Construction and maintenance

Erection of a totem pole is almost never done using modern methods, even for poles installed in modern settings on the outside of public and private buildings. Instead the traditional ceremony and process of erection is still followed scrupulously by most artists, in that a great wooden scaffold is built and hundreds of strong men haul the pole upright into its footing while others steady the pole from side ropes and brace it with cross beams. Once the pole is erected a potlatch is typically held where the carver is formally paid and other traditional activities are conducted. The carver will usually, once the pole is freestanding, perform a celebratory and propitiary dance next to the pole while wielding the tools used to carve it. Also, the base of the pole is burnt before erection to provide a sort of rot resistance, and the fire is made with chips carved from the pole.

One of the most important features of totem poles, and one which they share in common with all other forms of woodworking on the coast, is also one of the most easily overlooked. This is the surface finish of exposed wood on the carving, which is the last thing worked during production and is one of the most demanding parts of creating a quality pole. The surface finish consists of thousands of fine adze cuts incised in parallel lines that cover all the unpainted surfaces of the pole and follow the contours of the sculpture. An experienced carver will judge the work of another mostly by the quality of their surface finish, by its regularity and smoothness, by the ways the carver worked with imperfections in the wood, and by how cleanly the adzing follows the contour of the forms. This surface finishing is universal along the entire coast no matter what style the pole is executed in, and is a quick way to gauge the authenticity of a particular example and the practical experience of the person who carved it.

Maintenance

Totem poles are typically not well maintained after their erection. Traditionally once the wood rots so badly that it begins to lean and pose a threat to passersby, the pole is either destroyed or pushed over and removed. Older poles typically fall over during the winter storms that batter the coast. A collapsed pole may be replaced by a new one carved more or less the same as the original, with the same subject matter, but this requires a new payment and potlatch and is thus not always done. The beliefs behind the lack of maintenance vary among individuals, but generally it is believed that the deterioration of the pole is representative of natural processes of decay and death that occur with all living things, and attempts to prevent this are seen as somehow denying or ignoring the nature of the world. That has not however prevented many people from occasionally renewing the paint on poles or performing further restorations, mostly because the expense of a new pole is beyond feasibility for the owner. Also, owners of poles who are not familiar with cultural traditions may see upkeep as a necessary investment for property, and ignore the philosophical implications. It is best to treat the question of totem pole maintenance on a case by case basis, especially asking the artist for their opinion on the matter during or just after the production process.