Totem Poles, Part 2

Captain James Cook was among the first Europeans to see the magnificent Northwest signpost, the totem pole. Unlike most newcomers, he had a rare appreciation for native art, and did not condemn it as "pagan." He believed them to be images of ancestors "whom they venerate as divinities," coming close to the truth.

Essentially the totem is a legal document in the woods. It reminds residents of legends, great chiefs, clan lineage, and claimed territory.

Totems were traditionally made from red cedar and carved with tools of stone, shell, beaver tooth, and jade. The art of the totem peaked in the 1800s when steel tools were introduced and the wealth from fur trading urged chiefs to compete in commissioning totems.

Differences by Tribal Group




Tsimshian poles are known for their sense of scale and proportion, precision, and sculptural technique. Details are rendered in low relief rather than by surface lines. Color is used sparingly. Crests include the sea bear and whale.










Haida poles use deeply cut, unpainted, dramatic forms that overlap and interlock. Haida crests include the seal, eagle, killer whale, and frog. Figures are static, as though freeze-framed.






Tlingit poles show a series of separated, superimposed, realistic forms. A watchman figure or clan crest may be placed on the top. Attached, projecting pieces such as an eagle's wings or a raven's beak are signature devices. Figures are dynamic, portrayed climbing, sticking out a tongue, or flying. Color is used extensively - traditionally black, blue-green, red, and yellow.







The rest of America first saw totem poles during the Centennial Exhibition in Philadelphia in 1876.

1876 exhibition photo with totem on far left