If you ever find yourself at the National Museum of the American Indian in New York City, don’t miss the exhibition titled Infinity of Nations. Among its many layers of meaning, one stood out to us: the enduring legacy of Native art and material culture. These traditions, passed down through generations, continue to preserve history, imagination, and identity. With this reflection in mind, we began our journey in Ketchikan – a must-visit gem in Southeast Alaska known for its large collection of standing totem poles.
Nestled within the Tongass National Forest, Ketchikan is surrounded by glacier-carved wilderness, snowcapped peaks, cascading waterfalls, and salmon-rich streams. Its downtown is a designated National Historic District, and the moment you arrive, you’re greeted by the striking Kootéeyaa (totem pole) of Chief Johnson. Originally commissioned by Chief George Johnson of the Tlingit Raven moiety in the early 1900s to honor his mother, the pole has since been recreated and restored by Tlingit carvers from later generations.
The Tlingit social structure includes two moieties – Raven and Eagle – each with multiple clans and houses. Clan membership is matrilineal, passed from mothers to their children.
Totem poles are carved to honor ancestors, commemorate significant events, and to proclaim the lineage of a clan, and not as religious objects. At the pole’s top we see the fabled Kadjuk, the Chief’s house crest, and at the base – a Fog Woman, creator of all salmon.
Nearby you will find Creek Street: for 7 thousand years salmon was coming up this creek, with eagles flying over just like you see it today.
Only 2.5 miles south of town, Saxman Native Village offers an up-close look at a remarkable collection of totem poles. Established in 1938 by the Civilian Conservation Corps (CCC), Saxman Totem Park was shaped by the skilled hands of Tlingit carvers.
The Proud Raven (Lincoln) Pole commemorates the Gaanax.adi Raven clan’s first sighting of a white man, whose likeness reminded them of Abraham Lincoln.
Grizzly Bear Pole tells the legend of Kats, a hunter who lived with a bear wife and had bear children. The opening at the base symbolizes both a house entrance and a bear’s den – bridging the human and animal worlds. The pole was about one hundred years old when brought to Saxman in 1939 to become part of the totem park.
William Seward Pole reflects the Tlingit people’s disappointment after Seward, the US Secretary of State at the time, failed to reciprocate gifts following a potlatch ceremony in 1869.
The poles of the totem park, like the Eagle Beaver and Owl poles, and other poles and posts in Ketchikan, showcase the deep connection between Native art and the natural world.
Each animal carries symbolic meaning – Eagle for prestige and peacekeeping, Beaver for industriousness, Whale for longevity, Thunderbird for power, and Sun for energy. Some of the totem poles trace a mythological story or lineage; other – reflect a descent of supernatural beings.
Totem poles are traditionally carved from Western red cedar and painted with natural pigments – red, black, and turquoise – mixed with a binder made from crushed salmon eggs and water. The process requires not only artistic skill but also spiritual responsibility.
As you admire the totem poles against the stunning backdrop of pristine nature, you are likely to see a bold eagle soaring above.
Traditional skills of woodcarving are passed down from generation to generation and further honed by modern artists. Renowned artist David Boxley and his son exemplify this tradition. They carved a 22-foot Tsimshian totem pole for the Smithsonian’s National Museum of the American Indian in Washington, D.C., bringing myth to life through wood.
Our Ketchikan journey sparked a deeper interest in the art and culture of Northwest Coast Native Peoples. Both the National Museum of the American Indian and the American Museum of Natural History (AMNH) in New York City offer rich exhibits that celebrate Indigenous heritage. While their online collections are impressive, nothing compares to seeing these exhibits in person.
The AMNH has an amazing collection of totem poles, especially those created by the Tlingit, Haida, and Tsimshian peoples – visual chronicles of ancestral memory and cultural identity. Among them are heraldic, memorial, and house front poles, like the Haida frontal pole that once stood at the entrance to a house, interior pole, and memorial pole.
Exhibits of ceremonial dress include garments like tunics and robes adorned with traditional Chilkat weaving, worn during rites of passage and celebrations.
Tlingit Ceremonial Drum on display at AMNH was crafted by steaming and bending wood into a circle, covering it with animal skin, and painting with clan symbols.
In the Northwest Coast Hall of the National Museum of the American Indian, you can see wonderful examples of ceremonial accessories, such as a Haida feast dish carved from bentwood. The designs on its sides represent family crests, and the dish was used at initiations, marriages, and other events that included dancing, oratory, and feasting.
Sustainability is becoming a key principle in tourism, and Haida Gwaii – an archipelago off British Columbia’s northern coast – is showcasing its take on it. In 2024, landmark agreements between the Haida Nation – one of more than 200 distinct First Nations in British Columbia – and the Canadian government marked a shift toward Haida-led governance rooted in ancestral laws and stewardship. Gwaii Haanas park now requires advance reservations, controlled visitor numbers, and orientation sessions to protect its sacred lands and waters.
Exploring the art and traditions of the Tlingit and other Northwest Coast Nations was a deeply enriching experience. As we said goodbye, we offered our thanks—Gunalchéesh! Next up in our Alaska journey: the awe-inspiring glaciers. Stay tuned for Part Two!