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Joystiq tipster, Tetujin, wanted us to showoff his coworker's innovative tattoo. No problem! An explanation from the creator/bearer: "i'd always wanted a tattoo, but could never decide what to get. a couple years ago, however, inspiration struck and i began working on an idea. maybe it was because i was living in vancouver at the time, i'm not sure. anyway, my recent (june 2005) 30th birthday fueled a furious design phase which has resulted in the following, now prominently displayed on my lower left leg (most of the leg, too)! as the native people in the pacific northwest (and other places) used totem poles to tell stories and keep family chronologies, my design was intended to tell a history of some of the important games that influenced me and my family as i grew up." [Thanks, Tetujin] All products recommended by Engadget are selected by our editorial team, independent of our parent company. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. All prices are correct at the time of publishing. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #b6a2540d-3a00-11ed-ac91-5a4973616742 VID: # IP: 36.72.82.25 Date and time: Wed, 21 Sep 2022 22:57:05... https://tr.pinterest.com/pin/661395895260379649/.

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Traditionally, the artists who carve poles receive considerable payment for their labour, especially if they were famous for their work. The people who felled the tree, transported it and helped to raise it also received payment. Once complete, the carved cedar log has to be taken to the site of its raising. A hundred or more people are needed to carry a large pole. The raising of a pole is to be accompanied by a potlatch, which includes feasting, gift giving, dancing, speeches, drumming and singing. The carver of the pole, wearing their tools around their waist, dance around the newly finished pole in celebration. The sculptured work of art then comes under critical judgement from onlookers, who appraise and discuss its size, design and the quality of work.  Audrey Lynn has been a journalist and writer since 1974. She edited a weekly home-and-garden tabloid for her hometown newspaper and has regularly contributed to weekly and daily newspapers, as well as "Law and Order" magazine. A Hambidge Fellow, Lynn studied English at Columbus State University.What You Need: 3 or more wooden spools Wood glue Markers Construction paper Child-safe scissors What You Do: Stack the spools, one on top of the other, and glue them together. Set it aside to dry. If you have spools of different sizes, place the largest spool on the bottom and the smallest on top. As the glue is drying, explain to your child that Native Americans used totem poles as a way to... https://www.pinterest.com/pin/308496643200352675/.

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and gift giving, was banned by law. While carving large poles, masks and other activities associated with potlatching declined during this difficult time, artists produced many smaller poles, keeping the artistic traditions alive. In 1951, the Indian Act was revised and the ban on potlatching was dropped, rendering the celebration and raising of totem poles legal once again. Totem poles were again carved and erected in the communities along the coast. Large poles and monumental sculptures carved from red and yellow cedar were also used as house corner posts, entrance poles, as mortuary poles, which held the remains of high ranking individuals, and as memorial poles erected in honour of a deceased leader. The large poles in this gallery represent the different artistic styles developed by the coastal peoples. Each First Nation developed a distinctive traditional artistic style. Look at the carving styles of the large poles and compare them with each other. Can you see the different figures and animals? Click on each pole for information and a larger image. The poles below are on loan to the SFU Museum from the Royal British Columbia Museum in Victoria. Can you guess what the figures on the totem poles represent? What do you think each totem pole symbolizes? Are there any differences or similarities between them? Do you think any of these totem poles were made post-European contact? Sim’oogit Ni’isjoohl (Chief Earl Stephens) stands next to a replica of the Ni'isjoohl memorial pole in the Nisga'a Village of Laxgalts’ap, B.C.Nisga’a... https://www.facebook.com/serpentinetattoostudio/posts/download-festival-totem-pole-from-rosiemalonetattoos-contact-her-directly-at-ros/135906091555368/.

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“We communicated that we expect the return of our memorial pole without conditions before we leave Scotland on Aug. 26,” said Dr. Parent after the meeting, expressing optimism about reaching an agreement with the museum this week. “At this point, we’re feeling that they are on the journey with us.” Museum director Christopher Breward also struck a positive tone on Monday. “It was a profoundly moving morning of listening, and observing the Nisga’a representatives reconnecting with the pole,” he told The Globe and Mail. Still, he added, “these processes do take time.” According to Dr. Parent, museum officials agreed on Monday to provide access to other Nisga’a cultural belongings housed at the museum – some of which are in storage; they acknowledged that oral tradition is equivalent to the written word in these repatriation discussions; and they agreed to make immediate changes to how the pole is housed. Its current plaque is short on information and context. And the pole is installed among artifacts from other First Nations. “From the North American arctic to the deserts of Australia, the peoples in this gallery lead contemporary lives, but their traditional values are based on a deep connection to the land,” the entrance plaque to the gallery reads, in part. Dr. Parent described the environment in the space as almost carnival-like: “It’s this juxtaposition of seeing our ancestors laying in state … and this hodgepodge and mishmash of Indigenous cultures and other kind of nostalgic relics from other places.” She said the... .

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over to Scotland by ship. It was purchased by what was then the Royal Scottish Museum. While a bill of sale has not been found, Dr. Parent says researchers have located a quote from Mr. Barbeau for $400 to $600, plus an additional $100 for transportation costs. Installed in 1930, the pole is described by Dr. Breward as a significant piece for the museum. The United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) calls for access and/or repatriation of ceremonial objects and human remains through fair, transparent and effective mechanisms developed in conjunction with Indigenous peoples concerned. “Every symbol on that pole represents something and a story to the family,” said Chief Stephens. In 2019, the Scottish museum introduced greater transparency to the repatriation process. The Nisga’a application is the first for cultural objects since that procedural change. There is room for the pole, Dr. Parent says, back home, in front of the Nisga’a Museum in Laxgaltsʼap, B.C. “It was built with the intention to house the return of priceless Nisga’a cultural belongings and artifacts.” The museum’s director, Theresa Schober, was part of the delegation. The Nisga’a will meet on Tuesday with Scottish government officials and then on Wednesday with the museum’s board chair before the delegation’s scheduled departure on Friday. For all the positive talk, the two parties have fundamentally different approaches. The Nisga’a say they expect their laws and procedures to be “centred and respected,” rather than following a procedure that is dictated by legislation. But... .

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(Image courtesy of Sealaska Heritage Institute) The first 10 poles are being funded by a $2.9 million grant from the Andrew W. Mellon Foundation. Those funds support the artists and cover the costs of the logs. All the carvers will be working with apprentices. KRBD spoke with seven of the artists working on the trail, from Sitka, Ketchikan, Prince of Wales Island and Metlakatla. Sitka Tommy Joseph was just finishing up carving a canoe when Worl reached out, asking if he’d be interested in carving a pole for the trail. “They wanted me to do a pole representing all of the Eagle clans, all the Eagle moiety,” Joseph said. Joseph got to work,  sketching out his vision for the pole. “I had given them, I think, overall, four different renditions, because I had it way too complicated at first and needed to loosen up a bit,” Joseph explained. “After the fourth rendition, they agreed on it, and so made them their model.” Tlingit carver Tommy Joseph sets a fist and feather he carved out of wood on top of a yellow cedar log. Joseph, who was born in Ketchikan, has carved nearly twenty totem poles in Sitka. (Photo by Erin McKinstry/KCAW) He’s been working with two apprentices on the project. He said it’s coming along on schedule. Joseph said he thinks SHI’s vision for the project is ambitious. He doesn’t remember anything like it being done before. “So that’s a lot of a lot of different styles, interpretations, and,... .

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makes it to Juneau. Polys created one of the bronze house posts standing in front of SHI’s building. Jackson has poles standing outside Juneau-Douglas High School: Yadaa.at Kalé. His work has been featured in exhibits and magazines in Alaska and nationwide. Took, one of Jackson and Polys’s apprentices, works on a pole that will be raised for Sealaska Heritage Institute’s Totem Pole Trail. (Photo by Eric Stone/KRBD) Polys’ pole, which focuses on the Shangukeidi clan, is topped by the figure of a Thunderbird. “Another story on this pole is the house lowered from the sun crest,” Polys said. “There were wars with Tsimshian people that Shangukeidi were decimated.” That tells the story of a mother and daughter who are the last of their clan. To save the clan, the mother marries the sun. There’s also a spirit bear on the pole, who Polys said “led Ḵaax̱’aatee, Shangukeidi shaman and leader down a glacier path during the Little Ice Age, which is like 1550 to 1900.” The lower figure on the pole takes inspiration from the history of a military leader named Fredrick Schwatka, who led explorations into the Yukon area. Polys said the man did not pay a debt he owed, so the clan took his name and military uniform. Polys says carving poles that record important stories and are also exemplars of Northwest Coast Native art isn’t a job to be taken lightly. “There’s a lot of back and forth between the artist, the carvers and the oral... .

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word that a lot of Westerners use is ‘primitive’ and we were not,” he said. “The Northwest Coast was a thriving, ancient civilization, here on the Northwest Coast.” David R. Boxley (right) and father David A. Boxley collaborated on the Tsimshian clan house front. (Photo by Brian Wallace/Sealaska Heritage Institute) The Metlakatla carver is creating a pole representing the Tsimshian people. He started carving at the age of six, guided by his father, David A. Boxley. Since then, he’s finished more than 25 poles. Together, the Boxleys carved the house front inside the Walter Soboleff building. Boxley’s pole for Juneau will feature the crests of the Eagle, Raven, Wolf and Killer Whale moieties. “And so they’re going to go in order of their origin in our history,” Boxley said. “At the top is the killer whale and grizzly bear for the Killer Whale clan, and then a raven and frog for the Raven clan. And a beaver and eagle for the Eagle clan, and the bottom of wolf and crane for the Wolf clan.” Klawock carver Jon Rowan is one of three carvers working on the trail from Prince of Wales Island. “It’s a pole for the Ishkahittaan people, they’re out of the Taku River, and it’s a raven, frog and sea lion that’s being represented on that (pole),” Rowan said. Veteran and Klawock elder Aaron Isaacs looks at David Rowan’s Veterans’ Pole at the Klawock carving shed. (Leila Kheiry/KRBD) Rowan credited his father and many Prince of... .

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grandfather proud to watch him and his brother carve. He said he’s looking forward to seeing the differences between all the poles when the project is complete. “It’s going to be really interesting to notice the differences between styles and colors,” he said. “And even though it’s Lingít, Haida and Tsimshian, I think there’s gonna be a nice little variety of totem poles to look at and to enjoy. So that’s kind of exciting.” Young said he has a December deadline to finish his carving. [Sign up for Alaska Public Media’s daily newsletter to get our top stories delivered to your inbox.] This story appears in the August 2019 issue of National Geographic magazine. The idea to shoot an ascent of the Totem Pole, a stone tower in Tasmania, came to adventure photographer Krystle Wright in a dream. Years later, as she dangled from a line she’d rigged across nearby rocks, with a drone lighting the scene from above, she finally got her shot. The Totem Pole is in Tasman National Park, Tasmania, Australia. NGM MAPS Please be respectful of copyright. Unauthorized use is prohibited. Three months out An unseen route: Jutting from the waters along the Tasman Peninsula, the Totem Pole is one of the world’s most dramatic column climbs. The sea stack is often photographed from the more accessible north side; Wright wanted to capture a southern ascent along a route called the Sorcerer. Climber Mayan Smith-​Gobat would have to descend... .