Totem+Pole+at+Thunderbird+Park


 * Totem Pole at Thunderbird Park **

Title: Kwakwaka’wakw Heraldic Pole  Artist(s): Mungo Martin with assistants  Date: 1953  Country of Origin: Canada  Cultural/Ethnic Affiliation: Kwakiutl (Kwakwaka’wakw) Native Americans of Northwest Coast  Medium: cedar  Dimensions: unknown  Museum/Collection: Royal British Columbia Museum  Accession Number: n/a  Current Location and Manner of Display: Victoria, British Columbia in outdoor Thunderbird Park  Provenance: This pole was created specifically for Thunderbird Park, in Victoria. The totem was created by Mungo Martin, a native Kwakiutl artist. Martin was employed by the Royal British Columbia Museum to create replicas of decaying poles. This pole, however, is an original, non-replica pole.
 * Artwork Identification **


 * Introduction **

 In order to understand this Kwakwaka’wakw Heraldic Pole, it is important to first to understand totem poles in general. Totem poles can be categorized into several types based on their function; heraldic, memorial, mortuary, house, welcoming, and shame poles. Not all totem poles fit perfectly in these categories, some totem poles have overlapping functions and variations to each type are found among Native Americans of the Northwest Coast. Totem poles are/where not created by most Native American groups. They were created specifically by the Northwest Coast Indians who inhabit(ed) the Northwest Coast of the United States and Canada, up into Alaska (see map).  1. The //heraldic pole// is placed in front of a house and portrays the significance of the family. These poles are known to tell a story. The imagery of the totem can reveal both the historical and mythological past of the owner. Through imagery on the pole different events and stories are recorded.

2. The //memorial pole// is thought to be the oldest kind of totem pole and is considered the most important pole by the Native Americans. This type of pole is normally intended to honor deceased tribal leaders, but can pay tribute to a new chief as well. These poles are often displayed with only one or two figures; representing the formal leader’s lineage or clan. These poles can be very tall.

<span style="font-family: Arial,Helvetica,sans-serif;">3. The //mortuary pole// is similar to the memorial pole. It honors a deceased person and is placed in a tribal burial ground. Sometimes these poles have carvings that represent important events in the deceased’s life. They serve as a type of tombstone.

<span style="font-family: Arial,Helvetica,sans-serif;">4. The //house pole(s)/pillar(s)// are interior poles used to support the structure or the home. They also display the crest of the family. These carvings are better preserved then other poles because they are inside and protected from the outside elements.

<span style="font-family: Arial,Helvetica,sans-serif;">5. The //welcoming pole// is a less common type of totem. It is used to identify a chief’s property and also to greet welcome guests near the waterfront. Usually these poles are created by apprentices learning the carving skill, and they are rarely painted.

<span style="font-family: Arial,Helvetica,sans-serif;">6. The //shame pole// is used by chiefs as a way to settle payments of debts. These poles can be carved upside down to disgrace and show failure of the person who owns the debt.


 * <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">Descriptive Analysis **

<span style="font-family: Arial,Helvetica,sans-serif;">This pole was carved from a cedar log by Mango Martin It displays crests of high-ranking groups of Kwakwaka’wakw people (Kwakiutl nation). It is on display in front of a replicated Kwakwaka’wakw home, also built by Mungo Martin and commissioned by the Royal British Columbia Museum.

<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;"> The pole is composed of six figures stacked on top of each other. When viewing the pole from top to bottom, first we see a thunder bird with outstretched wings. Below the thunderbird there is a grizzly bear followed by another grizzly bear in human form. Then, there is a beaver with a human face under its tail. Finally, and the bottom is the mythological female beast known as Dzunukwa who is depicted holding a child. These images are composed of simple abstracted shapes. They are not naturalistic representations of animals and people.

<span style="font-family: Arial,Helvetica,sans-serif;">This heraldic pole is tall and cylindrical in form. There are protruding wings of the Thunderbird resting at the top along with a combination of incised and relief images of each being. Much of the pole is symmetrical when viewed from the front. <span style="font-family: Arial,Helvetica,sans-serif;">When analyzing the imagery on the Kwakwaka’wakw Heraldic Pole common Northwest Coast art elements are present. First, thick, <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">outlines are present thought the pole. These outlines are referred to as //formlines//. Formlines do not keep the same width throughout and have a calligraphic quality. They help the viewer’s eye to travel through the images on the pole.



<span style="font-family: Arial,Helvetica,sans-serif;">Ovoids, are also present and can be described as rounded rectangles or bean-shaped. The ovoid shape can be seen in the eyes of the figures. The images on the right display some examples of ovoids as well as some traditional Northwest Coast eyes. <span style="font-family: Arial,Helvetica,sans-serif;">The prominent colors in this pole are black, white, red, green, and yellow. The colors still appear to be vibrant, even after more than 50 years outdoors on display. Initially, Native Americans only used natural pigments prior to trade with Europeans, which limited their color palette. However, after being introduced to trade paint there was not a distinct change in color selection. According to Bill Holm’s, the primary colors used in Northwest Coast art were red, black, blue, green, and blue-green. White and yellow were only used on occasion.

<span style="font-family: Arial,Helvetica,sans-serif;">**Formal and Contextual Analysis**

<span style="font-family: Arial,Helvetica,sans-serif;">This heraldic pole was created during a time when totem poles were being restored and replicated to pu <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">t in an outdoor display at Thunderbird Park. This restoration project was propelled by the Royal British Columbia museum. Original totem poles were decaying because of the outdoor elements, so the museum decided to replicate the decaying poles and have the new poles on display for all to appreciate. The original poles where then safely put in storage. Mungo Martin and others created these poles in a carving studio at Thunderbird Park. Although most totem poles created at this site were exact replicas, the Kwakwaka’wakw Heraldic Pole is an original pole designed and carved by Mungo Martin. Instead of Martin displaying his own family crests on this pole he decided to carve the crests of four of the high ranking clans of the Kwakiutl nation. The A’wa’etłala, Kwagu’ł, ‘Nak´waxda’xw and ‘Namgis nations crests were all displayed. Through this gesture, Martin honors all of the Kwakiutl.

<span style="font-family: Arial,Helvetica,sans-serif;">This pole stands in front of a house, also built by Mungo Martin. This house is significant because it is a scaled-down replica of a Kwakiutl house built by a chief named Naka’penkim. Mungo Martin inherited the name and position of this chief. This house is named Wawadit’la, but is more commonly referred to as Mungo Martin’s house.

<span style="font-family: Arial,Helvetica,sans-serif;">The house was opened in 1953 with a traditional celebration known as a potlatch. Potlatches had previously been outlawed from 1884 to 1951 by Canadian government. Non-natives believed potlatches could lead to criminal behavior and did not understand the importance of such ceremonies. This potlatch held by Mungo Martin was the first legal ceremony in British Columbia since the ban.

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<span style="font-family: Arial,Helvetica,sans-serif;">When viewing the the Kwakwaka’wakw Heraldic Pole there are four main figures (see above), which are symbols of different Kwakiutul families. On top of the pole the Thunderbird is an animal mainly featured on Kwakiutul poles. The Thunderbird is a mythical creature and is thought to be very powerful. When he beats his wings thunder is produced and by blinking his eyes he sends flashes of lightening. The Thunderbird is the crest of the A’wa’etłala family. The next image is of a Grizzly Bear that is holding copper in his hands. The grizzly bear is the ancestor of a Kwagu’ł family. Right underneath the bear is a depiction of a grizzly bear in human form. Next, is the Beaver who is part of the ‘Nak´waxda’xw family ancestry. Lastly, Dzunukwa with child is a crest belonging to the ‘Namgis. Dzunukwa is know and the Wild Woman of the Woods.

View Thunderbird Park with Google Maps:

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 * <span style="font-family: Arial,Helvetica,sans-serif;">Personal Interpretations **

<span style="font-family: Arial,Helvetica,sans-serif;">Researching the totems poles, and specifically the Kwakwaka’wakw Heraldic Pole, has expanded my understandings of this particular Native American art. The meanings and designs behind totems poles are much more complex then I could have imagined. I was very naïve as an outside viewer of this sculptural art form and Native American art in general. Previous to my research, I did not realize that totem poles were only created in the Pacific Northwest. It is easy, but inaccurate to think all Native American art is the same.

<span style="font-family: Arial,Helvetica,sans-serif;">I still feel there is much left for me learn to learn. Native American art is a very broad topic. I looked specifically at the Northwest Coast, but within this area there are still different cultures with tribes and clans. These cultures have similarities, but also subtle differences. I feel as if I am trying to learn a new language.

<span style="font-family: Arial,Helvetica,sans-serif;">What I find most interesting about the Kwakwaka’wakw Heraldic Pole is that it is not a replica like most of totem poles at Thunderbird Park. It has a special significance because it is an original. Mungo Martin, the famous totem pole carver, decided to create this pole not to share only of his family but as a way to unify his culture. Could it be a statement in the regeneration of his native culture? Or a possible response to the law that restricted potlatches?


 * <span style="font-family: Arial,Helvetica,sans-serif;">References **

//<span style="font-family: Arial,Helvetica,sans-serif;">Printed Sources // <span style="font-family: Arial,Helvetica,sans-serif;">Holm, B. (1965). Northwest coast Indian art: An analysis of form. Seattle, WA: University of Washington Press. <span style="font-family: Arial,Helvetica,sans-serif;">Huang, A. (n.d.). Totem poles. Retrieved from http://indigenousfoundations.arts.ubc.ca/home/culture/totem-poles.html <span style="font-family: Arial,Helvetica,sans-serif;">Jonaitis, A. (2012). Discovering totem poles: A traveler’s guide. Seattle: University of Washington Press. <span style="font-family: Arial,Helvetica,sans-serif;">Jonaitis, A., & Glass, A. (2010). The totem pole: An intercultural history. Seattle: University of Washington Press. <span style="font-family: Arial,Helvetica,sans-serif;">Kampen O'Riley, M. (2006). Art beyond the west. (2nd ed. ed.). New York: Prentice Hall Art. <span style="font-family: Arial,Helvetica,sans-serif;">Shearar, C. (2000). Understanding northwest coast art: A guide to crest, beings and symbols. Vancouver: Douglas & McIntyre. <span style="font-family: Arial,Helvetica,sans-serif;">Stewart, H. (1993). Looking at totem poles. Vancover: Douglas & McIntyre.

//<span style="font-family: Arial,Helvetica,sans-serif;">Online Sources // <span style="font-family: Arial,Helvetica,sans-serif;">[] <span style="font-family: Arial,Helvetica,sans-serif;">[]

<span style="font-family: Arial,Helvetica,sans-serif;">**Art lesson Title:** Totem Poles of Dundee Middle School

<span style="font-family: Arial,Helvetica,sans-serif;">**Grade Level:** 6th (could be adapted for lower grades)

<span style="font-family: Arial,Helvetica,sans-serif;">**Time:** 5 class periods


 * <span style="font-family: Arial,Helvetica,sans-serif;">Standards and Benchmarks **

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.I.6.2 Develop the concept of proper use of art materials and <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">using tools safely and responsibly.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.I.6.5 Produce and exhibit a final product that demonstrates quality <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">craftsmanship and technique at a developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.II.6.1 Identify, design, and solve creative problems at a <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.II.6.2 Develop and apply critical thinking strategies through the <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">art making process at a developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.II.6.7 Create preliminaries, possibilities, and drafts at a <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.III.6.1 Observe, describe, and analyze visual characteristics at a <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.III.6.2 Develop the skill of interpreting artwork, searching for <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">embedded meaning, function, and personal connections at a developing level.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.IV.6.1 Recognize and describe how art contributes to and reflects <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">all societies and cultures.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.IV.6.2 Develop an understanding of the historical, social, and <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">cultural contexts of artwork with aesthetic sophistication.

<span style="font-family: Arial,Helvetica,sans-serif;">ART.VA.V.6.1 Recognize and describe personal, family, and community <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">connections with artworks at a developing level.


 * <span style="font-family: Arial,Helvetica,sans-serif;">Key Concepts/Objective **

<span style="font-family: Arial,Helvetica,sans-serif;">Students will design their own miniature totem pole. Then they will create a collaborative mural/display representing a location like Thunderbird Park. Students will each add their personal totem to the mural.


 * <span style="font-family: Arial,Helvetica,sans-serif;">Lesson Activities **

<span style="font-family: Arial,Helvetica,sans-serif;">**Activity 1**: Learning about totem poles

<span style="font-family: Arial,Helvetica,sans-serif;"> In this activity, students will view this wiki, discussing totem poles and their importance in Native American art. Different types of totem poles will be discussed. Totem Poles at Thunderbird Park will be highlighted. The website []will be utilized. The handout and PowerPoint created by Crizmac are also a good resource. []

<span style="font-family: Arial,Helvetica,sans-serif;">**Activity 2:** Brainstorm

<span style="font-family: Arial,Helvetica,sans-serif;"> Students will either choose to create a totem symbolizing themselves and their family (heraldic pole), or a totem memorializing a person they have lost (memorial pole). <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">Their totem pole needs between 3 and 5 main images. Students will brainstorm images that would represent their family/loved one. Not all the images need to be animals or mystical creatures as seen in traditional totem poles. A minimum of one animal is required. Use the attached brainstorming worksheet. <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">.

<span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">This handout may can be used for animal symbolism: []

<span style="font-family: Arial,Helvetica,sans-serif;">**Activity 3:** Create your own totem <span style="font-family: Arial,Helvetica,sans-serif;"> *Note: This activity can either be done using 2-D or 3-D materials/construction. <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">Students should have chosen their 4-6 images after finishing the brainstorming worksheet. Each student receives a paper towel roll as the wood of their mini totem (for 3-D construction). The roll can be wrapped in construction paper for a more polished look. They will use white tag-board and markers to create their images. The use of thick black "formlines" can be created with black marker. Pop-out and layering techniques <span style="font-family: Arial,Helvetica,sans-serif;"> should be encouraged. Images will be glued on the front of the cardboard roll. A cardboard/mat-board base can be added to keep totems erect. During the creation process, images of totem poles are easily accessible f <span style="font-family: Arial,Helvetica,sans-serif; line-height: 1.5;">or reference.

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<span style="font-family: Arial,Helvetica,sans-serif;"> If 2-D Construction is preferred, pre-cut 12x18 in. paper to 9x 18 in. Give each student a piece and have the draw out their images in their style of a totem. Outline and color with media of choice.

<span style="font-family: Arial,Helvetica,sans-serif;">**Activity 4:** Mural Creation

<span style="font-family: Arial,Helvetica,sans-serif;"> Refer back to Royal British Columbia Museums’ Thunderbird park website. Create a large background mural representing a park similar to Thunderbird Park. The class may include elements such as a house like Mungo Martin created and/or a carving studio. It can be personalized to fit the schools location. Once the background mural is created, students will add their totem poles to the scene.


 * <span style="font-family: Arial,Helvetica,sans-serif;">Assessment **

<span style="font-family: Arial,Helvetica,sans-serif;">On a slip of paper, after Activity 1, have students write down one thing new they learned about totem poles and a question the might still have about totem poles. This will be there ticket out the door.

<span style="font-family: Arial,Helvetica,sans-serif;">Students are graded on the following criteria: <span style="font-family: Arial,Helvetica,sans-serif;">Effort and Participation (20pts.), Craftsmanship (20pts.), Creativity (20pts.), Following Directions (20pts.), and Overall Artistic Appearance (20pts.).


 * <span style="font-family: Arial,Helvetica,sans-serif;">Extension Activities **

<span style="font-family: Arial,Helvetica,sans-serif;">- Explore artists like Emily Carr, John Fedorov, and Brian Jungen who used totems poles in their artwork.

<span style="font-family: Arial,Helvetica,sans-serif;">- Explore pop culture images of the totem pole

<span style="font-family: Arial,Helvetica,sans-serif;">- Create a crest image using traditional elements (formlines, ovoids, nested imagery), and colors seen in Northwest Coast art.

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