This project engages in recent discussions around Indigenous cultural revitalization, examining the afterlives and rebirths of the K'ëgit pole. Originally carved roughly 150 years ago, the pole belongs to the C'inegh Lhay Yikh, a matrilineal extended-family group within the Witsuwit'en clan of Likhskilyu. In 1938, the K'ëgit pole was relocated by a surrealist collector to Paris, where it has remained under the control of French museums. While much contemporary discussion focuses on the question of repatriation---the returning of objects---we want to shift discussion to rematriation: examining the way in which a historically displaced totem pole serves as a nexus for the cultural reproduction of knowledge across a number of registers.
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Ultimately, the project will explore the ongoing legacy of the K'ëgit pole, its influence on both historical and contemporary art, and its role in the revitalization of Witsuwit'en cultural practices. To achieve this aim, we have identified four objectives:
1. support the revitalization of Witsuwit'en artistic and carving practices linked to the K'ëgit pole art;
2. aid the intergenerational renewal of storytelling practices;
3. investigate the influence of the K'ëgit pole on the surrealist movement, and conversely how Witsuwit'en and Gitxsan artists have incorporated surrealism; and,
4. collaboratively develop C'idimsggin'ïs cis k'ikh in concert with the Witsuwit'en community to share the Witsuwit’en interpretation of this history and experience.
Key areas of focus
Our research employs a decolonizing methodology that prioritizes the concerns and well-being of Indigenous communities through frameworks such as OCAP. It focuses on holistic approaches to healing and cultural reclamation through artistic practices, particularly carving.
Part 1
The first part of the project examines the meaning of the rematriation of carving traditions. Approaching the revitalization of Witsuwit'en carving traditions as an act of rematriation, this part of the study involves supporting a new generation of carvers. Specifically, we will support a Witsuwit'en carver, Stephanie Anderson, to create a maquette of the K'ëgit pole for use in educational contexts, and mentor youth apprentices.
Part 2
The second part focuses on rejuvenating storytelling practices, focusing on the oral histories of K'ëgit associated with the pole. In this part, we will work with Elders and youth (19--40) to transfer storytelling skills. This will enable the future generation to revitalize and share the performance of the K'ëgit story and share it within their community. By mentoring Witsuwit’en youth as storytellers, the project will help to ensure the vitality of the living archive of Witsuwit'en culture.
Part 3
The third part explores the "surrealist afterlives" of the K'ëgit pole: how the K'ëgit pole influenced surrealist art, particularly through the work of Kurt Seligmann, and how surrealist influences have returned to the Witsuwit'en community. Archival research and artist interviews will trace the enduring legacy of the pole, exploring the intersection of Indigenous and surrealist artistic traditions.
Part 4
The fourth and final part of the project focuses on the development of an exhibition (C'idimsggin'ïs cis k'ikh) that will share the project findings. This component of the study will bring together the materials from the other parts of the study---including the maquette, new recordings of the K'ëgit story, archival resources, and artist interviews---to curate a Witsuwit'en interpretation of the history and contemporary significance of the K'ëgit pole.