commemorate Alexander Baranof , the Russian governor and Russian American Company manager, as a civilian works project.

The pole's original intent was to commemorate a peace treaty between the Russians and Tlingits that the governor helped broker in George Benson, a Sitka carver and craftsman, created the original design.

The completed version originally stood in Totem Square in downtown Sitka, Alaska. Because Sitka and Wrangell native groups were rivals, it has been argued that the Wrangell carvers may have altered Benson's original design.

The Sitka Sentinel reported that while standing, it was "said to be the most photographed totem [pole] in Alaska". Some poles from the Pacific Northwest have been moved to other locations for display out of their original context.

The other two poles were sold; one pole from the Alaska pavilion went the Milwaukee Public Museum and the pole from the Esquimau Village was sold and then given to industrialist David M.

Parry , who installed it on his estate in what became known as the Golden Hill neighborhood of Indianapolis , Indiana. The Indian New Deal of the s strongly promoted native arts and crafts, and in the totem pole they discovered an art that was widely appreciated by white society.

In Alaska the Indian Division of the Civilian Conservation Corps restored old totem poles, copied those beyond repair, and carved new ones. The Indian Arts and Crafts Board, A federal government agency, facilitated their sale to the general public.

The project was lucrative, but anthropologists complaining that it stripped the natives of their traditional culture and stripped away the meaning of the totem poles.

Another example occurred in , when the U. Forest Service began a totem pole restoration program in Alaska. In Seattle, Washington, a Tlingit funerary totem pole was raised in Pioneer Square in , after being taken from an Alaskan village.

In the late s, the remaining carved poles were sent to various museums for preservation, with the then park board commissioning and loaning replacement carvings.

After the tree to be used for the totem pole is selected, it is cut down and moved to the carving site, where the bark and outer layer of wood sapwood is removed.

Next, the side of the tree to be carved is chosen and the back half of the tree is removed. The center of the log is hollowed out to make it lighter and to keep it from cracking.

In the early days, the basic design for figures may have been painted on the wood to guide the carvers, but today's carvers use paper patterns as outlines for their designs.

Carvers use chain saws to make the rough shapes and cuts, while adzes and chisels are used to chop the wood. Carvers use knives and other woodworking tools to add the finer details.

When the carving is complete, paint is added to enhance specific details of the figures. Raising a totem pole is rarely done using modern methods, even for poles installed in modern settings.

Most artists use a traditional method followed by a pole-raising ceremony. The traditional method calls for a deep trench to be dug.

The park sits on what was his property and he shared them with the world, or at least those who stopped to look. Born in in Springfield, Missouri, Ed Galloway was proficient enough in wood carving and blacksmithing that he obtained a job teaching them to orphan boys.

Upon is retirement in , he moved to what is now the park and built his home and all of the totem poles you can see today.

He died in It was then carved and painted. It stands 90 feet tall, with a turtle base and an opening at the top.

The totem pole is heavily influenced by Native American art and folklore. I felt it was worth the drive we took of about an hour to visit.

I enjoyed walking around and exploring. There is not a fee to visit, but they do take donations. I was born traveling and have lived all over the world.

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