In a powerful intersection of art, history and Indigenous rights, Ann Marie Murnaghan, a professor in the Children, Childhood and Youth Program at York University, is leading a groundbreaking research project focused on the K'ëgit totem pole.
This monumental piece of Indigenous art stands approximately 16 metres tall (about 52 feet) and is crafted from western red cedar. It represents the rich cultural heritage of the Witsuwit'en Nation in northern British Columbia and features intricate carvings that depict the story of K'ëgit, a supernatural figure of profound cultural and spiritual significance to the Witsuwit'en people.
Originally erected in the early to mid-1800s by former Laksilyu House Chief C'idimsggin'ïs, the K'ëgit pole served as a cultural landmark within the Witsuwit'en village of Hagwilget, along the Bulkley River. The carvings illustrate significant narratives and ancestral connections for the Witsuwit'en people, reflecting their history, beliefs and social structure. However, in 1938, under pressure from external forces and for just $100, the pole was sold to Kurt Seligmann, a Swiss-American artist known for his contributions to the surrealist movement. It was subsequently transported to Paris in 1939 at the natural history museum Musée de l'Homme, and in 2003 it was moved to the Quai Branly - Jacques Chirac Museum.
Murnaghan's research goes beyond merely tracing this artifact's history; it seeks to restore the cultural narratives that accompany it. Supported by a Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant, her project combines archival research with oral histories gathered from Witsuwit'en elders and community members. "Our research on the K'ëgit totem pole was directed by members of the Witsuwit'en community," she explains, underscoring the collaborative nature of her work.
Recently, Witsuwit'en leaders travelled to Paris to see the pole. This visit marked an important moment in their efforts toward cultural revitalization. It represented not only an opportunity to view an important artifact, but also a significant step toward healing and reclaiming their heritage. Murnaghan hopes her work will contribute significantly to these efforts: "We hope that we can contribute an approach to the global movement of rematriation - returning not only artifacts, but also cultural knowledge - to Indigenous cultures."
What distinguishes Murnaghan's work in the ongoing conversation about repatriation is her emphasis on reintegrating artifacts into their cultural contexts. This aligns with contemporary movements toward decolonization and reconciliation. It recognizes that such artifacts are vital components of living cultures, rather than mere historical objects.
At York University, Murnaghan's commitment extends beyond research; she actively engages students and community members in discussions about Indigenous rights and cultural preservation. Her involvement with initiatives such as the Children and Young People Interdisciplinary Research Network at the Robarts Centre for Canadian Studies - an organized research unit at York University dedicated to interdisciplinary research on Canadian identity and culture - highlights her focus on integrating academic inquiry with real-world impact.
Murnaghan continues her work and research on the K'ëgit totem pole with a lens on its broader significance. "It's about acknowledging past injustices and working toward a future where Indigenous voices are central in telling their own stories," she says.
For more on Murnaghan's research, visit her faculty profile page or the Old Poles New Stories page.
This story was originally featured in YFile, York University's community newsletter.
