Jul 22, 2012 | Class Act, Honoring Others |
Vanessa begins weaving the eyebrows of her Chilkat leggings
Vanessa Morgan and I have been trying to coordinate a Summer for her return to complete her Chilkat leggings. Finally, our schedules coincided almost 7 years later!
When she needs a break from weaving Vanessa spins warp for the other project she wants to begin weaving during this apprenticeship: a child-size Chilkat robe
Vanessa is Ganada (Frog) Clan from Gitwinksihlkw (Canyon City)/Gingolx (Kincolith) on the Nass River in British Columbia, Canada. She is from the original tribe of the Nass, the Nishga’a (meaning “mighty people of the Nass”). Chilkat weaving originated on the Nass and was retained by the Tlingit in the Chilkat Valley. It is most fitting the two of us work together to help return the Chilkat weaving back to the Nishga’a of the Nass River.
Setting in the braids to begin weaving the bridge of the nose
Vanessa has a retail shop offering clothing and other items adorned with Northwest Coast Native designs. The first day she walked into my studio, she claimed she is going to convert her space into a weaving studio AND a weaver’s supply and equipment outlet. I haven’t met anyone else who is determined to create a physical and online store supplying weavers of the Northwest Coast with necessary equipment and supplies; we are excited about this! We are both working on creating an outlet, hers will be in the “South” (B.C. area down to Washington State) and mine will be in the “North” serving Southeast Alaska and Yukon. Stay tuned for the “openings” of both the North and South wings of the “Northwest Coast Indigenous Weaving Shop.”
The weaving room…Clarissa’s leggings are on her loom to the left; one is on a separate heading bar on the backside of the loom, the other is on the front as shown…Clarissa demonstrates on her leggings to avoid demonstrating on Vanessa’s which means there is no ripping back the demonstration….see? see?
Using the Chilkat weaving warp stick, fashioned after the late master weaver, Jennie Thlunaut, Vanessa measures the last few strands of warp
There is nothing like weaving a Chlkat robe. The ancestral ties are strong. The “veil between the worlds” is thin. For many of us indigenous weavers, the feeling is a spiritual communion with all the weavers of the past, present and even the future as all time seems to meld into one.
The process of hanging the warp on your loom is called “dressing the loom”
Some may wonder why I would start a beginner apprentice on a Chlkat robe? Why not? In my book, this is my thinking: An apprentice is a person who is dedicated to”remembering” that which is already in her; someone who already knows what she wants and is determined to do and be the things that is required of a true weaver; she is willing to carry on this tradition for the well-being of herself, family and community. So what if the beginning of the robe the weaving shows her incompetent, imperfect talent? We have to start somewhere. Vanessa will learn everything there is to learn about weaving a Chilkat robe. And best yet, weaving the width of the top border of the robe enables the beginner weaver to get in the groove and rhythm of the weft yarns flowing through the warp to achieve Jennie’s unique fingering technique – like Jennie said “…you get my fingering, you get 1/2 of your work licked!”
Vanessa spent the first day dressing her loom and weaving the first few rows of white – she spent the entire second day weaving her black border – the definition of a day is about 10-16 hours
Stay tuned for Vanessa’s progress on her leggings and her Chilkat robe.
Jul 21, 2012 | Class Act, Honoring Others, Tlingit Culture Accentuated |
Crystal prepares the wool for spinning
4 days before she arrived, Crystal asked if she could spend a couple of weeks with me learning how to spin Chilkat warp and begin weaving a child-size Chilkat robe – it was spur of the moment – holy moly! Okay, we’ll squeeze in a week before the arrival of Vanessa who is scheduled to arrive a week after Crystal.
The following are photos of Crystal’s process of preparing the cedar bark, the merino wool, spinning the two, acquiring her weaving loom and dressing her loom starting her borders.
Splitting cedar bark while tanning
Sunny work space
Proud of her very first ball of thigh-spun warp
Creating a skein of her warp on the umbrella swift, she counts a 35-yard ball ready to wash
Crystal is happy with her apron-size/child-size Chilkat robe loom, she knows she is blessed
With cotton twine, Crystal anchors down the heading cord
Using a “warp stick” fashioned after master weaver Jennie Thlunaut, Crystal continues to “dress” her loom
Weaving late into the night, Crystal has got the “weaver’s bug!” – weave till ya drop!
Crystal weaves the first anchoring row and first rows of white
The beauty of virgin warp on a virgin weaving loom!
Honing her skills in applying Jennie Thlunaut’s unique fingering technique, Crystal glides through the warp weaving the black border
Turning the corners using Jennie’s fingering technique allows the weaver to turn the corners gracefully
Chilkat weaving instructor Clarissa Rizal with two apprentices, Crystal Rogers from Juneau, Alaska and Vanessa Morgan from Kincolith, British Columba, Canada
Jul 1, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Ravens & Eagles, Tlingit Culture Accentuated |
Israel and Sue Shotridge's new gallery "Raven's Nest" on Vashon Island, Washington State
On my return to Colorado, I made it a point to take a jaunt over to Vashon Island and visit fellow artists Israel and Sue Shotridge who have been living in this small community for the past 15 years and are originally from Ketchikan, Alaska. I wanted to check out their gallery space and their workshop space because I have been invited by the Shotridges to conduct a class in button blanket making and possibly do a First Friday exhibit of my work in November this year.
Sue Shotridge stands behind a display case exhibiting her husband Israel's silver work in pendants, earrings and bracelets
After helping Sue load in some of her back room supplies and seeing this wonderful cozy gallery, and the way she has set it up, I could not help but want a gallery for my work too! hahaha! I never thought I’d ever hear myself say such a thing, let alone think it!
The Shotridges are arranging their schedule of workshops for this Summer into Fall. Check out their website for details on workshops and images of Israel’s work at: www.shotridgestudios.com
Or if you are in the Vashon Island neighborhood, stop by and check out their beautiful creations on the right side of the main drag in downtown Vashon!
Jun 25, 2012 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Teaching Lily all the do’s, don’ts and options in designing for a Chilkat robe
Many weavers of the Chilkat method of weaving are not designers of the imagery. They either copy a design that belongs to the clan or family, or they have an artist draft one up for them. Chilkat weaver, Lily Hope is learning how to design Chilkat; it is not as easy as it looks! A designer must understand how the weaving is done in order to design a Chilkat robe successfully. Lily has an advantage that she is both a weaver and knows how to draw!
The pattern transparency serves as the template
Lily is in the process of designing a child-size Chlkat robe with her clan image, the T’akDeinTaan. She is doing a take-off on a robe her mother designed for her Auntie Jean. She continues to reinforce her knowledge by true discipline, making the time to weave even though she runs a household and takes care of 2 children.
Clarissa and Lily calculate to which warp the next row is to be woven
Lily and Clarissa weave Chilkat together
Lily Hope rips back a few rows; no such thing as mistakes, only “learning opportunities”
Thank you to the New England Foundation for the Arts Native Arts Program for their monetary support for Clarissa’s grant to travel from Colorado to Alaska to help Lily get started in designing and beginning her own robe!
Jan 5, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
“Jennie Weaves An Apprentice” Chilkat robe was on my weaving loom for 5 years. I’ve never had a robe take so long in the weaving, however, I’ve never had the kind of journey I’ve experienced in the past 5 years either! The following is a pictoral journey of the life of this robe reflecting the journey of its maker.
Apprentice Bev Morris from Teslin, Yukon Territory and Clarissa begin weaving their Chilkat robes - Pagosa Springs, Colorado - September 2006
Directly after my apprenticeship in Chilkat weaving with 95-year-old Jennie Thlunaut from Klukwan, Alaska, I began designing a Chilkat robe in honor of the gift she had entrusted me with and the 6 weeks we had together in 1986. I had silk-screened a limited edition of the design, painted a “fake” robe for a collector, and the design was also the cover and name of my Chilkat Weaver’s handbook that I printed myself; yet it wasn’t until 20 years later after my apprenticeship with Jennie I had begun weaving the robe in September 2006 upon the arrival of an apprentice from Teslin, Yukon Territory, Bev Morris. I demonstrated Chilkat weaving techniques on my robe while Bev learned on hers.
Chilkat robe at the Auke Bay condo - September 2010
Chilkat robe in my new room at my mother and father's house - November 2010
Chilkat weaving demonstration during Gallery Walk at the Juneau Arts Center - musician/singer/songwriter Archie Cavanaugh and his grandson stopped by for a visit
Chilkat weaving demonstration during the "Time Warp" exhibit of Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. - March 2011
While visiting my daughter and granddaughter in Pagosa Springs, Colorado - April 2011
Many braids and weavers to keep track - common folk wonder about Chilkat weaver's sanity
Rented another apartment for the Summer 2011 - the turquoise couch, the black loveseat and the Chilkat rug (woven in Tibet) were all color-coordinated beautifully - June 2011
Patrice DeAsis and Lily Hope were two of my assistants who helped me complete this robe by its designated delivery date! - June 2011
Close-up of Teacher "Jennie Thlunaut" (in green mask) and "Clarissa" in blue mask
Demonstrating Chilkat weaving at the Teslin Cultural Center's boat building - July 2011
Inside the Teslin Cultural Center's boat building - Chilkat robe is off to the far right - July 2011
Weaving in a perfect room while overnighting at the Skagway Inn - granddaughter Bette Hope enjoys the view! - July 2011
While on return ferry from Skagway to Juneau, Lily Hope and Clarissa weave in the cafeteria - July 31, 2011
In the stateroom on the MV Columbia sail from Juneau to Bellingham - August 2,2011
With fellow Chilkat weaver Nishga'a elder, Louise Dangeli, in th stateroom on board the MV Columbia sail from Juneau to Bellingham - August 4, 2011
Nite weave In Colorado studio - August 11, 2011
Almost complete Chilkat robe on display in Clarissa's booth at the 2011 Santa Fe Indian Market - far right is Ravenstail woven ensemble of "Copper Child" woven by Lily Hope and Clarissa - August 20, 2011
Fellow Chilkat weaver Suzi Williams and Clarissa needle up the ends in the back of Chilkat robe - Sunday morning, August 21, 2011
Although neither Crystal Worl (wearing cedar bark hat) and Beckie Etukeok have never woven Chilkat, they help put up the ends in the back of this Chilkat robe - Afternoon of Sunday, August 21, 2011
"Jennie Weaves An Apprentice" Chilkat robe designed and woven by Clarissa Rizal with help from several of her weaving students - August 22, 2011
Jan 1, 2012 | Adventures of Rear-Mirror Rissy, Class Act |
Half of the dorm room; notice the hummel and ukelele on the wall - playing music helps survive the academia and four walls - the other half of the room is occupied by my Italian roommate
24 years ago, after my last child was born, I took a few classes at the Institute of American Indian Arts in Santa Fe – it was my way of “getting out of the house” without taking any responsibilities with me except those that I carried in regards to schooling. Then I was not interested in achieving a degree so I took fun classes. However, I’ve raised my family on my art income without a back-up “real” job and I thought it’s time to get my Bachelor of Fine Arts; in this way I have the balance of the Indigenous and Western credentials. Why is it important to have that balance? To gain more understanding of the complexities of living in a cross-cultural world.
The Center for Lifelong Learning at the Institute of American Indian Arts
At first, I scoffed at the concept of having to take the requirement classes in Drawing I & II, Geometry, Intro to Indigenous Studies, Contemporary Art, Native Art History I & II, English Composition I & II, etc. — yadda, yaddie, yaddue! Like golly, Holy Moses, do I have to take stuff I pretty much already know!? Friends of mine thought that with my status as a full-time artists for three decades, I ought to be a teacher at IAIA, not a student! Often I had wondered what the heck am I doing wasting my time getting stupid credentials. Yet, I’ve discovered how much I DON’T KNOW and how much fun it is to go through the assignments and learn additional stuff! We humans are so doggone arrogant and funny!
Easy walks on IAIA campus
At IAIA, we either gain weight because of the astounding food at the cafeteria, or we lose weight because IAIA is an easy campus to walk. Up on a mesa, it has 360 degree views of spectacular skies and faraway mountains. Although a biting cold in Winter, it’s sunny about 395 days of the year. And for those of us coming from Southeast Alaska, well…although the countryside lacks the dramatics of the big spruce, hemlock, alders and cedars, there is an ancient silence in the high-country deserts of the Southwest. As any of us Indigenous peoples know, go out onto the land and feel its gifts. There is the everlasting to appreciate.
Sweatlodge skeleton at IAIA; in use during the late Fall/Winter/Spring - what other 4-year accredited college are you aware of that conducts sweatlodge ceremonies?
There is a footpath for runners and walkers alike on campus. I don’t remember how many acres belong to IAIA, but it’s enough to continue growing. Hopefully, as IAIA grows its campus, the designers will always keep in mind our need to be connected to the earth, especially for many of us who are missing our homelands and require being outside — feeling the earth beneath our feet and enjoying the horizon.
Courtyard of the sculputure building at IAIA -- If I am not mistaken, this monumental, marble sculpture is by Craig Dan Goyesun - behind bars, the courtyard gate was locked. I thought this an interesting image.
IAIA is a unique environment. I hadn’t come to appreciate its qualities until this past Fall Semester. There is an Indigenous Studies department that was added to the “normal” Western curriculum of IAIA. Some of the classes from this department are requirements for a BFA. As mentioned earlier, I resisted taking the requirements, yet I discovered how much I don’t know and better yet, I discovered how much I want to learn! I am actually considering achieving a Minor in Indigenous Studies. We’ll see what transpires within this next year.
The Chama River near Abiqui, New Mexico - October 2011
I commute from my studio home in Colorado to IAIA. The 3-hour drive is one of the most scenic in North America (2nd best to that drive from Whitehorse, Yukon Territory to Haines, Alaska!). The drive enables me to relax, listen to Van Morrison’s “Listen to the Lion” and books on tape.
The Chama River with first snow - December 2011
I drive through Geronimo’s Apache homeland and “Georgia O’Keefe” country. Although the high-country desert is a vast difference from the rainforest of my homeland in Southeast Alaska, I thoroughly enjoy and appreciate the beauty both environments have to offer. I am privileged to have the option to experience these kinds of freedoms in America.
Looking towards "Ghost Ranch" of Georgia O'Keefe country during first snow - December 2011
Many years ago, my mother and father, Irene and William Lampe, encouraged me to get a degree; they said it’s the way to “get ahead” and understand living in the Western world. My mother said that back when she was young if she had the grant opportunities we have now, she’d have gone to school and she often wondered what her life would have been like. On behalf of my parents, I’d like to thank the following Grantors for their support:
* Chugach Heritage Foundation * Sealaska Heritage Institute * Tlingit & Haida Central Counil * Huna Heritage Foundation * Alaska Native Brotherhood (ANB) and * FAFSA
Nov 11, 2011 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
nDigiDreams videography class - Institute of American Indian Arts - Santa Fe, NM September 2011
Spearheaded by Jennifer Coots, Business Program Professor, the Institute of American Indian Arts Indigenous Studies Department sponsored a class, for those of us interested in being introduced to creating 5-minute videos. Each of us told a personal story related to our cross-cultural upbringing and experiences leading to how we were led to attend The Institute of American Indian Arts in Santa Fe.
Our teachers were Carmen and Brenda from nDigiDreams. nDigiDreams conducts community-based digital storytelling training workshops. “We believe our diverse cultures, identities, histories and stories hold enormous strength and beauty and we seek to train and empower indigenous individuals and communities with new media tools to realize optimal health and wellness.” Carmen and Brenda have conducted workshops in Indian Country; think about hosting a workshop in your community. You may check out their website (and view other storytelling videos) at: http://www.ndigidreams.com/
Brenda Manuelito, Jennifer Coots (IAIA Business Professor) and Carmen Rodriquez
You may view my very first video entitled “Generations of Love Made Visible” along with some of the students’ videos on U-tube. Cut and past this link onto your browser: http://www.youtube.com/playlist?list=PLBF1FA84C49C930F7
Thank you very much for visiting!
Aug 3, 2011 | Class Act, Honoring Others, North Tide, Tlingit Culture Accentuated |
Instructor Debra Carlick demonstrates her cedar bark tricks-of-the-trade to fellow cedar bark instructor Lily Hope as Dan Shorty and Jane Smarch pay close attention
Debra Carlick and Lily Hope taught a cedar bark weaving class held during Teslin’s “Celebration 2011” in Teslin, Yukon Territory, July 25-30, 2011. The class began with 4 students; by the end of the week, there were 15 students!
The weaving classes were held in the Boat House on the shores of Teslin Lake at the Teslin Cultural Center
A nice shot of the weavers' room with an antique wooden boat in the Boat House
A view from the center of the Boat House looking out towards Teslin Lake
Yeah for the gift of cedar and all those willing to keep up with the traditions!
Splitting the bark
Separate bags of soaked cedar helped identify students' prepared materials
While weaving cedar bark, we must keep our materials damp and supple for ease of workability
The youthful generation joined the class
Rhonda demonstrates while enthusiastic visitors and classmate Dan look on
Cedar bark instructor Debra Carlick with new student Teslin elder Jane Smarch
Many visitors and enthusiasts of cedar bark weaving!
Tlingit dancers from Juneau, Alaska visit the class too
The serene excitement of completing his hat!
Her completed cedar headband trimmed out with mother-of-pearl and abalone buttons
Charlene Baker's composition of the "Completion Song" sung each time a student completed their Ravenstail or cedar bark weaving
Dan Shorty sports his cedar bark headband (made in this class) with weaving instructors Lily Hope and Clarissa Rizal sporting their hand-sewn Ainu headbands
Chilkat and Ravenstail weaver Amber Baker is on her way to completing her cedar bark hat
Aug 1, 2011 | Adventures of Rear-Mirror Rissy, Class Act, North Tide, Tlingit Culture Accentuated |
Charlene concentrates on beginning the next row - her very first Ravenstail weaving!
While researching the old Chilkat robes in the museums around the Northern Hemisphere, artist/weaver/author Cheryl Samuel also came across the Ravenstail style of weaving. Her first Ravenstail weaving class was held at the Totem Center in Ketchikan, Alaska in November 1989; I attended that first class. Since then, whenever anyone asked me about learning Ravenstail weaving, I’d recommend Cheryl. However, 22 years later, I conducted my very first official Ravenstail weaving class in Teslin, Yukon Territory (Canada) during the week of their cultural “Celebration 2011” July 25 – 30, 2011.
During Teslin's "Celebration 2011" the class had many visitors checking out the weavers' tedious and wonderful work - We wove a small Ravenstail pouch in 3 days
Charlene demonstrates creating the corners to her classmates
Dan Shorty and Charlene Baker with their completed Ravenstail weavings - (I apologize for not having a shot of the entire class with their completed weavings!)
Ainu elder inspects Rose's recently-completed Ravenstail pouch with Wayne and Debra Carlick
During the class, a group of Ainu visitors from Japan were guest performers at Teslin’s Celebration. Although we there was a language barrier, we used lots of gestures and facial expressions to communicate the similarities of our spinning and weaving techniques.
The Ainu spin their warp exactly like ours with two strands of fiber with the exception that they spin in mid-air using their thumbs and we spin our warp on our thigh
Ainu performers from Japan with Cedar bark weaving instructors Debra Carlick (Atlin, B.C.) and Lily Hope (Juneau, AK) and Ravenstail instructor Clarissa Rizal
Jun 22, 2011 | Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
With left over Ravenstail warp and yarns, I wove a flexible container that straddles the headboard of my weaving loom, to help organize and keep at hand my weft yarns, scissors, straight pins, tapestry needles, measure tape, etc. - all the important tools to have handy while weaving Chilkat or Ravenstail. If you look closely, you will see the individual containers are cedar bark baskets; one woven by my mother, one woven by my daughter, one woven by a friend and one woven by me.
One of the things that I encourage my weaving students to create in their lives is organization. If we want to be an active Chilkat weaver, and we want to keep our sanity while weaving, we must be organized! If we are not born organized, Chilkat weaving will change that part of ourselves to become organized. And if we fight the requirement of becoming organized, then while weaving, we will spend quite a bit of your time sorting through things, trying to find something that was misplaced or lost, etc. When I am in the flow of creativity, the last thing I want to reach for is a tool that has been misplaced and I have to go searching for it, or untangle something or accidentally break something. This kind of act is quite disrupting to the flow of creativity; I work hard at avoiding distractions when I know I’m going into a creative groove; so I have a clean, organized surrounding. For those of you who are Chilkat weavers, for those who have recently learned Chilkat weaving and for those of you who have seen the actual weaving process, y’all understand what I am talking about!
A view from above the Chilkat weaving loom headboard container - notice most of the yarns are in front, while miscellaneous and extra tools are in the back half of the pouch
Why a “flexible” woven container instead of a rigid, wooden one? So that I can travel with it across town, across the inlet or across the continent. It is light-weight and easily packable – a valuable resource for a weaver in motion.
Stay tuned for future blog entries of additional Chilkat weaving equipment and tools.
Thank you for visiting!
