Reflecting on the experience of an Witsuwit’en delegation reconnecting with the Këgit pole currently located in Paris, this paper stresses the need to disrupt normative museological discourses about Indigenous objects and restory Indigenous genealogical relations to artifacts to recognize them as kin. It focuses on an October 2024 trip, where a contingent of Witsuwit’en reunited with a totem pole, carved in the mid-nineteenth century and relocated to France in 1938, which currently resides at the Quai Branly Museum. While Quai Branly has been boldly proclaimed as France’s “post-colonial” museum, it continues to reproduce colonialism, both materially through its holdings of displaced Indigenous artifacts and epistemically in the ways that it orders knowledge of these artifacts and their preservation. This research seeks to disrupt the layers of colonial storying of Witsuwit’en culture and life maintained by the Western gaze of such institutions. But even more importantly it highlights the strength of Witsuwit’en survivance, focusing on Witsuwit’en frameworks for restoring and restorying relations with the pole. This research draws inspiration from work on Indigenous and decolonizing methodologies, and particularly seeks to follow a Witsuwit’en methodology that embraces concepts of holism where the K'ëgit totem pole is recognized as a source of familial lineages, artistic practice, community knowledge and stories, language revitalization, and reclamation. In contrast to museum preservation processes that focus on the pole as an object to be chemically maintained, Witsuwit’en approaches to pole restoration focus centrally on healing relationships, including the need for repair kinship relationships to an ancestral pole.