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SATURDAY EVENING POST
January 6th, 2024
This frontal pole belonged to an unnamed house at the base of Idjao Hill. Pre 1910. Photo From Simon Fraser University George and Joanne MacDonald Northwest Coast Image Archive.
Beacon Hill Park in Victoria, British Columbia, is historically and culturally significance, particularly noted for its association with totem poles.
These totem poles, typically crafted from western red cedar, are central to the cultural expressions of the Indigenous peoples of the Northwest Coast, Describing the carvings found along the Northwest Coast as 'totem' poles is somewhat inaccurate. Early explorers noted that these poles were neither representations of gods nor objects of worship. Instead, the totem poles are heraldic, serving as grand representations of the owner's family history and entitlements. They display crest figures, many of which symbolize supernatural beings or ancestors who had encounters with such beings, leading to inherited rights and privileges. These include claims to land, resources, house designs, imagery, names, and various ceremonial elements like songs, masks, dances, and regalia used in these rituals. The poles are a declaration and affirmation of an individual's lineage and significance.
James Hart, Totem, 1984, Plaster, 84 x 5 x 5 in.
This is a plaster carving of a totem pole with an intriguing history.
Originally a house frontal pole from Masset on the Queen Charlotte Islands, an area known for its rich totem pole heritage in the late 19th century, sometime before 1878, the house was abandoned, and the pole was acquired by Dr. Charles F. Newcombe in 1901 for the provincial museum and subsequently installed in Beacon Hill Park.
The original totem pole in Beacon Hill Park met a tragic end, destroyed in a windstorm and deemed beyond repair. Initially, carpenters from Victoria parks attempted to mend the broken pieces, but their efforts were not enough. In 1948, the remnants were handed over to the Museum of Anthropology at the University of British Columbia.
To preserve its culturaland historical value, the museum appointed James Hart, a renowned Haida artist from Massett, with Bill Reid serving as a consultant, to undertake its replication.
Hart, known for his deep commitment to Haida ancestral traditions and thoroughness in his work, from selecting the cedar log to the detailed carving, took charge of the project. He began by assembling the fragments, examining archival photographs, and creating a clay model, which served as a foundation for the full-sized replica.
Hart's reconstruction of the totem pole was a process that took ten months.
Emphasizing his holistic approach, Hart said, "I wanted to experience all aspects of carving the first pole for which I'd be responsible," which started with his personal selection of the cedar log.
When the wood began showing signs of rot, Hart meticulously adzed out these sections, carefully replacing them with new wood to ensure the integrity of the totem pole.
At the top, there's a perched Raven featuring a cone-shaped beak. Below it is the head and shoulders of Frog.
Next is Sea Bear, characterized by a dogfish-like face on its ears and a wide, orange-red tongue that stretches over its forepaws, raised to its chin.
Overlapping this is the Sea-Bear cub, positioned head-downward with its body covering the upper part of the Sea Bear, its hind limbs extending under and to the sides of the Sea Bear.
An inverted Human follows, with arms extending from its sides.
Below this is the Bear's head, from which Frog emerges. Finally, there's a Grizzly Bear holding a Sculpin between its forepaws and Frog.
This replica is a free-standing house frontal with a hollowed-out back, featuring bilaterally symmetrical bas-relief carvings painted in black and orange-red. The detailed carvings exhibit round black eyes, eyebrow bands, and red-orange mouths and nostrils.
New pole on the Museum of Anthropology grounds.
Photo credit: Don Hitchcock, 2012
The journey of this totem pole, from its home in Masset, to its relocation and then recreation tells a tale of a broader history of the Northwest Coast people and their cultural heritage and identity. This new pole was raised on the Museum of Anthropology grounds on October 2, 1982. The old fragments are still in storage.
Bronze castings of the smaller preparatory pole was subsequently produced in 1984, with Hart working and carving in plaster to recreate the earlier clay version.
Please messge or call us to inquire about this plaster carving.
James Hart
Photo credit: Paul Joseph
James Hart, born in the early 1950s in Masset, Haida Gwaii, British Columbia, is a distinguished Canadian and Haida artist, as well as a chief of the Haida Nation. His artistic lineage is notable, being the grandson of Charles Edenshaw, a master carver. Hart's upbringing, away from the Canadian Indian residential school system, and his early career, including apprenticeships with Robert Davidson and Bill Reid, have significantly shaped his artistic journey. He has lived a life deeply rooted in Haida traditions, holding the hereditary chief name '7idansuu' since 1999, a title previously held by Edenshaw.
James Hart's artistic oeuvre spans various mediums, including painted and printed graphic designs, sculpted wooden monuments, cast bronze sculptures, and precious metal jewellery, all adhering to the ancient traditional design style of his Haida ancestors. His art, imbued with Haida traditions and immense cultural responsibility, showcases his dedication to traditionalism. His understanding of Haida Gwaii's history, culture, people, plants, animals, land, and seas is vividly reflected in his creations, elevating his works to the status of historic Haida masterpieces. Hart has been instrumental in passing down cultural and technical knowledge to future generations through his large-scale works and commitment to employing Haida apprentices. His art, often carrying a powerful air of traditional spirituality, has been commissioned globally, reflecting his status as a contemporary Haida Master Carver.
Hart's contributions to art and culture have been widely recognized. He was awarded the Order of British Columbia in 2003 and appointed to the Order of Canada in 2023. Additionally, he received a Queen's Diamond Jubilee Medal in 2013 and holds honourary doctorates from Emily Carr University of Art and Design and Simon Fraser University. His work extends beyond mere artistic expression, addressing important issues like the legacy of Canada's residential school system, showcasing his commitment to using art for social awareness and cultural preservation. In 2021, Hart received the prestigious Audain Prize for Visual Art, cementing his status as one of British Columbia's greatest living artists. His diverse artistic skills span carving, jewelry, printmaking, and he is renowned for his totem poles and other significant works displayed in various prestigious locations worldwide.