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Totem Poles
This book guides readers to the many places in British Columbia, Washington and Alaska where totem poles can be found and helps viewers understand the ""language"" of the poles. Learn about their origin and history, the symbols and ceremonies linked to them, types of figures and how to identify them, and where to see authentic poles and pole collections. Pat Kramer spent many years researching the material in this book and worked closely with First Nations to create a fresh and revealing look at these incredible artifacts. Filled with fascinating facts, legends and photographs, Totem Poles is an excellent guide, reference and souvenir.
112 pages, Paperback
First published January 1, 1996
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Displaying 1 - 4 of 4 reviews
March 7, 2026
Most people have seen a totem pole, or perhaps a vacation photograph or postcard of one. Author Pat Kramer is persuaded that there is a great deal more to be seen than can be seen at a glance when looking at totem poles. She was born in Alberta in 1947 and moved to Vancouver in 1971. Her relationship with the Northwest Coast First Nations people has led to her work both for and with them over many years. Much of that learning is condensed in this book.
To those not schooled by elders, it is quite difficult to sort the meaning of figures in Northwest Indian art. An animal may serve as a sort of heraldic crest. (Compare the golden crowned lion statant quardant of the monarch of England, or the national arms of Australia which depict a kangaroo dexter and an emu sinister.) Heraldic crests on totems identify the phratries, moieties, bands, and tribes which have the historic right to display them. Another use of a creature may provide a connection with an ancient story (e.g. the Bear Mother's story, or the Beavers' story(ies). Some link the art to an iconic figure, e.g. Raven, Fox, or Killer Whale. A few honour the person or group who commissioned the artwork. Some figures connect a pole or other artwork to a particular ceremony, meeting, potlatch, or other event.
When one looks at a totem pole, and focuses on one of the figures or elements, it may convey several things at the same time. There may be figures within figures, e.g. bear twins cavorting in their mother's ears. The mountain goat can be identified by its cloven feet. The beaver by the flat, cross-hatched tail. The raven by the slight hook at the end of his beak. But these same elements may disclose the "school" of the Native group which created it. Kwakiutl poles display bright colours, large heads, and added-on bits. Tsimshian poles are largely unpainted and are rarely topped with Thunderbird. Haida poles reflected their many maritime pursuits. Especially interesting is how the figures look like they are watching the viewer below. Bella Coola (Nuxálk) poles differ from those of most other bands because of the remoteness of their historic territory. They include elements not part of the stylebook of other totem-making groups on the Salish Coast.
The book features photographs taken by the author in two countries, two states, and two provinces. Her editing of traditional stories (which can easily take several hours to sing/chant/tell) is especially helpful and brings bright light to the book. One major criticism of this book is its layout. Much finer work is done by the young people who lay out high school yearbooks. One cannot know who piled this stuff together, but the result is a shame because it obscures, scrambles, and obfuscates the otherwise fine and highly edifying text.
I am slowly building a collection of books on the art of the First Peoples of the Pacific Northwest. This book earns its place on that shelf.
To those not schooled by elders, it is quite difficult to sort the meaning of figures in Northwest Indian art. An animal may serve as a sort of heraldic crest. (Compare the golden crowned lion statant quardant of the monarch of England, or the national arms of Australia which depict a kangaroo dexter and an emu sinister.) Heraldic crests on totems identify the phratries, moieties, bands, and tribes which have the historic right to display them. Another use of a creature may provide a connection with an ancient story (e.g. the Bear Mother's story, or the Beavers' story(ies). Some link the art to an iconic figure, e.g. Raven, Fox, or Killer Whale. A few honour the person or group who commissioned the artwork. Some figures connect a pole or other artwork to a particular ceremony, meeting, potlatch, or other event.
When one looks at a totem pole, and focuses on one of the figures or elements, it may convey several things at the same time. There may be figures within figures, e.g. bear twins cavorting in their mother's ears. The mountain goat can be identified by its cloven feet. The beaver by the flat, cross-hatched tail. The raven by the slight hook at the end of his beak. But these same elements may disclose the "school" of the Native group which created it. Kwakiutl poles display bright colours, large heads, and added-on bits. Tsimshian poles are largely unpainted and are rarely topped with Thunderbird. Haida poles reflected their many maritime pursuits. Especially interesting is how the figures look like they are watching the viewer below. Bella Coola (Nuxálk) poles differ from those of most other bands because of the remoteness of their historic territory. They include elements not part of the stylebook of other totem-making groups on the Salish Coast.
The book features photographs taken by the author in two countries, two states, and two provinces. Her editing of traditional stories (which can easily take several hours to sing/chant/tell) is especially helpful and brings bright light to the book. One major criticism of this book is its layout. Much finer work is done by the young people who lay out high school yearbooks. One cannot know who piled this stuff together, but the result is a shame because it obscures, scrambles, and obfuscates the otherwise fine and highly edifying text.
I am slowly building a collection of books on the art of the First Peoples of the Pacific Northwest. This book earns its place on that shelf.
September 6, 2019
Rating 4.5. A very good book about totem poles. History as well as many photos. Links to other information. Tells about the history of typoles, present and past places to see them, descriptions of types of poles and creatures carved on them. Very informative and extensive for such a small book. My greatest criticism is that the photos are mostly I identified as to place and tribal affiliations.
October 17, 2025
Even though it's a short book, it contains the necessary history, fun facts, native myths and how the cultural art of totem poles developed. In addition, it's full of stunning photos illustrating each point. Excellent primer on totem poles.
April 8, 2023
A decent read; but some of the information presented is now considered outdated.
Displaying 1 - 4 of 4 reviews