Art History Guide

Totem Poles a indigenous to the Pacific Northwest Indian tribes. These monumental sculptures are usually made of Western Redcedar. The word “totem” is derived from the word Ojibwe word odoodem, which means “his totem, his kinship group”.

History of the Totem Pole

The beginning of totem pole construction started in North America. Being made of wood, they decay easily in the rain forest environment of the Northwest Coast, so no examples of poles carved before 1800 exist. However 18th century accounts of European explorers along the coast indicate that poles certainly existed at that time, although small and few in number. In all likelihood, the freestanding poles seen by the first European explorers were preceded by a long history of monumental carving, particularly interior house posts. Eddie Malin (1986) has proposed a theory of totem pole development which describes totem poles as progressing from house posts, funerary containers, and memorial markers into symbols of clan and family wealth and prestige. He argues that the center of pole construction was centered around the Haida people of the Queen Charlotte Islands, from whence it spread outward to the Tsimshian and Tlingit and then down the coast to the tribes of British Columbia and northern Washington. The regional stylistic differences between poles would then be due not to a change in style over time, but instead to application of existing regional artistic styles to a new medium. Early-20th-century theories, such as those of the anthropologist Marius Barbeau who considered the poles an entirely postcontact phenomenon made possible by the introduction of metal tools, were treated with skepticism at the time and are now discredited.

Totem poles in front of houses in Alert Bay, British Columbia in the 1900s.
The disruptions following Euro-American trade and settlement first led to a florescence and then to a decline in the cultures and totem pole carving. The widespread importation of Euro-American iron and steel tools led to much more rapid and accurate production of carved wooden goods, including poles. It is not certain whether iron tools were actually introduced by Europeans, or whether iron tools were already produced aboriginally from drift iron recovered from shipwrecks; nevertheless Europeans simplified the acquisition of iron tools whose use greatly enhanced totem pole construction. The fur trade gave rise to a tremendous accumulation of wealth among the coastal peoples, and much of this wealth was spent and distributed in lavish potlatches frequently associated with the construction and erection of totem poles. Poles were commissioned by many wealthy leaders to represent their social status and the importance of their families and clans. As the fur trade declined the incidence of poverty on the coast increased. Christian missionaries reviled the totem pole as an object of heathen worship and urged converts to cease production and destroy existing poles.[citation needed]
Totem pole construction underwent a dramatic decline at the end of the 19th century due to American and Canadian urges towards Euro-American enculturation and assimilation. Fortunately, in the mid-twentieth century a combination of cultural, linguistic, and artistic revival along with intense scholarly scrutiny and the continuing fascination and and support of an educated and empathetic public led to a renewal and extension of this moribund artistic tradition. Freshly-carved totem poles are being erected up and down the coast. Related artistic production is pouring forth in many new and traditional media, ranging from tourist trinkets to masterful works in wood, stone, blown and etched glass, and many other traditional and non-traditional media..
Today a number of successful native artists carve totem poles on commission, usually taking the opportunity to educate apprentices in the demanding art of traditional carving and its concomitant joinery. Such modern poles are almost always executed in traditional styles, although some artists have felt free to include modern subject matter or use nontraditional styles in their execution. The commission for a modern pole ranges in the tens of thousands of dollars; the time spent carving after initial designs are completed usually lasts about a year, so the commission essentially functions as the artist’s primary means of income during the period.

The Purpose and Meaning of Totum Poles

The meanings of the designs on totem poles are as varied as the cultures which produce them. Totem poles may recount familiar legends, clan lineages, or notable events. Some poles are erected to celebrate cultural beliefs, but others are intended mostly as artistic presentations. Certain types of totem pole are part of mortuary structures incorporating grave boxes with carved supporting poles, or recessed backs in which grave boxes were placed. Poles are also carved to illustrate stories, to commemorate historic persons, to represent shamanic powers, and to provide objects of public ridicule. “Some of the figures on the poles constitute symbolic reminders of quarrels, murders, debts, and other unpleasant occurrences about which the Indians 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.” (Reed 2003).
Totem poles were never objects of worship; the association with “idol worship” was an idea from local Christian missionaries. The same assumption was made by very early European explorers, but later explorers such as Jean-François de La Pérouse noted that totem poles were never treated reverently; they seemed only occasionally to generate allusions or illustrate stories and were usually left to rot in place when people abandoned a village.

Totem poles at the Museum of Anthropology at the University of British Columbia.
Vertical order of images is widely believed to be a significant representation of importance. This idea is so pervasive that it has entered into common parlance with the phrase “low man on the totem pole”. This phrase is indicative of the most common belief of ordering importance, that the higher figures on the pole are more important or prestigious. A counterargument frequently heard is that figures are arranged in a “reverse hierarchy” style, with the most important representations being on the bottom, and the least important being on top. Actually there have never been any restrictions on vertical order, many poles have significant figures on the top, others on the bottom, and some in the middle. Other poles have no vertical arrangement at all, consisting of a lone figure atop an undecorated column.

Reference Links:
American Indian Totem Poles
Totem Poles - Wikipedia
Totem Poles - Crystalinks

The Navajo are one of the largest tribes in North America. They inhabit the four corners area of the United States (Utah, Colorado, Arizona and New Mexico).

Sandpainting was used as a spiritual healing system by the Navajo rather than as an artistic expression. Traditional healing incorporates ritualism, prayer, ceremonies, and herbology to increase wellness and promote harmony with the universe. Sandpaintings are part of religious chants in which “Earth People and Holy People come into harmony, giving healing and protection.”

Many of the sandpaintings include yéi figures, which are Navajo spiritual beings. The healing ceremonies involve medicine men chanting particular songs and simultaneously creating a sandpainting on the ground.
The medicine man asks for the yéis to come into the painting and help to heal the patient by restoring balance and harmony.

The sandpainters can create intricate paintings made with various natural materials/resources. Creating their master pieces on a smoothed bed of sand, the Navajo used crushed gypsum (white — Note: Gypsum is used to make drywall also known as sheetrock), yellow ochre, red sandstone, charcoal, a mixture of charcoal and gypsum to make blue, mixture of red sandstone and charcoal to make brown, mixture of red sand stone and gypsum to make pink. Also, sandpainters use pollen, cornmeal, crushed wildflower petals to attain a great more variety of colors.

When the healing ceremony is complete the sandpaintings are destroyed. The sandpaintings seen in gift shops and on the internet are commercially done, as the actual ceremony of sandpainting is considered sacred and not for the eyes of outsiders.

Reference Links:
Navajo Sandpainting (The Art of Healing)
Penfield Gallery of Indian Arts
Sand Paintings
Navajo Sandpainting Textiles
There are many more internet references to sandpainting. Just Google on “Navajo Sandpainting”.

The Fantastic Realism art of Robert Venosa has been exhibited worldwide and is represented in major collections, including those of noted museums, rock stars and European aristocracy. In addition to painting, sculpting and film design (pre-sketches and conceptual design for the movie Dune, and Fire in the Sky for Paramount Pictures, and the upcoming Race for Atlantis for IMAX), he has recently added computer art to his creative menu. His work has been the subject of three books, as well as being featured in numerous publications - most notably OMNI magazine - and on a number of CD covers, including those of Santana and Kitaro.

For more details see.
Rober Venosa Website