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Hagwilnekhlh Ron A. Mitchell, Chief of Cinegh Lhay Yikh (House of Many Eyes) in Likhsilyu (Frog Clan), addresses Witsuwit’en delegates during a ceremonial gathering in front of the K’ëgit totem pole at the Quai Branly Museum in Paris in October 2024. Photo: Mélanie H. Morin
By Hagwilnekhlh Ron Mitchell, Dzïggot Ron Austin, ’Ilhdesinon Birdy Markert, We’es Tes Sandra Martin Harris, Jean Matheson, Diana Wilson, Toni Michell, Drew Harris, Helen Harris, Tyler McCreary, Joanne Connauton, Mélanie H. Morin
In October 2024, a delegation of Witsuwit’en hereditary chiefs, elders, artists, and youth embarked on an emotional and historic journey to Paris, France. Their goal was to reconnect with a significant piece of their cultural heritage—the K’ëgit totem pole belonging to C’idimsggin’ïs, housed at the Quai Branly Museum.
This journey, deeply rooted in cultural revitalization and healing, was an opportunity to see and honour the totem pole that was taken from Witsuwit’en lands in 1938. For many of the delegation members, this trip was more than just a visit; it was a powerful act of reclamation and a step towards strengthening their connection to their ancestors and cultural identity.
In 1938, surrealist artist Kurt Seligmann travelled to British Columbia, seeking to purchase a Northwest Coast Indigenous totem pole. After corresponding with anthropologist Marius Barbeau, he learned of the K’ëgit pole, one of the oldest and most intricately carved poles, which stood in the Witsuwit’en village of Tsë Cakh (Hagwilget). Despite the significance of the pole to Witsuwit’en cultural and spiritual identity, the local Indian Agent pressured Likhsilyu House Chief Hagwilnekhlh Arthur Michell and his relatives into selling it for a mere $100.
The pole was taken down, broken into pieces, and shipped by train and boat to Paris. After being reassembled, it was first displayed outside the Musée de l’Homme (Museum of Man). In 2001, it was further restored and transferred to the Quai Branly Museum, where it now resides inside near the visitor information desk.
For Hagwilnekhlh Ron Mitchell, the current House Chief of C’inegh Lhay Yikh, the trip was bittersweet. “It’s quite emotional when I think about our people. I will be happy to see the totem pole and a part of our house and chief’s history, but sad at the same time. I was disheartened when I heard that they took it apart to move it. They should never have done that without understanding what it means to our people.”
The delegation, including Witsuwit’en chiefs, elders, artists, and youth, as well as researchers and educators, reconnects with the K’ëgit totem pole 86 years after its removal. Back row: Dzïggot Ron Austin & Tyler McCreary. Middle row: Brad Markert, Hagwilnekhlh Ron Mitchell, ’Ilhdesinon Birdy Markert, We’es Tes Sandra Martin Harris, Jean Matheson, Joanne Connauton, & Diana Wilson. Front row: Mélanie H. Morin, Drew Harris, Toni Michell, and Helen Harris. Photo: Mélanie H. Morin
For many of the youth on the trip, this experience was transformative. It allowed them to see firsthand the impact of colonization on their heritage while also inspiring them to deepen their connection to their language and traditions.
Diana Wilson, one of the youth delegates, reflected on the sense of unity created during the trip: “I have been working on learning the Witsuwit’en language and culture, and never dreamed I’d be invited to go on a trip like this with my people. We all became so much like a family crew.”
For Drew Harris, the journey sparked a newfound commitment to her cultural identity. “I wasn’t very involved in learning about my Witsuwit’en lineage, and this experience has motivated me to do so,” she shared.
In addition to visiting the Quai Branly Museum, the group also took the opportunity to visit the Eiffel Tower and Juno Beach. These are sites deeply connected to Witsuwit’en war veterans, who participated in the liberation of France only to find themselves sleeping in the park beneath the Eiffel Tower after being denied access to accommodations in Paris on the basis of their race. Jean Matheson expressed gratitude for these experiences, stating, “It was great to have the additional opportunity to visit the Eiffel Tower and Juno Beach, as it connects to our Witsuwit’en history and war veterans.”
The Witsuwit’en delegation members prepare for a ceremony to honour Witsuwit’en veterans at Juno Beach in Normandy. Photo: Toni Michell
Master Carver Dzïggot Ron Austin, who has long dreamed of seeing the K’ëgit pole, was deeply moved by the reunion. “It’s an amazing opportunity to see the pole that may have belonged to my grandmother’s older brother, C’idimsggin’ïs. It means a lot as an artist to see what my ancestors created before me in person.”
For Toni Michell, the experience was overwhelmingly emotional. “It was such an emotional experience being reunited with K’ëgit, and we need to return K’ëgit back to our homelands. K’ëgit has been away far too long.”
Even after the delegation left, the connection to the totem pole remained strong. Helen Harris reflected on her farewell to K’ëgit: “Since saying nenyust’ën’ (see you later), I’ve been sending K’ëgit love from across the ocean.”
Ts’akë ze’ ’Ilhdesinon Birdy Markert also experienced a shift in perspective during the trip. “When we first began this voyage, I was set on keeping the pole where it was and to begin a cross-cultural exchange, but when I came face to face with K’ëgit, I knew I wanted its return.”
Hagwilnekhlh Ron A. Mitchell and Dzïggot Ron Austin stand solemnly during K’ëgit totem pole ceremony. Photo: Mélanie H. Morin
The delegation’s visit to the Quai Branly Museum was not just about seeing the totem pole; it was about reclaiming Witsuwit’en history and restoring cultural connections that had been severed by colonial forces. Ts’akë ze’ We’es Tes Sandra Martin Harris emphasized the significance of totem poles in Witsuwit’en identity: “Our stories shared on ts’an (totem poles) are such an integral part of our crests, names, identity, and connection to the yintah (territories) in our Clans, House Groups, and villages. We did not get to witness its life force while it stood firmly on the land for all to witness.”
The trip was made possible through collaboration between the Likhsilyu Clan, Kyah Wiget Education Society, Florida State University, York University, Bulkley Valley Museum, and School District 54 (Bulkley Valley). Funding was generously provided by the Wetzin’kwa Community Forest Corporation, British Columbia Network Environment for Indigenous Health Research, and Bulkley Valley Community Foundation.
The delegation’s visit was a powerful reminder of the resilience of Witsuwit’en culture and the importance of ongoing efforts to revitalize traditions, language, and identity. The trip not only strengthened intergenerational connections but also sparked important conversations about cultural restitution and the future of the K’ëgit pole.
While the pole remains in Paris for now, the bonds rekindled between the delegation and their heritage signal a future where Witsuwit’en culture continues to thrive, especially songs, stories, and language. As the youth who travelled to Paris returned home, they bring with them a renewed sense of purpose and pride in their identity—and a deepened commitment to ensuring that the stories of their ancestors, carved into totem poles like K’ëgit, are never forgotten.
Delegation Members
An excerpt from the spring issue of British Columbia History
Opening ceremonies at Historic Hat Creek Ranch. Photo: Mary Putnam
It’s been one year since the Bonaparte First Nation’s St’uxwtews Pesuten Heritage Society started managing Historic Hat Creek Ranch site. Established in 1860 during the gold rush, the ranch’s roadhouse was an important stop on the Cariboo Wagon Road. It also employed local First Nations. Located 11 kilometres north of Cache Creek, the site is now weaving settler and Indigenous stories together like a braided rope.
General manager Brandy Cooper-Chardon says it has been a rewarding transition year. “We approach this blending with respect and balance, emphasizing that these stories are intertwined yet distinct. Our guided tours and interpretive signage aim to present both perspectives — acknowledging the rich cultural heritage of the St’uxwtews people alongside the impact of settler history. Historic Hat Creek Ranch is a perfect place to showcase where the past meets the present.”
The ranch will open for the new season on May 1, employing 30 to 35 people from Indigenous and non-Indigenous backgrounds. “This staffing mix fosters cultural exchange and community-building. The economic impact has been positive, with increased tourism benefiting local businesses in Cache Creek and surrounding areas. Moreover, our employment opportunities support both youth and cultural ambassadors, promoting skills development and heritage preservation.”
Visit Historic Hat Creek’s website at hatcreek.ca.
Hazelnuts have a long history of cultivation by Indigenous peoples. Photo: Mark Forsythe
Indigenous peoples have tended forests and shrubs for food like crabapples, bitterroot, and cranberries for millennia. A new study published in the Proceedings of the National Academy of Sciences suggests that hazelnuts were transplanted and grown at least 7,000 years ago by the Gitxsan, Tsimshian, and Nisga’a peoples in the Skeena River region. This is roughly the same period that wheat and barley were being grown in the Nile River Valley, and corn was planted in Mexico.
Chelsey Geralda Armstrong, an ethno-ecologist and archaeologist from Simon Fraser University’s Department of Indigenous Studies, told CBC News that their research “cuts through assumptions of B.C. and the Northwest Coast being wild and completely untouched.” This also underscores oral history about Indigenous people cultivating hazelnuts in communities at the confluence of major rivers. DNA testing revealed that shared genetic clusters of hazelnuts are “consistent with the movement of humans across the landscape.” Hazelnuts were likely traded, and the word for hazelnut is similar in different Indigenous languages.
The authors conclude: “This study highlights the often-overlooked agency of Indigenous Peoples in shaping species range and distributions in North America.”
Lytton Chinese Museum’s new interior. Photo: Courtesy Lytton Chinese History Museum
Almost four years after the Lytton Chinese History Museum burned to the ground, a new museum will open on May 3. An extensive collection of artifacts (once described as being second only to the provincial collection) was lost, but some remains were sifted out of the ashes, including broken pots covered in melted glass. They will be on display as part of the museum’s own story. Owner Lorna Fandrich started to rebuild the collection shortly after the 2021 fire that consumed most of the village and took two lives.
“I am most excited about the new items in the Chinese laundry display. They were donated by a family that collected them from an old laundry in Zeballos. So many individuals have come forward with artifacts and I am truly grateful. Although many of the items are not from the Lytton area, they are from the same era and tell the Lytton Chinese story.”
Lorna checked reconstruction progress every day for five months. “We removed the two small display rooms and created a better traffic flow through one large room. It has been amazing to see that it is a huge step-up from what we had before.”
The Village of Lytton also lost its community museum; plans for a new one are included in a “community hub” being built, thanks to a $25 million federal grant. Donations of Lytton-related artifacts, documents, and money are most welcome. Contact the museum at lyttonchinesehistorymuseum.com.
A new park to honour Chief Cexpe’nthlEm, a revered leader and peacemaker, is expected to open this spring. It will include a lookout to the confluence of the Fraser and Thompson Rivers, interpretive signage to share the Cexpe’nthlEm story, and landscaping for a new community gathering space.
New signage at Yale highlights the Fraser Canyon’s history, recreation, and culture. Photo: Mark Forsythe
Come back! That’s the hope of communities along the wondrous Fraser Canyon route, once the main corridor into the Interior. After the Coquihalla Highway opened in 1986, local Canyon businesses and communities suffered severely; in recent years wildfires and floods have also been devastating.
In 2019 Fraser-Nicola MLA Jackie Tegart began to collaborate with local governments, Indigenous communities, and businesses to develop a new tourism master plan to revitalize the Canyon route. Provincial funding has produced two impressive highway sign installations at opposite ends of the Canyon, in Yale and in Lytton.
The signs include Nlaka’pamuxcin, Halq’eméylem, and English languages to highlight viewpoints, historical sites, recreational opportunities, and communities. Meanwhile, reconstruction of the Village of Lytton, along with restoration projects at Alexandra Bridge (spearheaded by the Spuzzum First Nation and New Pathways to Gold Society) and at Alexandra Lodge (by owners Shirley and Ken MacKinnon), bode well for the future. Why not explore the Canyon Route and its 10,000-year history this summer?
Climate Disaster Project website. Image: climatedisasterproject.com
These are truly historic times. Climate change is intensifying with new extremes each year; the task of comprehending heat waves, wildfires, and flooding can be mind-numbing. The Climate Disaster Project, based at the University of Victoria, aims to capture the individual human stories that make the consequences of climate change tangible and relatable.
The project is building an online archive of stories based on interviews with people who have been affected around the world. Stories range from the trauma of losing a home during BC wildfires to the loss of lives and livelihood after typhoons slammed into the Philippines.
The Climate Disaster Project is led by faculty and students, with contributions from climate scientists, journalists, psychologists, and climate disaster survivors. The project’s website allows a spark of hope: “We can survive this new age of disaster if we build empathy and solidarity around the experience of climate change. Because story creates community, and community creates hope.”
Read or share your own stories by visiting the project’s website: climatedisasterproject.com/share-your-story
Mark Forsythe travels through BC and back in time, exploring the unique work of British Columbia Historical Federation members.
The spring edition of British Columbia History magazine features a theme of repatriation and rematriation, and pictures the Maiyoo Keyoh headdress on the front cover along with Jim Munroe, Petra A'huille, Charlotte Munroe, and Seraphine Munroe. Stories include:
Plus we have regular contributions from Front Words columnist Mark Forsythe, BCHF scholarship winner Lydia Kinasewich, and books editor Dalys Barney. Rick James also shares his research on historic seedlings that now flourish in Victoria.
From the Chinatown Storytelling Centre:
"Join us for the launch party of our upcoming special exhibition, Vitality: Iconic Images, Hidden Stories, presented by Nicola Wealth, on Friday, April 11 from 5:30 to 7:30 pm.
Enjoy an inspiring evening of storytelling with the curators about how the exhibition came to life and remarks from special guest speakers. Guests can enjoy 10% off all Vitality merchandise and exclusive offers at select restaurants and bars—perfect for continuing the evening in Chinatown!
Admission is $10, with all proceeds supporting the Vancouver Chinatown Foundation’s mission to revitalize Chinatown."
Learn more and buy your tickets here.
Join us for an evening with our knowledgeable and illustrious Museum Interpreter and Tour Guide, Elwin Xie, as he shares his lived experience growing up in Vancouver’s Chinatown and his familial ties with the feature exhibition "The Paper Trail to the 1923 Chinese Exclusion Act."
Drawing on his conversations with visitors to the Chinese Canadian Museum since opening on July 1, 2023, Elwin will discuss how his encounters have helped clarify some family questions and illuminate colourful stories within the pioneer overseas Chinese community (Lo Wah Kiu 佬華僑) in Saltwater City 鹹水埠 (Vancouver) that came searching for their mythological Gold Mountain (Gum San 金山).
Elwin Xie is one of the inaugural museum assistants at the Chinese Canadian Museum, leading acclaimed tours and providing interpretation of exhibitions for visitors. Elwin was born in Vancouver Chinatown and raised in the family business, Union Laundry (274 Union Street), during the 1960s. Like most Chinatown children, Elwin attended the inner-city schools of Strathcona Elementary and Britannia Secondary. Alongside his siblings, he worked in the family laundry after school and on weekends.
Elwin’s family story is a quintessential first-wave immigrant Chinese Canadian one. His deep family roots run parallel to the history of the Chinese in Canada: railroad construction, head tax, 1923 Exclusion Act, “Paper Sons”, even with an indentured servant girl (mui tsai 妹仔) within the narrative. The multi-generational family did sustenance labour to survive in Canada, including work in Hastings Sawmill, laundry, diners, restaurants, and waste disposal. His fluency in Yin-Ping Cantonese, a dialect of the Gold Mountain (Gum San 金山) trailblazers, remains a work in progress.
Watch the full video here.
Victoria Hill has been hired as the new Executive Director at Revelstoke Railway Museum.
Born and raised in Rosslyn Village in the District of Thunder Bay, surrounded by the history of the fur trade and the development of the railway and great lakes shipping, Victoria was exposed to significant aspects of Canadian history growing up. She started her educational journey at the University of Lethbridge completing a Bachelors of Arts degree majoring in History. She also has an M.A. in Heritage Contemporary Practice from the University of Kingston London, and an M.A. in The Country House: Art, History and Literature from the University of Leicester.
Victoria has worked at the Founder's Museum and Pioneer Village, and worked with Historic Royal Palaces and Royal Museums Greenwich while completing her M.A. Victoria has also worked at Fort William Historical Park in Thunder Bay where she was the Lead Interpretive Support Worker where she delivered educational programming and interpreted the fur trade. She took a year out of this position to work for Walt Disney World as a cultural representative in the Epcot Canada Pavilion.
Prior to completing her second M.A., Victoria completed the Camino de Santiago pilgrimage route.
Most recently Victoria worked for the Oliver Paipoonge Heritage Park as the Assistant Curator managing the front of house operations and curatorial needs of the museum. Victoria joined the Revelstoke Railway Museum at the end of February 2025.
The School Room: Reshaping Collections Artist Series - Episode 3
A second-generation settler of Chinese heritage, Janet Wang is a Vancouver-based visual artist and educator working within a traditional painting practice, integrated with sculptural installation practices and digital media. Her creations explore the construction of identity through the appropriation and disruption of social patterns and familiar gestures. Wang pays homage to the canons and traditions of history, both the artistic and the quotidian, in order to use the familiar as a meeting point with the viewer. She has exhibited her work throughout Canada and internationally.
On this episode, learn about Janet’s "Here, There," a new installation on display at the Chinese Canadian Museum in the "Reshaping Collections: Where History Meets Art" exhibition.
Watch here.
A wheelchair-size elevator, servicing the building's Boyle Avenue parking lot and all the way up to the museum's second floor, has been operational for about a month. It offers a north-facing view of the neighbourhood and mountains, and can accommodate two people standing or one person with a larger mobility device.
The elevator is a major step forward — or lift up, rather — for the 1926-constructed heritage building, and something museum curator Cathy English has been talking about installing for as long as 15 years.
Read the full article here.
Dr. Stephen Davies of Vancouver Island University describes and illustrates the extraordinary Canadian Letters and Images Project – a heartrending collection of letters home from WWI soldiers describing their hopes, fears, injuries and their longing to be with their families. Anyone who has ever seen or read a war story needs this to complement their understanding of life as soldiers lived it.
A Community Heritage Register is a heritage planning tool to potentially save historic buildings, parks, and totem poles from development that could alter or delete the past of a town or city. In Smithers, two buildings currently have Heritage designation: The Central Park Building, which is home to the Smithers Art Gallery, the Bulkley Valley Museum, and numerous artist studios. It was built in 1925 and received heritage designation in 1981. The other is Smithers Canadian National Railway Station at the end of Main Street, which was built in 1919.
Kira Westby, the Bulkley Valley Museum Director has been working for nearly seven years on a project to identify other locations in Smithers which might benefit from being included on a Community Heritage Register. A Community Heritage Register is enacted by local government, unlike Heritage Status, which is federally bestowed.
Smithers community members can nominate properties now using this online form.
British Columbia Historical FederationPO Box 448, Fort Langley, BC, Canada, V1M 2R7Information: info@bchistory.ca
The Secretariat of the BCHF is located on the unceded territories of the Coast Salish speaking Peoples.
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