Raised Poles in Haida (Essay Sample)

What is the artistic significance of recent poles raised by the First Nations of Haida-Gwai?
This topic explains the artistic significance of totem poles raised by Haida-Gwai’s first nations. Although, the poles have been into popular culture, those recent raised poles show how important is art in sustaining the culture of different communities.
Totem poles have played a huge effect to Haida’s population and have expressed their customs and believes. Nowadays, the recent poles have been more a sign of reconnecting the inhabitants to their heritage. A heritage which was adulterated by Europeans who come in Canada.
The poles are craved in red cedar. Those poles contain human and animal forms, and in most cases those figures have a story connected to it. Raising of the recent poles helps the current inhabitants reconnect with their history and thus, in respect to art, helps perpetuate the means through which the Haidan society expressed their beliefs and customs.
Also, carving and raising totem poles shows the highlight of art and his importance as a better way to connect people who share same culture and tradition, and as another way of representing the ideology and people’s affection related to heritage and tradition.
The poles are more than just art. They hold history, mark events and their stories. Some of most famous monumental craved poles are mentioned: Kwakwaka'wakw and Nuu-chah-nulth.
The craves of poles were valuated as highly artisans and talented persons whose work has lead to history events.[1]
Once the pole was complete it would be raised to an upright position in a special ceremony. A large hole excavated and many people in the village, (sometimes even one hundred people), would assist by carrying the pole to the hole. The base of the pole was placed in the hole and then some people pulled on ropes while others pushed with long poles, until the totem was fully upright. The meaning of the images and their stories were related to everyone attending the ceremony and the raising of the pole was followed with feasting and a potlatch.[2]
End notes
[1]. http://indigenousfoundations.arts.ubc.ca/home/culture/totem-poles.html
[2]. /exhibits/timemach/galler07/frames/totems.htm
The craving process was never done by only one person. For instance, it was known that a master craved started to crave one side of totem while his apprentice was following him or craved the totem by his master’s instruction. So, from aside benefits of this culture, this has helped to discover new talents in art and gather them all together in one place to leave marks in people’s memories.
In this way, new talents have probably ...