Walking Tour
Two Families in One House
Duncan's Totem Pole Collection
Discover Duncan’s world-renowned totem pole collection, an outdoor art gallery showcasing over 40 totem poles carved by Indigenous artists from the Cowichan Tribes and many other First Nations. This video tour guides you through downtown Duncan, where each pole tells a story of heritage, tradition, and living culture. At every stop, listen to Cowichan Tribes storyteller Chuck Seymour (Ts’ules) share the meaning behind these powerful carvings in exclusive videos and the remarkable stories of those who carved them. Hear ancestral narratives in his voice, learn the symbolism of figures like the eagle and salmon, and deepen your connection to this sacred art.
It’s a spectacular journey into the heart of the history, culture, and art of the Northwest Coast.
This project was developed by the Duncan-Cowichan Chamber of Commerce. Generous support was provided by the City of Duncan and Cowichan Tribes.
1. The Feast
By Doug LaFortune
This dramatic pole by Doug LaFortune is called The Feast, and tells the Quw'utsun' story of how the mighty bird saved the Quw'utsun' from the supernatural whale Qwunus in their hour of need.
* * *
"The Quw'utsun' people called upon Tzinquaw to help them. The Killer Whale was eating all the Salmon in Cowichan Bay and the Salmon were not getting up the river. Tzinquaw helped them by taking the Killer Whale out of the bay and puttin it on top of Mount Touhalem, the mountain beside the bay, where Tzinquaw ate him. The Spirit-Helper face in the Killer Whale represents the blowhole of the Whale. The face in the fluke of the Whale represents a Spirit Helper."
Doug carved an eagle, Yuxwule', instead of a thunderbird, saying:
"The story was the Thunderbird but I made the figure into an eagle, I wanted to show the power of it, so I did the legs muscular and strong."
The celebrated intervention of the Thunderbird illustrates the critical importance of the salmon run to the survival of the Quw'utsun'. Every fall men, women, and children would flock to the Cowichan River and tend to an enormous system of shhetl, or weirs, they had constructed to catch salmon. From Cowichan Lake to the mouth of the river there were some 15 to 21 separate weir systems. There were also a number of tidal weirs at village sites around Cowichan Bay, which would trap salmon when the tides receded.
Perhaps the most important fishing site was the system of shhetl built just below Skwuts Falls. There the Quw'utsun', lining the banks or standing on specially built platforms over the waters, would use spears or triple-pronged harpoons to catch the fish, or dip-nets, called 'uhthimtun. The abundance of salmon ensured the Quw'utsun' could thrive.
Doug carved an eagle, Yuxwule', instead of a thunderbird, saying:
"The story was the Thunderbird but I made the figure into an eagle, I wanted to show the power of it, so I did the legs muscular and strong."
The celebrated intervention of the Thunderbird illustrates the critical importance of the salmon run to the survival of the Quw'utsun'. Every fall men, women, and children would flock to the Cowichan River and tend to an enormous system of shhetl, or weirs, they had constructed to catch salmon. From Cowichan Lake to the mouth of the river there were some 15 to 21 separate weir systems. There were also a number of tidal weirs at village sites around Cowichan Bay, which would trap salmon when the tides receded.
Perhaps the most important fishing site was the system of shhetl built just below Skwuts Falls. There the Quw'utsun', lining the banks or standing on specially built platforms over the waters, would use spears or triple-pronged harpoons to catch the fish, or dip-nets, called 'uhthimtun. The abundance of salmon ensured the Quw'utsun' could thrive.
2. Raven's Gift
By Doug LaFortune
Raven's Gift, by Doug LaFortune, tells the story of the first totem pole. It's the first of four poles on this tour that he carved. Like his brother Francis Horne Sr., Doug is Coast Salish, with Quw'utsun', Tsawout, and WSANEC (Saanich) heritage.
* * *
The raven at the top is of course the star of this pole. To the peoples of the Northwest Coast, the raven is the most important of all creatures. A trickster filled with supernatural power, he features in countless stories of peoples up and down the coast. The raven can be distinguished by the long straight beak. The beak of an eagle, hawk, or thunderbird usually curve downwards at the end.
Doug wrote about the story this pole tells:
"This is the story of the first totem pole. A great chief once has[d] a vision of giving a gift to another great chief in a neighboring village. He was walking through the forest along a river when a beaver gave him a cedar log and told him to carve a totem pole. He did not know what to carve so he thought he would wait and it would come to him and it did. In another vision he saw his son accepting a carved totem pole from the raven. So he asked his son to carve a totem pole which he would present to his friend. When the totem pole was completed he called on the raven to deliver the pole to the great chief's village. When he accepted the gift he was very pleased and had a huge potlatch and pole raising ceremony to thank the great chief for the totem pole, which he erected in front of his longhouse.
"On this totem pole the raven is poised with out-stretched wings clutching the totem in his claws. The chief's son is standing holding the adze he used to carve, with his other hand open indicating he is giving. The beaver is holding the cedar log which he is giving the great chief."
It is impossible to overstate the importance of the potlatch to the peoples of the Northwest Coast. At a chief's invitation, friends and enemies would travel from far and wide to attend a potlatch that might last days or even weeks. The hosting chief would give gifts of enormous value to his guests, affirming the prestige and social status of all.
There were many reasons to hold a potlatch: the celebration of a marriage, the settlement of a great dispute, the reinvigoration of an old alliance, or the acquisition of a new crest. All throughout, there would be memorable ceremonies, dances, songs, and speeches.
The climax of a potlatch came with the raising of a totem pole. This was a moment of high drama, one to be remembered long afterwards by all who had the honour to attend. The more impressive the totem pole, the greater the honour of the chief who commissioned it. Those who came away from a potlatch would certainly be inspired to commission totem poles of their own.
At the raising of the very first totem pole, gifted to man by the raven, it must have been a very great potlatch indeed.
Doug wrote about the story this pole tells:
"This is the story of the first totem pole. A great chief once has[d] a vision of giving a gift to another great chief in a neighboring village. He was walking through the forest along a river when a beaver gave him a cedar log and told him to carve a totem pole. He did not know what to carve so he thought he would wait and it would come to him and it did. In another vision he saw his son accepting a carved totem pole from the raven. So he asked his son to carve a totem pole which he would present to his friend. When the totem pole was completed he called on the raven to deliver the pole to the great chief's village. When he accepted the gift he was very pleased and had a huge potlatch and pole raising ceremony to thank the great chief for the totem pole, which he erected in front of his longhouse.
"On this totem pole the raven is poised with out-stretched wings clutching the totem in his claws. The chief's son is standing holding the adze he used to carve, with his other hand open indicating he is giving. The beaver is holding the cedar log which he is giving the great chief."
It is impossible to overstate the importance of the potlatch to the peoples of the Northwest Coast. At a chief's invitation, friends and enemies would travel from far and wide to attend a potlatch that might last days or even weeks. The hosting chief would give gifts of enormous value to his guests, affirming the prestige and social status of all.
There were many reasons to hold a potlatch: the celebration of a marriage, the settlement of a great dispute, the reinvigoration of an old alliance, or the acquisition of a new crest. All throughout, there would be memorable ceremonies, dances, songs, and speeches.
The climax of a potlatch came with the raising of a totem pole. This was a moment of high drama, one to be remembered long afterwards by all who had the honour to attend. The more impressive the totem pole, the greater the honour of the chief who commissioned it. Those who came away from a potlatch would certainly be inspired to commission totem poles of their own.
At the raising of the very first totem pole, gifted to man by the raven, it must have been a very great potlatch indeed.
3. Transformation
By Laverne Roy "Corky" Baines
This remarkable pole draws the viewer in. The expressions on the figures convey a range of emotions. The eagle's deeply carved wings makes it seem like it could take flight at any moment.The lack of paint lets this piece of ancient red cedar speak for itself. This pole was carved by Laverne 'Corky' Baines, who was born in Chemainus. With this totem Corky is telling the story of Transformations.
* * *
His sister, Jane Marston, explains the Transformation between man and killer whale that is depicted.
"Our people believe that there was an undersea world, and you went and put on your killer whale and then you went into the ocean and you lived in the undersea world as part human but also as the whale and then when you came up you took it off… and the killer whale is actually, a symbol itself of transformation because on the fluke of the whale, you’ll see a carved face, and that face represents the wolf and the killer whale will come up onto land and it will change into the wolf and hunt on the land as a wolf. And then it will go back and it will change into the killer whale and hunt in the ocean."
This transformation was doubly significant for Corky, who had been a fisherman before becoming a carver at 34.
"Because Corky was a natural artist, natural ability, his first carving was an eagle, and he did it with a pocket knife, and it was just, you worldcould reach out and touch it, it was so beautiful. And some people I think are born with the ability, and some people have to struggle to get it, they can do it, but they have to struggle, but Corky, he didn’t struggle, he just did art, it was his life."
Sadly, Corky passed away only five years later, just a year after he carved this pole.
Look again at the eagle and think about the significance it had for Corky.
"When Corky did the eagle he had a strong affinity with the greater spirit or God, he never said God, he called it the greater spirit. And he always used to say when I come back into this , I’m coming back as an eagle. And the eagle was very symbolic for him and of course in the transformation and life…. I think if he would have lived he would have, he would have been one of the greatest artists now."
"Our people believe that there was an undersea world, and you went and put on your killer whale and then you went into the ocean and you lived in the undersea world as part human but also as the whale and then when you came up you took it off… and the killer whale is actually, a symbol itself of transformation because on the fluke of the whale, you’ll see a carved face, and that face represents the wolf and the killer whale will come up onto land and it will change into the wolf and hunt on the land as a wolf. And then it will go back and it will change into the killer whale and hunt in the ocean."
This transformation was doubly significant for Corky, who had been a fisherman before becoming a carver at 34.
"Because Corky was a natural artist, natural ability, his first carving was an eagle, and he did it with a pocket knife, and it was just, you worldcould reach out and touch it, it was so beautiful. And some people I think are born with the ability, and some people have to struggle to get it, they can do it, but they have to struggle, but Corky, he didn’t struggle, he just did art, it was his life."
Sadly, Corky passed away only five years later, just a year after he carved this pole.
Look again at the eagle and think about the significance it had for Corky.
"When Corky did the eagle he had a strong affinity with the greater spirit or God, he never said God, he called it the greater spirit. And he always used to say when I come back into this , I’m coming back as an eagle. And the eagle was very symbolic for him and of course in the transformation and life…. I think if he would have lived he would have, he would have been one of the greatest artists now."
4. The Friendship Pole
By Cicero August
Second from left in this grouping is the Friendship Pole, carved by Cicero August, a master carver from Samuna', one of the Quw'utsun' Tribes.
Cicero's bold use of colour brings these figures to life. The brightly-beaked eagle holds vigil atop the pole, while beneath sits a bear with a salmon clasped in its paws. The bear can be identified by its short snout, small ears, large toothy mouth, and tongue that protrudes between its sharp incisors.
* * *
August explained the meaning of the figures, saying:
"The eagle is the protector, he watches over us from the sky. The Bear symbolizes the strength of the tribe. The people live with the salmon all year round. It nourishes the people. The Salmon is smoked and salted and put up for sustenance."
Cicero August was born in 1940 and passed away since. He began carving under his grandfather's tutelage when he was just eight years old, carving ever since. His skill is exhibited in monumental works like this pole and the Knowledge Pole, which now stands in front of BC's Legislature. A distinguishing feature of his poles is that they are tool-finished, rather than sanded down—the technique used by most carvers.
He is also highly acclaimed for carving canoes, paddles, and small ritual objects, for which the traditional Coast Salish style is best known. These include masks, talking sticks, and healing rattles. August continued the tradition and passed his knowledge on to his children. Indeed, his two sons Doug and Darrell, helped him carve this pole.
"The eagle is the protector, he watches over us from the sky. The Bear symbolizes the strength of the tribe. The people live with the salmon all year round. It nourishes the people. The Salmon is smoked and salted and put up for sustenance."
Cicero August was born in 1940 and passed away since. He began carving under his grandfather's tutelage when he was just eight years old, carving ever since. His skill is exhibited in monumental works like this pole and the Knowledge Pole, which now stands in front of BC's Legislature. A distinguishing feature of his poles is that they are tool-finished, rather than sanded down—the technique used by most carvers.
He is also highly acclaimed for carving canoes, paddles, and small ritual objects, for which the traditional Coast Salish style is best known. These include masks, talking sticks, and healing rattles. August continued the tradition and passed his knowledge on to his children. Indeed, his two sons Doug and Darrell, helped him carve this pole.
5. Owl Pole
By Francis Horne Sr.
This pole was carved by Francis Horne Sr. and is called the Owl Pole. An owl stands vigil at the top, scanning the horizon. Beneath is a mother bear, speu'th, representing strength, hugging her child close in a protective embrace. The Owl is the Horne family crest, and represents wisdom.
* * *
Family crests are a fundamental part of the culture of most peoples of the Northwest Coast, and they frequently feature on totem poles, though in the art of the Coast Salish, the system of family crests was less prominent, and practice varied widely amongst the Salish peoples.
Totem poles, or house posts in the case of the Coast Salish, were typically commissioned by families to showcase their family history, stories, and crests. Historically, the poles were erected in front of a bighouse to affirm the lineage, prestige, and social rank of the occupants to an audience that was assumed to be well-versed in the culture and mythology of the Northwest Coast.
Every figure on a totem pole or house post is filled with multi-layered meaning, and every crest has a venerable story behind it. For the family that has rights to a crest, they are a great source of pride and honour. A family can have several crests, and they are passed down from generation to generation through the eldest son.
This is the first of five poles by Francis Horne Sr. that we will see on this tour. He is Coast Salish, and was born in 1954 to a Tsawout mother, from Saanich, and a Lummi father, from Washington state. Growing up on Vancouver Island, he began teaching himself to carve at the age of 18, and became a master carver over the course of a more than half-century long career. Four of his brothers became esteemed carvers in their own right. Two of them, Doug and Tom Lafortune, also carved poles seen on this tour.
Totem poles, or house posts in the case of the Coast Salish, were typically commissioned by families to showcase their family history, stories, and crests. Historically, the poles were erected in front of a bighouse to affirm the lineage, prestige, and social rank of the occupants to an audience that was assumed to be well-versed in the culture and mythology of the Northwest Coast.
Every figure on a totem pole or house post is filled with multi-layered meaning, and every crest has a venerable story behind it. For the family that has rights to a crest, they are a great source of pride and honour. A family can have several crests, and they are passed down from generation to generation through the eldest son.
This is the first of five poles by Francis Horne Sr. that we will see on this tour. He is Coast Salish, and was born in 1954 to a Tsawout mother, from Saanich, and a Lummi father, from Washington state. Growing up on Vancouver Island, he began teaching himself to carve at the age of 18, and became a master carver over the course of a more than half-century long career. Four of his brothers became esteemed carvers in their own right. Two of them, Doug and Tom Lafortune, also carved poles seen on this tour.
6. Kwagu'l Bear Holding a Seal
By Richard Hunt
This striking pole is called Kwaguʼł Bear Holding a Seal, by the master carver Richard Hunt. He modeled it on a house post carved by his father, Henry Hunt, for the Kwaguʼł big house at Thunderbird Park in Victoria.
* * *
"The frog on top of the pole represents the Frog Dance that belonged to my mum. The Kwaguʼł Bear represents the dance of the Animal Kingdom from the forest and also the Hamatsa. The Seal is of the same Dance of the Animal Kingdom from the Sea."
To grasp this pole’s significance, start with Richard Hunt’s roots: born in Yalis (Alert Bay), a Kwakwa̱ka̱ʼwakw village off Vancouver Island, but lived in Fort Rupert, B.C. until moving to Victoria at age two. This community became a lifeline for totem pole carving.
In the 19th century, colonial policies sought to erase Indigenous cultures. Children were forced into residential schools, severing ties to language and tradition. Totem carving, once taught through years of apprenticeship, nearly vanished as elders died without passing on their knowledge.
In the 1920s an anthropologist wrote: "Totem poles are no longer being made…because the Government at the time outlawed potlatching , carving and culture. This art now belongs to the past." Another anthropologist concluded: "pole carving will probably die out with the death of the remaining carvers." In reality, carving and culture didn’t really die out, but rather went underground for a while.
Yet Yalis defied this fate. Against all odds, carvers like Mungo Martin—trained traditionally in the early 1900s—kept the craft alive. By 1950, the government reversed course, hiring Martin to revive the art and at Thunderbird Park at the Royal BC Museum he accomplished just that. Richard Hunt feels that Thunderbird Park should be a National Heritage Site because this is where the culture was actually revived. Mungo Martin trained new apprentices, sparking an artistic renaissance.
This pole embodies that survival. Its carver, Richard Hunt, was one of Martin’s protégés. Without Yalis’ resilience and Martin’s tenacity, these traditions might have vanished—making Hunt’s work a living thread to the past.
To grasp this pole’s significance, start with Richard Hunt’s roots: born in Yalis (Alert Bay), a Kwakwa̱ka̱ʼwakw village off Vancouver Island, but lived in Fort Rupert, B.C. until moving to Victoria at age two. This community became a lifeline for totem pole carving.
In the 19th century, colonial policies sought to erase Indigenous cultures. Children were forced into residential schools, severing ties to language and tradition. Totem carving, once taught through years of apprenticeship, nearly vanished as elders died without passing on their knowledge.
In the 1920s an anthropologist wrote: "Totem poles are no longer being made…because the Government at the time outlawed potlatching , carving and culture. This art now belongs to the past." Another anthropologist concluded: "pole carving will probably die out with the death of the remaining carvers." In reality, carving and culture didn’t really die out, but rather went underground for a while.
Yet Yalis defied this fate. Against all odds, carvers like Mungo Martin—trained traditionally in the early 1900s—kept the craft alive. By 1950, the government reversed course, hiring Martin to revive the art and at Thunderbird Park at the Royal BC Museum he accomplished just that. Richard Hunt feels that Thunderbird Park should be a National Heritage Site because this is where the culture was actually revived. Mungo Martin trained new apprentices, sparking an artistic renaissance.
This pole embodies that survival. Its carver, Richard Hunt, was one of Martin’s protégés. Without Yalis’ resilience and Martin’s tenacity, these traditions might have vanished—making Hunt’s work a living thread to the past.
7. Centennial Pole
By Calvin Hunt
We begin our journey at the spectacular Centennial Pole. This pole was carved in 2012 by the internationally renowned artist Calvin A. Hunt to commemorate the 100th anniversary of Duncan's 1912 incorporation, making it the most recently carved pole on this tour.
* * *
At 10.4 metres, or 34 feet, it is also the tallest pole on this tour. As a powerful fusion of traditional Kwakwaka'wakw and Coast Salish styles, it is a fitting starting point for this tour.
Born the youngest son of Hereditary Chief Thomas Hunt, Calvin comes from an illustrious line of Kwagu'ł Chiefs and artists. The Kwagu'ł are a Kwakwaka'wakw people from the northeast coast of what we now call Vancouver Island, and the carving of totem poles has always been one of their most important traditions, one that has been adopted by Coast Salish peoples like the Cowichan Tribes in modern times.
"When I create these monumental sculptural pieces," Hunt explained, "I begin by envisioning who the pole is for, who or what it will stand for, and where it will stand. There are certain elements that represent the unifying symbolism of various animals and legends which I follow through the knowledge and teachings of my Gigame’ (Chiefs), Elders and artists."
Be sure to walk all around the Centennial Pole to take in the carvings on the back as well. Hunt explained their significance:
"The front of the pole is carved in traditional Kwakwaka'wakw style and the back is more Coast Salish. The snub-nosed canoe is representative of the Coast Salish style of canoe. The Quw'utsun' people are represented by the story of S-hwuhwa’us [thunderbird] and the Q'ul-lhanumutsun [killer whale]. The Chief Maker on the bottom of the pole is to honour the women in the community. The Salmon on the back are surrounded by painted lines representing the fish weir that is used to trap the Salmon. We wanted to honour the five original tribes in the ceremony [represented by the five salmon]; each tribe had a representative at the dedication. Everything was about blessing the day with the chosen dances and songs. Mervyn Child, my nephew, and family members assisted in carving this pole."
Over a 55 year career Hunt has been bringing Kwakwaka'wakw culture to the world. The masks, dance outfits, canoes—and of course totem poles—that he creates are globally renowned. He has many titles: Chief Tłasutiwalis of the Kwagu'ł, Fort Rupert Hereditary Chief Nas'am'yus, Mowachaht, Friendly Cove, member of the Royal Canadian Academy of Arts, and holder of the BC Aboriginal Achievement Award, to name a few.
Hunt's lifelong immersion in the values and traditions of his people is key to understanding his art.
As he explained: "becoming a skilled woodcarver means more than the artistic skill sets of carving; it is also about learning in the most holistic sense all aspects of Kwagu’ł culture, values, language, practices, song and dance. This work is fluid and informs everything that I create."
Born the youngest son of Hereditary Chief Thomas Hunt, Calvin comes from an illustrious line of Kwagu'ł Chiefs and artists. The Kwagu'ł are a Kwakwaka'wakw people from the northeast coast of what we now call Vancouver Island, and the carving of totem poles has always been one of their most important traditions, one that has been adopted by Coast Salish peoples like the Cowichan Tribes in modern times.
"When I create these monumental sculptural pieces," Hunt explained, "I begin by envisioning who the pole is for, who or what it will stand for, and where it will stand. There are certain elements that represent the unifying symbolism of various animals and legends which I follow through the knowledge and teachings of my Gigame’ (Chiefs), Elders and artists."
Be sure to walk all around the Centennial Pole to take in the carvings on the back as well. Hunt explained their significance:
"The front of the pole is carved in traditional Kwakwaka'wakw style and the back is more Coast Salish. The snub-nosed canoe is representative of the Coast Salish style of canoe. The Quw'utsun' people are represented by the story of S-hwuhwa’us [thunderbird] and the Q'ul-lhanumutsun [killer whale]. The Chief Maker on the bottom of the pole is to honour the women in the community. The Salmon on the back are surrounded by painted lines representing the fish weir that is used to trap the Salmon. We wanted to honour the five original tribes in the ceremony [represented by the five salmon]; each tribe had a representative at the dedication. Everything was about blessing the day with the chosen dances and songs. Mervyn Child, my nephew, and family members assisted in carving this pole."
Over a 55 year career Hunt has been bringing Kwakwaka'wakw culture to the world. The masks, dance outfits, canoes—and of course totem poles—that he creates are globally renowned. He has many titles: Chief Tłasutiwalis of the Kwagu'ł, Fort Rupert Hereditary Chief Nas'am'yus, Mowachaht, Friendly Cove, member of the Royal Canadian Academy of Arts, and holder of the BC Aboriginal Achievement Award, to name a few.
Hunt's lifelong immersion in the values and traditions of his people is key to understanding his art.
As he explained: "becoming a skilled woodcarver means more than the artistic skill sets of carving; it is also about learning in the most holistic sense all aspects of Kwagu’ł culture, values, language, practices, song and dance. This work is fluid and informs everything that I create."
8. Raven Stealing the Sun
By Donald Smith
The story told by this pole is perhaps the best-known story to all the peoples of the Northwest Coast, though it varies significantly and each tribe has its own version. It tells the story of how Spaal', the Raven, tried to steal the Sun, known as Sumshatut.
* * *
The Coast Salish carver of this pole, Donald Smith, told a condensed version of the Quw'utsun' story. He said:
"The Raven on the top, the face in the middle represents the Sun, and the bottom figure is the Eagle, he is in a sitting position. His wings come out the side and he's holding the Sun, grasping it, taking it back from the Raven. The Raven is mischievous and stole the Sun. The Eagle represents the hero and he brings it back. In this particular version they are locked in… fighting over it… the Raven stealing the Sun and the Eagle returning it… the face in the middle of the chest on the Eagle… represents the Spirit, like an inner Spirit of the Eagle."
Looking at the pole you can see Smith's lively style and creative use of space. Take a look at the middle figure, the Sun. In Northwest Coast art, the Sun is best identified by the rays of sunlight it radiates outwards. The Kwakwa̱ka̱ʼwakw in particular loved depicting the Sun on totem poles, and they achieved the ray effect by adding wooden appendages filled with carved shapes and faces.
Smith instead achieved this effect by carving the rays on the sides and rear of the figure, enhancing a three-dimensional effect to the pole that rewards those who walk around it and view it from all sides.
It's sometimes been remarked upon that the medium carvers work in—round trunks of cedar—has shaped the direction of the art. It imposes some constraints, but the carvers' creative solutions have made totem poles a singularly unique and recognizable art form all around the world: The vertical stacking of figures; the forward-facing, usually crouched poses; the three-dimensional aspect that can be experienced from every angle.
When Donald Smith was asked why he chose the figures for this pole, he laughed: "It fit on the wood!"
"The Raven on the top, the face in the middle represents the Sun, and the bottom figure is the Eagle, he is in a sitting position. His wings come out the side and he's holding the Sun, grasping it, taking it back from the Raven. The Raven is mischievous and stole the Sun. The Eagle represents the hero and he brings it back. In this particular version they are locked in… fighting over it… the Raven stealing the Sun and the Eagle returning it… the face in the middle of the chest on the Eagle… represents the Spirit, like an inner Spirit of the Eagle."
Looking at the pole you can see Smith's lively style and creative use of space. Take a look at the middle figure, the Sun. In Northwest Coast art, the Sun is best identified by the rays of sunlight it radiates outwards. The Kwakwa̱ka̱ʼwakw in particular loved depicting the Sun on totem poles, and they achieved the ray effect by adding wooden appendages filled with carved shapes and faces.
Smith instead achieved this effect by carving the rays on the sides and rear of the figure, enhancing a three-dimensional effect to the pole that rewards those who walk around it and view it from all sides.
It's sometimes been remarked upon that the medium carvers work in—round trunks of cedar—has shaped the direction of the art. It imposes some constraints, but the carvers' creative solutions have made totem poles a singularly unique and recognizable art form all around the world: The vertical stacking of figures; the forward-facing, usually crouched poses; the three-dimensional aspect that can be experienced from every angle.
When Donald Smith was asked why he chose the figures for this pole, he laughed: "It fit on the wood!"
9. Bringing Light to the World
By Richard Krentz
This pole is by the Coast Salish artist Richard Krentz, who comes from the shíshálh Nation on what we now call the Sunshine Coast. His mother was an artist and his father was a canoe carver, and he has been carving since the age of five.
This pole, called Bringing Light to the World, was commissioned by Judy Hill, the owner of the Judy Hill Gallery, which specializes in Pacific Northwest Coast Indigenous art.
* * *
"The Raven in our culture is seen as someone that brought light to the world. The Whale means those who travel together. The Bear is seen as the supplier of our physical needs; it is always at the bottom of the poles, it holds everything up. It is like our body is the strength and it comes from the Bear. And all these legends are particular to a family. What did my people interpret the Bear as? What did they interpret the Whale as? What did they interpret the Raven as? I use eleven legends and eleven different characters…our own family legends."
In the culture of the Northwest Coast the Master Carver played a far more expansive social role than a skilled craftsman in the Western tradition. In an oral society without writing, totem poles were but the grandest art form used to vividly illustrate the stories that people shared with one another. Dances, masks, songs, and smaller carved objects also filled the same role, and a Master Carver was often skilled in these crafts as well.
When a patron commissioned a totem pole it was to showcase his family's crests, notable episodes in his or his ancestor's lives, or stories of supernatural figures tied to his lineage. To bring these stories to life the patron would carefully select a Master Carver to hire. Before ever setting adze to cedar, the carver would spend weeks with the patron, living with their family, listening to their stories and history, and working to understand all the complex and minute nuances of the patron's experience and desire. Only then would the carver begin figuring out how to translate it all into carved form.
A young carver's apprenticeship under a Master Carver often lasted over a decade. A huge part of it was learning to interpret the culture and mythology of his people, the histories, crests, and ownership rights of the different tribes and families, and the complex rules and forms guiding the art.
Finally it was common practice for a patron to hire a Master Carver from outside their own tribe, meaning that Carvers became extremely well travelled.
It's easy to see why Master Carver's were necessarily incredibly gifted individuals—and it's no surprise that they held enormous standing and prestige.
They needed to be profoundly fluent in the culture of the Coast, intimately familiar with the traditions of its various peoples, and keenly aware of the political dynamics at play across the region. In some sense, a Master Carver was called upon to fulfill the roles of storyteller, historian, journalist, and diplomat.
This is all before we even get to the enormous technical and artistic skill required to turn a towering trunk of red cedar into the kind of stunning masterpiece that we continue to marvel at today.
In the culture of the Northwest Coast the Master Carver played a far more expansive social role than a skilled craftsman in the Western tradition. In an oral society without writing, totem poles were but the grandest art form used to vividly illustrate the stories that people shared with one another. Dances, masks, songs, and smaller carved objects also filled the same role, and a Master Carver was often skilled in these crafts as well.
When a patron commissioned a totem pole it was to showcase his family's crests, notable episodes in his or his ancestor's lives, or stories of supernatural figures tied to his lineage. To bring these stories to life the patron would carefully select a Master Carver to hire. Before ever setting adze to cedar, the carver would spend weeks with the patron, living with their family, listening to their stories and history, and working to understand all the complex and minute nuances of the patron's experience and desire. Only then would the carver begin figuring out how to translate it all into carved form.
A young carver's apprenticeship under a Master Carver often lasted over a decade. A huge part of it was learning to interpret the culture and mythology of his people, the histories, crests, and ownership rights of the different tribes and families, and the complex rules and forms guiding the art.
Finally it was common practice for a patron to hire a Master Carver from outside their own tribe, meaning that Carvers became extremely well travelled.
It's easy to see why Master Carver's were necessarily incredibly gifted individuals—and it's no surprise that they held enormous standing and prestige.
They needed to be profoundly fluent in the culture of the Coast, intimately familiar with the traditions of its various peoples, and keenly aware of the political dynamics at play across the region. In some sense, a Master Carver was called upon to fulfill the roles of storyteller, historian, journalist, and diplomat.
This is all before we even get to the enormous technical and artistic skill required to turn a towering trunk of red cedar into the kind of stunning masterpiece that we continue to marvel at today.
10. Wind Spirit
By Doug LaFortune
This is the third pole we've seen by Doug LaFortune, and it is called Wind Spirit. At the top is the Thunderbird, and the smiling face gazing out from its chest is Suli 'U Tu Satuts, the Wind Spirit. At the bottom is Spe'uth, theblack Bear, who is clutching a halibut, or Stsa'tx, in its claws.
* * *
Doug explained.
"I was doing a lot of hunting in the mountains and waters around Cowichan Valley and these are the things I like: Eagles, Bears, and Halibut. Like most Native people a long time ago, they were things that were in your life at the time. I like the power of the Thunderbird and wanted to show the powerful beak and claws. The Bear has to do with my son, his name is Bear. The Halibut is a creature that I really like and that I liked in oter totem poles. At this time in my career, I was emulating work that other artists had done and chose to do these figures as I thought I could do it and express my own feelings. You put a lot of feelings into these things because it takes three, four months of your life."
This was the first pole that Doug carved for the City of Duncan's totem pole project in 1986, and is one of which he is especially proud. It showcases a beautiful depth and level of detail all round, with the sunlight casting the figures in dynamic relief over the course of the day. Doug credits much of his inspiration for this pole to the more established and formalized Northern styles.
"I was doing a lot of hunting in the mountains and waters around Cowichan Valley and these are the things I like: Eagles, Bears, and Halibut. Like most Native people a long time ago, they were things that were in your life at the time. I like the power of the Thunderbird and wanted to show the powerful beak and claws. The Bear has to do with my son, his name is Bear. The Halibut is a creature that I really like and that I liked in oter totem poles. At this time in my career, I was emulating work that other artists had done and chose to do these figures as I thought I could do it and express my own feelings. You put a lot of feelings into these things because it takes three, four months of your life."
This was the first pole that Doug carved for the City of Duncan's totem pole project in 1986, and is one of which he is especially proud. It showcases a beautiful depth and level of detail all round, with the sunlight casting the figures in dynamic relief over the course of the day. Doug credits much of his inspiration for this pole to the more established and formalized Northern styles.
11. Thunderbird with Dzunuk'wa
By Ned Matilpi
Ned Matilpi, a Kwakwa̱ka̱ʼwakw artist from the Ma'amtagila Band on northeast Vancouver Island, carved this pole showing Thunderbird with Dzunuḵ̓wa. This is the one of several totem poles that depict the supernatural figure of Dzunuk'wa, the Wild Woman of the Forest. She occupies a feared and revered place in the culture of the Northwest Coast, and features in many stories.
* * *
"On top is a Kwa̱nkwa̱nxwa̱lige' (Thunderbird). Thunderbird first helped lift our bighouse beams into place and is a source of mythological and supernatural powers. The fearsome legend of Dzunuk'wa, with her boney face and hanging breasts, is an object of terror and at the same time of power and wealth. Her arms are outstretched in a sign of mourning, or at times poised to grab a stray child from outside a village. Dzunuk'wa is usually painted black and red; colours that represent the underworld."
The author Hilary Stewart writes that Dzunuḵ̓wa is always depicted with "pendulous breasts, heavy eyebrows, deep-set eye sockets with half-closed eyes—and pursed lips to indicate her cry of 'Ooh-ooh, ooh-ooh.' By character [she] is stupid, clumsy and sleepy—hence the slit or crescent eyes. She captures children who are crying or who venture into the forest, carrying them away in a basket on her back to devour them. The House of this awesome giantess is filled with wonderful treasures such as boxes of food, coppers, canoes and more. Through special encounters with her, a person could acquire some of this wealth and supernatural power."
The author Hilary Stewart writes that Dzunuḵ̓wa is always depicted with "pendulous breasts, heavy eyebrows, deep-set eye sockets with half-closed eyes—and pursed lips to indicate her cry of 'Ooh-ooh, ooh-ooh.' By character [she] is stupid, clumsy and sleepy—hence the slit or crescent eyes. She captures children who are crying or who venture into the forest, carrying them away in a basket on her back to devour them. The House of this awesome giantess is filled with wonderful treasures such as boxes of food, coppers, canoes and more. Through special encounters with her, a person could acquire some of this wealth and supernatural power."
12. Clan Totem of Our Nations (Sesquicentennial Pole)
By Tommy Hunt Jr.
This is the Clan Totem of our Nations, carved by Tommy Hunt Jr. to commemorate the Canada 150 celebrations in 2017.
From top to bottom we see yuxwule, the bald eagle, then sumshatut, the sun. In the middle is ten, a mother, holding her Me'munu, children. At the bottom is spe'uth, the black bear holding in his claws sts'iyayu stseelhtun, the twin salmon.
* * *
Hunt described the symbolism of the figures.
"In Kwakwa̱ka̱’wakw culture, woman “ts̓ a̱daḵ” are the life givers, chief makers and the carriers of our cultural property. It In many of the most sacred Kwakwaka'waka ceremonies, it is only the woman that can perform and fulfill the spiritual roles that are able to complete such traditions. It is always said in the traditional gatherings that the children “gingganangm” are the “reason” that the Nation continues to carry on with their traditions and cultural ways.
"In Kwakwa̱ka̱’wakw culture, woman, “tsadak”, are the life givers, chief makers and the carriers of our cultural property. In many of the most sacred Kwakwaka'waka ceremonies, it is only the woman that can perform and fulfill the spiritual roles that are able to complete such traditions. It is always said in the traditional gatherings that the children “gingganangm” are the “reason” that the Nation continues to carry on with their traditions and cultural ways.
"The Bear, “Gila” to our Kwakwa̱ka̱’wakw People, symbolizes the power and authority that our noble ancestors and Chiefs carry throughout our territories. As a reminder to our people about the great teachings that were shared through this union, we carve the bear on our house posts to remind us of our responsibilities to our guests when we invite them into our houses. We are to protect and guard all who have honoured us by responding to our invitation and must ensure that they are treated with respect and honour while in our house.
"The salmon “kutala” is our greatest resource on our BC coast. It is the salmon that has allowed numerous nations to survive with abundance and wealth. Among our Kwakwaka'wakuv Nations, we believe that when twins are born, they are a gift from the Salmon People. Twins are entitled to perform the Salmon Dance and usually a composer will create a new song specifically for that set of twins to dance and celebrate the special gift of twins."
"In Kwakwa̱ka̱’wakw culture, woman “ts̓ a̱daḵ” are the life givers, chief makers and the carriers of our cultural property. It In many of the most sacred Kwakwaka'waka ceremonies, it is only the woman that can perform and fulfill the spiritual roles that are able to complete such traditions. It is always said in the traditional gatherings that the children “gingganangm” are the “reason” that the Nation continues to carry on with their traditions and cultural ways.
"In Kwakwa̱ka̱’wakw culture, woman, “tsadak”, are the life givers, chief makers and the carriers of our cultural property. In many of the most sacred Kwakwaka'waka ceremonies, it is only the woman that can perform and fulfill the spiritual roles that are able to complete such traditions. It is always said in the traditional gatherings that the children “gingganangm” are the “reason” that the Nation continues to carry on with their traditions and cultural ways.
"The Bear, “Gila” to our Kwakwa̱ka̱’wakw People, symbolizes the power and authority that our noble ancestors and Chiefs carry throughout our territories. As a reminder to our people about the great teachings that were shared through this union, we carve the bear on our house posts to remind us of our responsibilities to our guests when we invite them into our houses. We are to protect and guard all who have honoured us by responding to our invitation and must ensure that they are treated with respect and honour while in our house.
"The salmon “kutala” is our greatest resource on our BC coast. It is the salmon that has allowed numerous nations to survive with abundance and wealth. Among our Kwakwaka'wakuv Nations, we believe that when twins are born, they are a gift from the Salmon People. Twins are entitled to perform the Salmon Dance and usually a composer will create a new song specifically for that set of twins to dance and celebrate the special gift of twins."
13. Harvest Time
By Tom LaFortune
Tom LaFortune comes from an illustrious family of Coast Salish carvers. He and his brothers Doug LaFortune and Francis Horne Sr., apprenticed under the hugely influential master carver Simon Charlie, and they too carved a number of poles featured on this tour.
* * *
This story was passed down to Tom by Simon Charlie, and this is his interpretation of it.
"The North Wind, when it really starts to howl, that's when the Killer Whales would come in and feed in Cowichan Bay. When the North Wind got colder the Whales would head out to migrate, because the Salmon run was finished. The pole represents the harvesting time for the Salmon. With the North Wind, you notice the Killer Whales. You go down to the mouth of the river and jig for Salmon in the bay or wait for them to come up the river. That was the inspiration, a harvest time pole."
The large circular eyes, and use of red and black paint hint at the Northern influences on this pole. The human figure at the top representing the North Wind is called Satuts. His mouth is opened wide as if he is blowing a great gust of wind from his lungs. The Q'ul-lhanumutsun, or Killer Whale at the bottom, is depicted as if seen from above, which is often how whales are shown on totem poles. Its fluke is turned up and over its back, and carved into it is a face with a toothy grin.
"The North Wind, when it really starts to howl, that's when the Killer Whales would come in and feed in Cowichan Bay. When the North Wind got colder the Whales would head out to migrate, because the Salmon run was finished. The pole represents the harvesting time for the Salmon. With the North Wind, you notice the Killer Whales. You go down to the mouth of the river and jig for Salmon in the bay or wait for them to come up the river. That was the inspiration, a harvest time pole."
The large circular eyes, and use of red and black paint hint at the Northern influences on this pole. The human figure at the top representing the North Wind is called Satuts. His mouth is opened wide as if he is blowing a great gust of wind from his lungs. The Q'ul-lhanumutsun, or Killer Whale at the bottom, is depicted as if seen from above, which is often how whales are shown on totem poles. Its fluke is turned up and over its back, and carved into it is a face with a toothy grin.
14. Owl Spirit
By Tom LaFortune
This is the Owl Spirit pole, the work of Master Carver Tom LaFortune. Born in Duncan in 1959 to the Tsawout First Nation of the W̱SÁNEĆ (Saanich) peoples, LaFortune began carving at age 11 under the mentorship of Simon Charlie, alongside his brothers, Doug and Francis. His Owl Spirit pole features an owl atop a Coast Salish chief. His mother was his inspiration:
* * *
“My late grandfather, my late aunts and my mother always believed their spirit to be Spulqwitth’e’ (Owl). That's why I did an Owl, to respect my mother. Rather than leave bare wood at the bottom, I wanted the Chief to have on his Killer Whale clan regalia. I cut my hand with a chisel, when I was carving the hand on the Chief figure, and when I was done I carved five stitches on the bottom of the Chief’s hand. Wood is the perfect medium, you don’t make mistakes, you make modifications with wood.”
The pole was LaFortune’s first solo large-scale work. Using chainsaws, chisels, and curved knives, he embraced the challenge of “full round” carving, insisting on developing his own unique style despite his brothers’ "older-brother syndrome."
LaFortune's work is distinctly Coast Salish:
"I don’t like to use a straight edge for everything, I like to use curved knives and just soften the look a little bit and still make it strong. That is the way I try and carve and that’s what I like to show is that me, as a Coast Salish artist it doesn’t have to be sharp and cut off, it can be soft and curved and finessed and flowing… you don’t have to colour all the wood just highlights here and there."
When LaFortune began carving, there was little interest in Coast Salish art. Over his career that has changed dramatically. LaFortune attributes it in no small part to wider political recognition of the Coast Salish as a nation:
"The Coast Salish are stepping up and they’re being noticed and now the artwork is coming right along with that…. Around the world, I’ve noticed that, I have been carving for 40 years, jeez, 42 years now. The more that the Coast Salish been recognized for where we live, the more interest there is in our life style and our art."
The pole was LaFortune’s first solo large-scale work. Using chainsaws, chisels, and curved knives, he embraced the challenge of “full round” carving, insisting on developing his own unique style despite his brothers’ "older-brother syndrome."
LaFortune's work is distinctly Coast Salish:
"I don’t like to use a straight edge for everything, I like to use curved knives and just soften the look a little bit and still make it strong. That is the way I try and carve and that’s what I like to show is that me, as a Coast Salish artist it doesn’t have to be sharp and cut off, it can be soft and curved and finessed and flowing… you don’t have to colour all the wood just highlights here and there."
When LaFortune began carving, there was little interest in Coast Salish art. Over his career that has changed dramatically. LaFortune attributes it in no small part to wider political recognition of the Coast Salish as a nation:
"The Coast Salish are stepping up and they’re being noticed and now the artwork is coming right along with that…. Around the world, I’ve noticed that, I have been carving for 40 years, jeez, 42 years now. The more that the Coast Salish been recognized for where we live, the more interest there is in our life style and our art."
15. Abolishment Pole
By Donald Smith
The Abolishment Pole is the first totem pole Don Smith carved for the City’s collection. Don is a Coast Salish artist from the Cowichan Valley, a member of the Cowichan Tribes. He began carving in 1985 and apprenticed under the respected Simon Charlie.
* * *
Smith tells the Abolishment Story that inspired the pole, saying:
"The Bear represents strength. In this story, the Black Bear (SPE'UTH) is a Clan Member; the Frog (Wuxus) represents luck, wealth, and the end of the winter season. A youth had been terrorizing the tribe for quite some time. He never listened to his parents or the elders. A council was held to discuss the matter. A final chance was granted to the youth to turn things around for the better. This chance was ignored and it was then determined the youth be abolished from the tribe (this usually happened for very serious acts). The youth walked aimlessly until his demise. He was later discovered in a pond, his entire body covered with Frogs. The Frogs express the feelings shared in this story: sorrow, being content, and the demise of the youth."
Don carved this pole in 1990 at the Quw'utsun' Cultural & Conference Centre. His Coast Salish style incorporates intricate, three-dimensional elements that push beyond traditional forms. While Coast Salish art is often described as bold and simple, Don refines it with greater depth and detail.
Using both traditional and modern tools, he shapes his work with chainsaws before refining it with specialized hand tools. It is an embrace of the evolving nature of Coast Salish art, balancing heritage with innovation.
The Abolishment Pole delivers a timeless lesson on respect, community, and the consequences of one’s actions, reminding us to listen, learn, and honor ancestral traditions.
"The Bear represents strength. In this story, the Black Bear (SPE'UTH) is a Clan Member; the Frog (Wuxus) represents luck, wealth, and the end of the winter season. A youth had been terrorizing the tribe for quite some time. He never listened to his parents or the elders. A council was held to discuss the matter. A final chance was granted to the youth to turn things around for the better. This chance was ignored and it was then determined the youth be abolished from the tribe (this usually happened for very serious acts). The youth walked aimlessly until his demise. He was later discovered in a pond, his entire body covered with Frogs. The Frogs express the feelings shared in this story: sorrow, being content, and the demise of the youth."
Don carved this pole in 1990 at the Quw'utsun' Cultural & Conference Centre. His Coast Salish style incorporates intricate, three-dimensional elements that push beyond traditional forms. While Coast Salish art is often described as bold and simple, Don refines it with greater depth and detail.
Using both traditional and modern tools, he shapes his work with chainsaws before refining it with specialized hand tools. It is an embrace of the evolving nature of Coast Salish art, balancing heritage with innovation.
The Abolishment Pole delivers a timeless lesson on respect, community, and the consequences of one’s actions, reminding us to listen, learn, and honor ancestral traditions.
16. The Gwa'yasdams Flood Story
By Basil James
This pole depicts the flood story of the island of Gwa'yasdams, which today also goes by the name Gilbert Island. The island is between the mainland and northern Vancouver Island, and is where the carver, Basil James, came from.
* * *
Jack, Basil's son, shared the story of this pole in a 1988 interview:
"Kwankwanxwalige (Thunderbird) is on top of the pole. He came down from Mount Stephens, right after the flood. There was a little village there, we call it K'we. He took his Thunderbird dress off and he acted like a man. On the chest of this Thunderbird is a giant, a Dzunuk'wa (Wild Woman). On the bottom of the pole is the Max'inuxw (Killer Whale) and on his fin is the Luwagila (Raven). The Killer Whales… They save a lot of men and take them ashore."
This story has been passed down since time immemorial by James's family, and belongs to his lineage. As Jack explained in the interview "they are all ours, our own. We didn't copy anybody's."
A great flood in the ancient past is remembered by people up and down the coast, including the Quw'utsun'.
The Quw'utsun' story is retold in Those Who Fell From the Sky: A History of the Cowichan Peoples, by Daniel P. Marshall.
The Quw'utsun' remember the first man as Syalutsa, who fell from the sky. One day he heard an inner voice telling him to construct the largest canoe ever seen, and to weave a cedar rope of incredible length. When he was done, the voice told him to tie one end of the rope to his canoe, and the other to the peak of Swuqus, which is now sometimes called Mount Prevost and can be seen from Duncan when you turn to the northwest.
Then it began to rain. It rained and rained, so that the Cowichan Valley flooded, and Syalutsa's great canoe was lifted higher and higher. The waters rose above the peak of Swuqus, and continued to rise and rise, until finally the enormous rope anchoring the canoe finally went taught. When that happened, suddenly the rain stopped, the sun came out, and the waters receded. Syalutsa and the Quw'utsun' people had survived.
"Kwankwanxwalige (Thunderbird) is on top of the pole. He came down from Mount Stephens, right after the flood. There was a little village there, we call it K'we. He took his Thunderbird dress off and he acted like a man. On the chest of this Thunderbird is a giant, a Dzunuk'wa (Wild Woman). On the bottom of the pole is the Max'inuxw (Killer Whale) and on his fin is the Luwagila (Raven). The Killer Whales… They save a lot of men and take them ashore."
This story has been passed down since time immemorial by James's family, and belongs to his lineage. As Jack explained in the interview "they are all ours, our own. We didn't copy anybody's."
A great flood in the ancient past is remembered by people up and down the coast, including the Quw'utsun'.
The Quw'utsun' story is retold in Those Who Fell From the Sky: A History of the Cowichan Peoples, by Daniel P. Marshall.
The Quw'utsun' remember the first man as Syalutsa, who fell from the sky. One day he heard an inner voice telling him to construct the largest canoe ever seen, and to weave a cedar rope of incredible length. When he was done, the voice told him to tie one end of the rope to his canoe, and the other to the peak of Swuqus, which is now sometimes called Mount Prevost and can be seen from Duncan when you turn to the northwest.
Then it began to rain. It rained and rained, so that the Cowichan Valley flooded, and Syalutsa's great canoe was lifted higher and higher. The waters rose above the peak of Swuqus, and continued to rise and rise, until finally the enormous rope anchoring the canoe finally went taught. When that happened, suddenly the rain stopped, the sun came out, and the waters receded. Syalutsa and the Quw'utsun' people had survived.
17. Cedar Man Walking out of the Log
By Richard Hunt
This monumental totem pole, Cedar Man Walking Out of the Log, was carved from a 775-year-old red cedar that once grew near Port Renfrew.
* * *
This giant, measuring two metres in diameter, is the widest totem pole in the world. It likely always will be. An indent on the back indicates that First Nations had at some point in the past cut planks had from this ancient tree to make their homes, a vivid illustration of their bond with red cedar since time immemorial.
It is the work of Kwaguʼł Master Carver Richard Hunt. Hunt explained how he came to carve Cedar Man.
"I was really excited at the chance to work on something so huge and I thought about how I could use theog to its fullest width. I decided to carve Cedar Man, the spirit of the cedar tree personified. For inspiration, I used the Cedar Man figure on Mungo Martin's memorial pole in Alert Bay, that my father carved." l In 1988 the log was donated by the MacMillan Bloedel Company and Hunt began carving—right here, on site. The process became a public spectacle. Bleachers were set up and people visited day-after-day to watch Hunt work. He used jumbo-sized tools fit to the task: shipwright’s adzes, double-bit axes, and chisels with blades 3.5 inches wide, almost double the size of the largest chisels in most carver's toolkits. Soon a figure began to emerge: a 6-foot-tall head with 16-inch eyes, holding a talking stick over 4 metres tall.
"The top of the log was left natural so people could see the size of the log and it forms the hairline for the Cedar Man. On the chest there is a copper, which represents the wealth of Kwaguʼł families. The skirt represents the traditionally worn cedar-bark skirt. On the talking stick, the representations are all family crests: the top is the Kulus (Baby Thunderbird) which represents Richard dancing the tamed Hamatsa; the Killer Whale in the middle represents the spirits of our great chiefs; and the man on the bottom represents a Kwaguʼł family member."
A totem pole this massive could not be raised in the normal fashion, and a crane had to be brought for the occasion. When the pole was officially dedicated members of the Hunt family attended in full regalia, performing their traditional dances to a huge crowd.
From ceremonial skirts to masks used in dances like the Hamatsa—where young initiates shed wildness through a sacred cedar-clad dance—the cedar tree binds the Kwakwa̱ka̱ʼwakw to their land and legends.
“From afar, Cedar Man stares down at you, alive, stepping from the log.”
Here, the world’s widest totem pole immortalizes not just a mythic narrative, but the enduring dialogue between the first peoples and red cedar; a monumental testament to the resilience of their traditions and the supreme creativity of their art.
It is the work of Kwaguʼł Master Carver Richard Hunt. Hunt explained how he came to carve Cedar Man.
"I was really excited at the chance to work on something so huge and I thought about how I could use theog to its fullest width. I decided to carve Cedar Man, the spirit of the cedar tree personified. For inspiration, I used the Cedar Man figure on Mungo Martin's memorial pole in Alert Bay, that my father carved." l In 1988 the log was donated by the MacMillan Bloedel Company and Hunt began carving—right here, on site. The process became a public spectacle. Bleachers were set up and people visited day-after-day to watch Hunt work. He used jumbo-sized tools fit to the task: shipwright’s adzes, double-bit axes, and chisels with blades 3.5 inches wide, almost double the size of the largest chisels in most carver's toolkits. Soon a figure began to emerge: a 6-foot-tall head with 16-inch eyes, holding a talking stick over 4 metres tall.
"The top of the log was left natural so people could see the size of the log and it forms the hairline for the Cedar Man. On the chest there is a copper, which represents the wealth of Kwaguʼł families. The skirt represents the traditionally worn cedar-bark skirt. On the talking stick, the representations are all family crests: the top is the Kulus (Baby Thunderbird) which represents Richard dancing the tamed Hamatsa; the Killer Whale in the middle represents the spirits of our great chiefs; and the man on the bottom represents a Kwaguʼł family member."
A totem pole this massive could not be raised in the normal fashion, and a crane had to be brought for the occasion. When the pole was officially dedicated members of the Hunt family attended in full regalia, performing their traditional dances to a huge crowd.
From ceremonial skirts to masks used in dances like the Hamatsa—where young initiates shed wildness through a sacred cedar-clad dance—the cedar tree binds the Kwakwa̱ka̱ʼwakw to their land and legends.
“From afar, Cedar Man stares down at you, alive, stepping from the log.”
Here, the world’s widest totem pole immortalizes not just a mythic narrative, but the enduring dialogue between the first peoples and red cedar; a monumental testament to the resilience of their traditions and the supreme creativity of their art.
18. Peaceful Boundaries
By Norman John
Peaceful Boundaries is a totem pole by Norman John. John is from the West Coast of Vancouver Island, land of the Nuu-chah-nulth (or sometimes called the Nootka).
It tells a tale from the Wars of the West Coast Peoples in the distant past, one that was passed down to John through many generations.
* * *
John said:
“At one time on the West Coast of Vancouver Island, the [Nuu-Chah-Nulth]... were fighting and killing one another over fishing and hunting grounds. This went on for years. The elders became deeply concerned over the loss of our people and got together with the chief to stop this needless killing. The Chief got all of his carvers together to carve Sea Serpent, Wolf, and Macquinna masks-feast bowls. Then he sent a messenger to all tribes for all the people to gather together. He spoke to stop all the fighting and killing. One of the younger men spoke up "it is either kill or be killed". Again the Chief spoke and started negotiations governing boundaries. So it came to pass that all boundaries were marked and honoured by all tribes. These masks are still used today to dance and celebrate marriages, naming of children, memorial potlatch (1 year after a death.) My Dad enjoyed carving the Raven and this was often reflected In his work over the years. I also felt Inspired to carve the Raven for the top of this Totem.”
Traditionally the Nuu-chah-nulth did not have a family crest system, unlike the peoples of the north. This is perhaps part of the reason why the Nuu-chah-nulth did not carve the monumental heraldic poles of the north, which showcased a chief's family crests. Instead, the Nuu-chah-nulth did elaborately carve their house posts, and erected welcome poles on beaches. They also became renowned for the craftsmanship of their ritual and ceremonial objects, like feast-bowls and spoons. And of course in the monumental 40 foot canoes they used for the wildly audacious and dangerous whale hunts, for which their people became legendary.
“At one time on the West Coast of Vancouver Island, the [Nuu-Chah-Nulth]... were fighting and killing one another over fishing and hunting grounds. This went on for years. The elders became deeply concerned over the loss of our people and got together with the chief to stop this needless killing. The Chief got all of his carvers together to carve Sea Serpent, Wolf, and Macquinna masks-feast bowls. Then he sent a messenger to all tribes for all the people to gather together. He spoke to stop all the fighting and killing. One of the younger men spoke up "it is either kill or be killed". Again the Chief spoke and started negotiations governing boundaries. So it came to pass that all boundaries were marked and honoured by all tribes. These masks are still used today to dance and celebrate marriages, naming of children, memorial potlatch (1 year after a death.) My Dad enjoyed carving the Raven and this was often reflected In his work over the years. I also felt Inspired to carve the Raven for the top of this Totem.”
Traditionally the Nuu-chah-nulth did not have a family crest system, unlike the peoples of the north. This is perhaps part of the reason why the Nuu-chah-nulth did not carve the monumental heraldic poles of the north, which showcased a chief's family crests. Instead, the Nuu-chah-nulth did elaborately carve their house posts, and erected welcome poles on beaches. They also became renowned for the craftsmanship of their ritual and ceremonial objects, like feast-bowls and spoons. And of course in the monumental 40 foot canoes they used for the wildly audacious and dangerous whale hunts, for which their people became legendary.
19. Pole of Wealth
By Norman John
This is the Pole of Wealth, by the Nuu-chah-nulth carver Norman John.
* * *
Wealth is a fundamental concept to the peoples of the Northwest Coast, but it came in many more forms than we might think today. Wealth was not simply material goods, like blankets, food, or copper, but control of features of the land within each territory, like hunting and fishing grounds, or places with spiritual significance. Family crests, dances, songs, and stories were also a form of wealth, with unmeasurable, intrinsic value.
The acquisition of wealth was important because it represented the best insurance against adversity and intimidation by others. Showcasing wealth drew prestige and honour to its holder. Society revolved around potlatches, where the host demonstrated his wealth by ostentatiously giving it away to the attendees—sometimes at a ruinous cost to the host.
Trading sea otter pelts with Europeans in the 1800s provided a massive new source of wealth to the peoples of the Northwest Coast. Totem poles, which were extremely expensive to commission and erect, were a powerful way to show that newfound wealth off. The practice of totem pole carving quickly spread up the Skeena River and down the coast, though it was particularly popular with the Haida. This artistic boom peaked in the mid-1860s, before waves of infectious disease brought by uninvited settlers decimated the First Nations population.
The banning of potlatches in 1884 further crippled the spreading of wealth. Precious items like feast bowls, ladles, masks, headdresses and, dance/ ceremonial regalia could no longer be exchanged. Even worse, the kidnapping of children to residential schools meant families could no longer pass down their stories that had endured since time imemorial. Carvers died without transmitting their knowledge.
Wealth, in this sense, is also generated by sharing ideas and stories and this is why the City of Totems is so important today.
Jane Marston who assisted Norman with this pole remembers:
“All these artists used to “hang out” together in Duncan during this time and shared ideas, usually at Simon Charlie’s carving shed. This pole was a style that Simon started; it is a pole of wealth. The Thunderbird and Killer Whale are strong symbols with many First Nations on the Northwest Coast. The Bear is a Black Bear as they are from Vancouver Island. Norman had his own style of carving that two of his nephews were starting to emulate (in the 1990s). No one else is using this unique style, It is not considered Coast Salish, Nuu-chah-nulth or Kwagui‘i; it was uniquely his own.”
The acquisition of wealth was important because it represented the best insurance against adversity and intimidation by others. Showcasing wealth drew prestige and honour to its holder. Society revolved around potlatches, where the host demonstrated his wealth by ostentatiously giving it away to the attendees—sometimes at a ruinous cost to the host.
Trading sea otter pelts with Europeans in the 1800s provided a massive new source of wealth to the peoples of the Northwest Coast. Totem poles, which were extremely expensive to commission and erect, were a powerful way to show that newfound wealth off. The practice of totem pole carving quickly spread up the Skeena River and down the coast, though it was particularly popular with the Haida. This artistic boom peaked in the mid-1860s, before waves of infectious disease brought by uninvited settlers decimated the First Nations population.
The banning of potlatches in 1884 further crippled the spreading of wealth. Precious items like feast bowls, ladles, masks, headdresses and, dance/ ceremonial regalia could no longer be exchanged. Even worse, the kidnapping of children to residential schools meant families could no longer pass down their stories that had endured since time imemorial. Carvers died without transmitting their knowledge.
Wealth, in this sense, is also generated by sharing ideas and stories and this is why the City of Totems is so important today.
Jane Marston who assisted Norman with this pole remembers:
“All these artists used to “hang out” together in Duncan during this time and shared ideas, usually at Simon Charlie’s carving shed. This pole was a style that Simon started; it is a pole of wealth. The Thunderbird and Killer Whale are strong symbols with many First Nations on the Northwest Coast. The Bear is a Black Bear as they are from Vancouver Island. Norman had his own style of carving that two of his nephews were starting to emulate (in the 1990s). No one else is using this unique style, It is not considered Coast Salish, Nuu-chah-nulth or Kwagui‘i; it was uniquely his own.”
20. The Guardians
By Francis Horne Sr.
The Guardians was carved by Francis Horne Sr., one of five poles he has created for Duncan. Though he is a Coast Salish artist, with a Tsawout, or Saanich mother and Lummi father, this pole is done in the Northern style and the guardians at the top are traditionally associated with the Haida.
* * *
Horne said of this pole's symbolism:
"The three watchmen on the top of the pole are guardians against evil over the Xwélmexw (First Nations peoples). The Eagle, Yuxwule’, symbolizes freedom of spirit. Below the Eagle's feet are its tail feathers."
The watchmen, or Shelemuxutun, scan the horizon with eyes peeled for danger, like the approach of war canoes. Notice the four cylinders on their hats: These cylinders, called skils, indicate the enormous prestige of the chief they are guarding. The number of skils might be part of the family crest, or tell us how many potlatches the chief had held.
The need for watchmen was not just symbolic. Amongst the peoples of the Northwest Coast the Haida developed a ferocious reputation for their skill at warfare. Haida war parties set out in massive cedar canoes crewed by up to sixty armed and armoured warriors. They ranged up and down the Northwest Coast staging lightning raids to seize coppers, Chilkat blankets, and captives.
Haida raids struck such fear into the Tsimshian of the Skeena River that they developed a sophisticated signal-fire alert system to warn all their villages of the approach of a Haida war party.
The construction of many fortresses on Haida Gwaii show that they weren't immune to raids either. In the 1770s Captain Cook was so impressed by a fort he saw on an island in Haida Gwaii, that he called it Hippa Island, after the Maori forts he had seen in New Zealand.
These huge palisaded earthworks included clever defenses, like heavy pits covered by trapdoors, raised platforms stored with boulders for flinging down at attackers, and huge logs that could be released and rolled down onto an enemy.
"The three watchmen on the top of the pole are guardians against evil over the Xwélmexw (First Nations peoples). The Eagle, Yuxwule’, symbolizes freedom of spirit. Below the Eagle's feet are its tail feathers."
The watchmen, or Shelemuxutun, scan the horizon with eyes peeled for danger, like the approach of war canoes. Notice the four cylinders on their hats: These cylinders, called skils, indicate the enormous prestige of the chief they are guarding. The number of skils might be part of the family crest, or tell us how many potlatches the chief had held.
The need for watchmen was not just symbolic. Amongst the peoples of the Northwest Coast the Haida developed a ferocious reputation for their skill at warfare. Haida war parties set out in massive cedar canoes crewed by up to sixty armed and armoured warriors. They ranged up and down the Northwest Coast staging lightning raids to seize coppers, Chilkat blankets, and captives.
Haida raids struck such fear into the Tsimshian of the Skeena River that they developed a sophisticated signal-fire alert system to warn all their villages of the approach of a Haida war party.
The construction of many fortresses on Haida Gwaii show that they weren't immune to raids either. In the 1770s Captain Cook was so impressed by a fort he saw on an island in Haida Gwaii, that he called it Hippa Island, after the Maori forts he had seen in New Zealand.
These huge palisaded earthworks included clever defenses, like heavy pits covered by trapdoors, raised platforms stored with boulders for flinging down at attackers, and huge logs that could be released and rolled down onto an enemy.
21. Dzunuk'wa
By Oscar Matilpi
This depiction of Dzunuk'wa, the Wild Woman of the Forest, was carved by the Kwakwa̱ka̱ʼwakw artist Oscar Matilpi in 1989. He was the father of Ned Matilpi, who carved his own interpretation of the Wild Woman for the City of Duncan. Oscar, who was born in 1933, passed away in 1999.
* * *
Oscar wrote this description of Dzunuk'wa:
"Those who are fortunate enough to have Dzunuk’wa in their possession are watched over and protected. Black in colour, with bushy, unkempt hair, she is usually shown with a pursed mouth. In the absence of the owner, Dzunuk’wa acts as an official greeter to any caller, ensuring that no visitor will go away offended by not being properly welcomed. Should a visitor remove, harm or damage any property in the absence of the owner, Dzunuk’wa sees to it that the perpetrator is punished by various means. She may cause strong winds to blow from her pursed lips, which would result in their canoe sinking on their way home with their ill-gotten goods."
"The copper shield depicted on this pole is a visual and philosophical gesture that shows the person that lives there is powerful and actively holds pe’sa (potlatches)."
Oscar learned to carve at a pivotal time and place in history.
The art of totem poles was almost lost forever during the catastrophic upheaval of the late 1800s and early 1900s. By the 1930s only one or two master carvers remained in all British Columbia that were able to pass on their precious knowledge to the next generation. In the 1950s the Provincial Museum of BC inaugurated a huge totem pole carving project at Thunderbird Park in Victoria, and hired one of those last carvers, Mungo Martin, to train new apprentices. Mungo, then in his 70s, set himself to the task with incredible energy and vigour, and took on a whole new generation of apprentices.
By the time Mungo passed away in 1962, his tireless efforts over the last decade of his life had borne fruit. He didn't just help bring the art of the Northwest Coast back from the brink of extinction, but had sparked a remarkable artistic renaissance that continues to this day.
Oscar was part of that crucial bridge generation between Mungo and the carvers of today. He first took up carving at the age of 37 and joined the project at Thunderbird Park, where he worked alongside many of Mungo's most talented apprentices, including his brother-in-law Henry Hunt. Later he was able to pass this knowledge on to his son Ned.
"Those who are fortunate enough to have Dzunuk’wa in their possession are watched over and protected. Black in colour, with bushy, unkempt hair, she is usually shown with a pursed mouth. In the absence of the owner, Dzunuk’wa acts as an official greeter to any caller, ensuring that no visitor will go away offended by not being properly welcomed. Should a visitor remove, harm or damage any property in the absence of the owner, Dzunuk’wa sees to it that the perpetrator is punished by various means. She may cause strong winds to blow from her pursed lips, which would result in their canoe sinking on their way home with their ill-gotten goods."
"The copper shield depicted on this pole is a visual and philosophical gesture that shows the person that lives there is powerful and actively holds pe’sa (potlatches)."
Oscar learned to carve at a pivotal time and place in history.
The art of totem poles was almost lost forever during the catastrophic upheaval of the late 1800s and early 1900s. By the 1930s only one or two master carvers remained in all British Columbia that were able to pass on their precious knowledge to the next generation. In the 1950s the Provincial Museum of BC inaugurated a huge totem pole carving project at Thunderbird Park in Victoria, and hired one of those last carvers, Mungo Martin, to train new apprentices. Mungo, then in his 70s, set himself to the task with incredible energy and vigour, and took on a whole new generation of apprentices.
By the time Mungo passed away in 1962, his tireless efforts over the last decade of his life had borne fruit. He didn't just help bring the art of the Northwest Coast back from the brink of extinction, but had sparked a remarkable artistic renaissance that continues to this day.
Oscar was part of that crucial bridge generation between Mungo and the carvers of today. He first took up carving at the age of 37 and joined the project at Thunderbird Park, where he worked alongside many of Mungo's most talented apprentices, including his brother-in-law Henry Hunt. Later he was able to pass this knowledge on to his son Ned.
22. Chief's Pole
By Francis Horne Sr.
Heavily influenced by Simon Charlie and Doug La Fortune, Francis Horne Sr. created the Chief’s Pole to tell the story of how humans and the Q’ul-lhanumutsun killer whale, came to live in harmony.
* * *
Horne describes the scene:
“On the top of the pole is a Human Child. The Killer Whale represents the Quw'utsun' story of the Killer Whale that was in Cowichan Bay eating all the Salmon. The pole story shows how the Quw'utsun' people were able to restore peace back to the people, and that the people and the Killer Whale can live together in peace. The Child is kneeling, waiting with anticipation for the Salmon. The Copper held by the Chief, is to show wealth in the Human Spirit, not material wealth. Simon Charlie taught us to let the wood guide the hands for what was to “come out of” the pole.”
Horne is of Coast Salish heritage and was born in 1954 in Mount Vernon, Washington. His mother is Tsawout, or Saanich, and his father is Lummi, from Washington. Horne was raised on Vancouver Island and taught himself to carve at the age of eighteen. Horne is the second oldest of six brothers, all of whom are accomplished artists and two of whom carved poles for the City of Duncan—Doug and Tom LaFortune. As a world-renowned Master Carver, Dr. Horne has shared his knowledge of carving with hundreds of people.
“On the top of the pole is a Human Child. The Killer Whale represents the Quw'utsun' story of the Killer Whale that was in Cowichan Bay eating all the Salmon. The pole story shows how the Quw'utsun' people were able to restore peace back to the people, and that the people and the Killer Whale can live together in peace. The Child is kneeling, waiting with anticipation for the Salmon. The Copper held by the Chief, is to show wealth in the Human Spirit, not material wealth. Simon Charlie taught us to let the wood guide the hands for what was to “come out of” the pole.”
Horne is of Coast Salish heritage and was born in 1954 in Mount Vernon, Washington. His mother is Tsawout, or Saanich, and his father is Lummi, from Washington. Horne was raised on Vancouver Island and taught himself to carve at the age of eighteen. Horne is the second oldest of six brothers, all of whom are accomplished artists and two of whom carved poles for the City of Duncan—Doug and Tom LaFortune. As a world-renowned Master Carver, Dr. Horne has shared his knowledge of carving with hundreds of people.
23. The Family
By Francis Horne Sr.
Family is of utmost importance for the peoples of the Northwest Coast and this is no exception for Francis Horne Sr. He is from a large family with many siblings so Francis’ understanding of the role that family plays in building a community informed his creation of The Family totem pole.
* * *
Francis speaks about the imagery of this very particular pole:
“The pole represents family; it could be anyone’s but in this case it is the Painter’s. The Painter’s owned Duncan Electronics and were a family business. I wanted the pole to represent them as a family, not just business owners. The top figure is an Eagle, which represents the Eagle clan; the Eagle is holding a baby Eagle. The father is holding his son”.
Everything in Coast Salish society is built around the family. Traditionally siblings, cousins, and in-laws would form extended families, living together in great cedar-plank houses and claiming rights to resources and inherited privileges. One or more extended families would make up a village or community. That community was linked through ties of marriage and kinship with other communities, and those communities were in turn connected to other communities. And so on and so on, making up a vast family-based social network with no easily definable boundaries.
The family didn't just ground people in human society, but helped ground them in the natural and spirit worlds. Every Salish family has a creation story and relationships with spirits or beings that have helped them grow and survive. They understood the interconnectedness of all things, and understood the ways they dependent on their environment to survive. Thus to the Coast Salish every life form has a spirit, and showing respect to these spirits would ensure a family’s resilience and continued abundance.
“The pole represents family; it could be anyone’s but in this case it is the Painter’s. The Painter’s owned Duncan Electronics and were a family business. I wanted the pole to represent them as a family, not just business owners. The top figure is an Eagle, which represents the Eagle clan; the Eagle is holding a baby Eagle. The father is holding his son”.
Everything in Coast Salish society is built around the family. Traditionally siblings, cousins, and in-laws would form extended families, living together in great cedar-plank houses and claiming rights to resources and inherited privileges. One or more extended families would make up a village or community. That community was linked through ties of marriage and kinship with other communities, and those communities were in turn connected to other communities. And so on and so on, making up a vast family-based social network with no easily definable boundaries.
The family didn't just ground people in human society, but helped ground them in the natural and spirit worlds. Every Salish family has a creation story and relationships with spirits or beings that have helped them grow and survive. They understood the interconnectedness of all things, and understood the ways they dependent on their environment to survive. Thus to the Coast Salish every life form has a spirit, and showing respect to these spirits would ensure a family’s resilience and continued abundance.
24. Family Pole
By Doug LaFortune
Here we see a fierce mother bear, Ten' U thu spe'uth, protectively cradling her cub, Spe'uthal'lh. This is the fourth pole by Doug LaFortune on this tour, and he named it the Family Pole.
* * *
"The baby bear has a lot to do with my son, he was a baby at the time, so I wanted to do a bear mother thing theme, and a lot of my poles and stuff that I do have some kind of family ties in them. Because I’m raising my family and looking after my family all the time, and with Native people it’s, family is huge. Everybody, everything is based on families. Family ties and beliefs and things like that, that’s why I picked the bear."
He was inspired by the Kwaguʼł carver Henry Hunt, after seeing a bear pole he had done for the ferry terminal at Port Hardy.
Though Doug is Coast Salish, he carved this pole in a more general Northern style, using only the traditional black and red, and giving the figures large round eyes. The bear is immediately distinguishable by its sharp teeth and claws, certainly a mother bear one would not want to disturb.
He was inspired by the Kwaguʼł carver Henry Hunt, after seeing a bear pole he had done for the ferry terminal at Port Hardy.
Though Doug is Coast Salish, he carved this pole in a more general Northern style, using only the traditional black and red, and giving the figures large round eyes. The bear is immediately distinguishable by its sharp teeth and claws, certainly a mother bear one would not want to disturb.
25. Eagle Pole
By Francis Horne Sr.
The Eagle's Pole shows both Yuxwule’ (Bald Eagle) and Squl’ew’ (Beaver). This was the very first pole carved for Duncan's City of Totems, and Francis Horne Sr. included the industrious beaver to symbolize the start of this huge project.
* * *
In Francis’ words:
“The Eagle for the Horne family represents freedom of spirit. The face on the chest represents the spirit of the Eagle. The Beaver was chosen as it represents the builder. The Chief’s face on the Beaver tail represents the people of the community, the Quw'utsun’ people.” (Francis Horne Sr., Interview, Jan 2013).
In 1985 Mayor Douglas Barker decided these poles would put Duncan on the map by beautifying the community and marking the close ties between Duncan and the Cowichan people. They would distinguish Duncan "as a community that recognizes and appreciates the unique art form of the totem pole and all it represents."
The project was seized upon with enthusiasm and Duncan rebranded itself "The City of Totems." It was not without reason: It now boasts the largest outdoor totem pole collection in Canada, (second in the world). There are now over 40 totem poles in the city's collection, not counting those others that have been commissioned by the Cowichan Tribes, private individuals, or businesses.
As Mayor Barker’s ambitions came to fruition, he remarked: "I have planted a seed. Obviously it was a very fertile seed, because it has grown into a forest of totem poles."
“The Eagle for the Horne family represents freedom of spirit. The face on the chest represents the spirit of the Eagle. The Beaver was chosen as it represents the builder. The Chief’s face on the Beaver tail represents the people of the community, the Quw'utsun’ people.” (Francis Horne Sr., Interview, Jan 2013).
In 1985 Mayor Douglas Barker decided these poles would put Duncan on the map by beautifying the community and marking the close ties between Duncan and the Cowichan people. They would distinguish Duncan "as a community that recognizes and appreciates the unique art form of the totem pole and all it represents."
The project was seized upon with enthusiasm and Duncan rebranded itself "The City of Totems." It was not without reason: It now boasts the largest outdoor totem pole collection in Canada, (second in the world). There are now over 40 totem poles in the city's collection, not counting those others that have been commissioned by the Cowichan Tribes, private individuals, or businesses.
As Mayor Barker’s ambitions came to fruition, he remarked: "I have planted a seed. Obviously it was a very fertile seed, because it has grown into a forest of totem poles."
