Search Content

Totem pole at Hydaburg Park. Hydaburg was established in 1911 by Haida people from three villages. In the 1930s, the Civilian Conservation Corps (CCC) created Hydaburg Park, and several other similar parks in Southeast Alaska. CCC workers brought poles to these parks from other locations. The government then hired local Haida workers to restore these totems. When restoration was not possible, replicas were carved. Twenty-one poles were brought to Hydaburg, five of which were able to be…

Monument at Totem Park.

Various poles at Klawock. Carved figures on the poles include a number of human or ancestor figures as well as bears, and a whale. The top of the Woodworm pole is on the left.

Looking out twoard the water from Totem Park. The original totem poles were carved many years ago at a site on nearby Tuxekan Island where a large Tlingit settlement once existed. Later, around the 1930s, copies of those totems were re-carved by unemployed master boat builders in Klawock through the Civilian Conservation Corps (CCC), a public work relief program.

Clan members pose in front of Bear and Whale screen. Killer Whale house, Kagwantan clan.

Clan members posed in front of Bear and Whale screen. Killer Whale house, Kagwantan clan.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Adelaide de Menil, in communication with Bill Reid, traveled the Northwest Coast from Vancouver Island to Southeast Alaska photographing the monumental art of Coastal First Nations. Many of the images she captured show totem poles, and architecture in the final stages of decay before returning to the forest. The title of these images reflect the date that they were taken, and the roll and frame number assigned by Ms. de Menil.

Detail of a pole on the ground at Stanley Park. In the early 1920s, the construction of an Indian village was proposed for the area near Lumberman©s Arch in Stanley Park. The site was chosen because it was located on a massive shell midden, or cultural mound that was the result of many years of Coast Salish habitation. This large deposit of calcified shells covered an area 8 feet deep and spanning several acres. The original poles were all from the Alert Bay area, but others were purchased…

In the early 1920s, the construction of an Indian village was proposed for the area near Lumberman©s Arch in Stanley Park. The site was chosen because it was located on a massive shell midden, or cultural mound that was the result of many years of Coast Salish habitation. This large deposit of calcified shells covered an area 8 feet deep and spanning several acres. The original poles were all from the Alert Bay area, but others were purchased from the islands of Haida Gwaii and from Rivers…