Apr 24, 2011 | Health and Wellness, Honoring Others, North Tide, Tlingit Culture Accentuated |
Subsistence gatherer Helen Watkins' - the photos to her right are her relatives including her mother, grandmother and an image of the cabin off of Mud Bay Road in Haines, Alaska where she would spend the Summers gathering the abundant variety of indigenous foods
Helen Watkins’ presentation on subsistence foods of the Tlingit in Southeast Alaska was a real hit which included information on gathering and preservation, a raffle for a number of jarred items including soapberries, smoked salmon, blueberry jelly, etc., AND a fantastic luncheon. This presentation was held at the University of Alaska Glacier View Room and was part of “The Art of Place” cultural series sponsored by the UAS coordinated by UAS English Professor, Ernestine Hayes.
Kathy Ruddy tries the fluffy, whipped soap berries
An essay from the Tundra Times, the following on Native Subsistence Rights was the handout at her presentation:
“NATIVE RIGHTS”
Central to the issue of Native Rights is the fact that Tlingit, Haida and Tsimshian cultures exist today as viable human communities. these cultures have not disappeared into history textbooks or museum shelves. each culture is composed of human beings who share attitudes, values and social patterns giving meaning and identity to the lives of individual members. food and its acquisition are involved by a culture’s value system and are considered important to a group’s survival. consideration of Native Rights as they concern wild vegetable foods requires that one respect the importance of wild foods to the cultural survival of Native groups.
Approximately 50+ folks showed up for the presentation; this image shows a small percentage of the eager and hungry audience
Attitudes, values and social patterns affect which foods are considered desirable, how the foods are prepared and in what manner served. native cultures are functioning communities: the importance of indigenous foods can be witnessed at Indian parties, celebrations,funeral gatherings, ANB and ANS social functions as well as in individual homes throughout Southeast. some of the vegetables included in this publication are important foods for Native people of Southeast: these foods contribute to cultural identity and traditions..
A stock of jarred goodies include soap berries, beach asparagus, smoked salmon, blueberry, raspberry and nagoonberry jams, to name a few
In the past, indigenous foods of Southeast Alaska provide for more than cultural identity: the foods made possible the vigorous existence of Native people. The journals, diaries and logs of explorers, traders and missionaries who first encountered the Native people of Southeast reported the people as being healthy and robust. The people were also noted for their intelligence in trading and their finely crafted material possessions. The Native diet provided for basic nutritional needs through utilization of indigenous plant and animal foods. Studies by social scientist, conducted primarily during this century, demonstrate an extensive knowledge of plant and animal resources by Native people. From their knowledge of the natural environment, Native people were able to effectively provide themselves with the necessary requirements for bodily growth, maintenance and well-being.
Photographs of Native raw or prepared foods
Much of the original knowledge concerning Native plant foods seems to have disappeared. The loss is directly attributable to the take-over of the land by non-Natives. As contact between Native and non-native cultures increased, change was inevitable; the Natives’ control of the environment was slowly taken away. Some changes were beneficial and offered material improvements. but for the most part, new changes weakened established cultural patterns, creating an unhealthy stress for Native people. In the transition, old knowledge of how to live off available plant resources became less and less important to survival. Learning how to adapt to a new economic system became more important for individuals and groups. Increased exposure to new technology, processed foods, alcohol and commercial goods created new pressures, changing aspects of Native culture along with its relationship to the natural environment.
Based on the decline in everyday use of wild vegetables and in the few species still collected, knowledge of plant foods seems to have suffered in the process. It is, however, the remaining knowledge and use of plant food which is important to contemporary Native identity. Some old patterns of plant food utilization have outlived the onslaught of westernization.
Micaela Kunz gives Helen a hug after winning a jar of precious smoked salmon in the raffle
Recognizing the contribution of Native food to cultural identity involves a concern for acquiring that food. Ownership of land affects how the land will be used. The Native concept of land ownership differers from that of the non-native. Native ownership is collective seasonally utilized and concerned directly with land use as a primary food or materials resource, while non-native ownership tends to be private, irrespective of season and to view land in terms of monetary value. Notice the difference in the following two hypothetical statements by a Native person and non-native person speaking about land at Elfin Cove.
Native: “Elfin Cove is where my family goes for summer camp. We collect our food there: fish, berries and roots that we need for winter.”
Non-native: “I own five acres of beach front property in elfin cove right beside a small salmon stream. I am going to build some rental units there.”
Both individuals have a sense of ownership over the land and both will use the land but in different ways. These two types of ownership have not proven able to co-exist to the mutual benefit of both cultures. The non-native culture has developed a stronger political and economic base and so largely controls land use. Consequently, Native use of the land as food resource has suffered; the availability of indigenous food has been limited.
Helen creates a subsistence salad with the help of an audience volunteer
The manner in which Native people traditionally practiced gardening further reflects their concept of land ownership. Large patches of fireweed and red clover were cleared of debris and harvested carefully so as to allow for regrowth during the following season. These plots, found throughout the tribe’s territory were the property of either the entire village, a specific clan or perhaps an individual household.
Native rights, as considered in this publication, involve recognizing the importance of Native foods to cultural survival and honoring Native land use patterns. These patterns reflect Native rights to acquire indigenous foods. Respect should be based on an understanding and acceptance of the values and traditions of the Tlingit, Haida and Tsimshian people of Southeast Alaska. Respectful attitudes should be extended into respectful behavior. the person who intends to use this material to teach should seek the approval and guidance of Native elders before exposing the food resources of an area. too often native people have lost a valuable food resources of an area. Too often Native people have lost a valuable food resource because of thoughtless non-native ownership. Wild vegetables are a sensitive issue with many Native people because of the threat to an aspect of their cultural heritage. Respect for Native rights means: 1) being sensitive to Native culture; 2) accepting the differences, and 3) seeking approval and guidance from Native elders in the community.
I only ask of you that if you do pick from the land, you do so with the thought of us: the Alaskan Natives who live off the land. Thank you.”
— Helen Abbott Watkins
The cross-cultural explosion of a fantastic feast!
Thank you, Helen for keeping up the traditions of our people, sharing your knowledge, sharing your hospitality and sharing your food! We appreciate every bit and bite!
Apr 22, 2011 | For Crying Out Loud, Honoring Others |
Bobby Vonda's bass guitar graced with bouquets
Probably the last time we spoke to one another was about 45 years ago when we were in Mrs. Berlin’s 5th grade class. Every school day, we’d run home during lunch hour. He lived off of Gastineau Avenue and I lived off of Carrol Way at the very end of Gastineau Avenue. After eating a quick lunch, on my run back to school Bobby would wave me down and yell out my name to wait up for him. We’d walk back talking, talking, talking. He sat in the row to my right. During art classes, I’d show him my latest drawing tips from my father. During music class, he sang best, always with that big smile. Funny how he grew up being a musician, I grew up being an artist. Funny how we really hadn’t changed much.
I remember a loving, spirit freely flashing a quiet kind smile, a young gentleman and always helpful at the drop of a hat. A few years ago, when I was thinking of childhood friends, I thought of Bobby; suddenly it hit me that the 10-year-old was sweet on me – a sweet innocence! I didn’t even realize this until I was almost 50!–Goodness!
It wasn’t until attending Bobby’s memorial service last night that I was reminded he was a bass player with his brothers’ band and had played music all his life. I forgot he could play pool. I forgot his father was Filipino. I forgot he was married and had a family. I didn’t know he was a Grandfather. Reading his obituary, I was reminded of that 10-year-old running with that free compassionate spirit. It was sad for me to realize we did not grow up as lifelong friends – we had a lot in common: I’ve played music, I was once a pool shark, my father was also Filipino and I was also married with a family and am now a Grandparent too.
The following is his obituary taken from the memorial service’s program:
“Robert Joseph Vonda was Raven/Beaver; Deisheetaawn, Dei shu hit. He was a member of the Central Council of Tlingit and Haida Indian Tribes of Alaska, Sealaska Corporation and Goldbelt Corporation.
Bob completed his GED. He worked with the Forestry Service, then with a local restaurant as a dishwasher and as a Musician which became his top job. He learned how to play his guitar with his brothers and they formed their own band called “The Vonda Brothers.” He also played in a number of other bands with his friends Stan Brown and John Peterson and then with his beloved brother Nicholas Vonda where he enjoyed traveling to Sitka and being with him for weeks at a time; they became “Nick at Night.”
Bob enjoyed all the different seasons especially fishing from the beaches and walking along the shores collecting any interesting item he could find. He fell in love with Hoonah and was truck by the beauty and its surroundings feeling very comfortable in their regular visits back and forth. He received one the of his highest honors during his last trip to Hoonah and was invited up with the tribes to hold the Bear Hat over his loving spouse Myrna’s head during their recent loss of Tony.
Bob was known to family as Bobby too. He had and loved three other special women in his life; his momma Ella, his daughter Becka and his granddaughter Hailey who is portrayed in their room. An important quality Bob had was that he was not ashamed to show emotions and would cry and share tears during happy and sad times. He would hold photos to his chest and talk with them. He shared many times that one day he would be with his dad, his children and with his brothers. I am sure that he is probably playing his bass guitar with his brothers and making his dad and children smile.
Bobby loved all his family; his sisters Jo and Jan. He remembers and still played and sang “All I Have To Do Is Dream” remembering his sisters so his grand kids learned many older songs listening to him. He loved his nephews and nieces always making them feel special; making them laugh or just enjoying a game of pool with them. He really loved Nick, Donna, Bev, Ramon and Jason’s company. He even has catch phrases that all the older grandchildren can recite like “Girls, girls I told you time after time but noooo…” Whenever they did this it made him laugh.
Bob was a well-loved man; a remarkable person and someone we will miss and treasure as he left an imprint on our hearts. He had a genuine spirit and loved life to its fullest.”
Pallbearers: Bruce Nelson, Jordon Sharclane, Robert Sharclane, Jason Vonda, Nick Vonda, Jr., Clifford Brown, Franky Brown Honorary pallbearers: Beatrice Brown, Alfred McKinley,Sr., Marjorie Buckner, Pat Owen, Ben Coronell, Cyril George, Sr., Andy Gamble, Paul marks Guest Receptionists: Ellen Sharclane, Jenny Sharclane, Audrey Brown
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, To Market To Market |
Jennifer Coots Marketing Class - Spring 2011 - Institute of American Indian Arts, Santa Fe, New Mexico
On Wednesday, March 30th, I was invited to present my business’ marketing plan for the Marketing Class taught by Jennifer Coots. I created this marketing plan last year Spring 2010. This marketing plan has helped change the way I have run my business. I also attribute my acquisition of a First Peoples Fund grant to having learned so much about running a business through these classes I had taken at IAIA.
During the Fall and Spring 2010 semesters at the Institute of American Indian Arts in Santa Fe, I completed a 5-course business certificate. I have been a self-employed artist working in a variety of artistic mediums since 1977 and I had not any formal training in the area of running a business. I shot from the hip, attended the school of hard knocks and didn’t ever question why I hadn’t ever taking any classes and lessons…until I took these classes! What a difference!
It was so much fun doing this presentation for this Marketing class. Jennifer distributed a copy of my Marketing Plan to the students; that was pretty cool. Little would I know that a plan I created last year would be an example for other artists in this very same class. I just loved sharing my intentions, my experiences and my success. It’s been a year since I laid out this plan. I have accomplished every marketing method I had outlined in my Marketing Plan last year. (Golly, you’d think I was proud of myself!–Of course I am! Who wouldn’t be!?) When the students asked what my most valuable marketing method has worked for me; I answered: (surprisingly enough) my blog! — And I told them why…
You may be only five courses away from creating a successful business of your own. The Institute of American Indian Art’s College of Contemporary Native Arts is offering a Business and Entrepreneurship Program, to art students and small business owners seeking to develop their business skills and discover their inner entrepreneur. Courses cover issues relevant to artists and Native-owned businesses, but non-Native students and non-art related business owners will also benefit from the business and entrepreneurship certification earned through this program.
Jennifer Coots in her office at the Institute of American Indian Arts
Jennifer Coots brought this program to IAIA; I wish I had been educated way back when I first began supporting my family via my art. I encourage every artist who is serious about making a living doing what they love to do, to do themselves a favor and sign up for these classes IAIA has to offer. The unique thing about these classes is we learn differences in values in Western vs. Native American ways of going about our lives and business, as there are some real conflicting issues that may or can, inhibit us from moving forward with our work.
Learn more about the Business & Entrepreneurship Program: visit IAIA’s website or contact Jennifer Coots at jcoots@iaia.edu or 505-424-2356
By the way, Jennifer Coots lived in Juneau, Alaska pretty near 20 years. She was a fisherwoman and aspired to becoming a musician/singer/songwriter. She got side-tracked when she moved to the Navajo reservation to take care of her mother who was diagnosed with cancer. While living on the reservation, Jenn saw the level of poverty and she wanted to do something about it. She had the idea that the local artists needed to learn business sense, so she set out on a mission to finish her degree in Business and assist her fellow Native American artists to bring up their level of existence, workmanship and craft.
Jennifer Coots’ vision is totally awesome. I would take up her classes again if I wasn’t on to learning more about the art of business while doing the business of art!
Apr 4, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, To Market To Market |
The "All My Relations" gallery where the First People's Fund business seminar is held
Like I mentioned in my last blog about “Museums: I thought they were like haunted houses”, during the weekend of March 24th through the 26th. I was one of the grant awardees to receive the First People’s Fund “Artist in Business Leadership” program. For three days, several Native American artists from around the country met for a marketing seminar in Minneapolis at the new “All Our Relations” gallery/coffee shop facility.
Justin Huenemann, Director of the Native American Community Development Institute (nacdi.org) explains the American Indian Cultural Corridor in Minneapolis - one of the largest blocks of land owned by Native Americans in the nation; no, not reservations, but actual land-owners for self-governance
I was impressed with the information from the presentations by FPF with our hosts, the Native American Community Development Institute. Visit their wesbite to find out more information about the NACDI.
First People's Fund Program Coordinator Miranne Walker explains FPF's goals and objectives to Stephanie, wife to artist Paul Peterson
The following are images of this year’s FPF artists.
Ivory & whalebone Yupik carver Alfred "Tillie" Gosuk from Togiak, Alaska
All the artists were asked to prepare a 10-minute presentation on where we were from, what kind of work we do, and how we were going to use the funds from our First People’s Fund grant. Since I was sitting at the very end of the table, I was the first to do my presentation. I am fortunate to have taken a Marketing class and an Introduction to Digital Media class at the Institute of American Indian Arts during the Spring Semester 2010. I took pride in presenting some of my marketing tools that I created in my classes: my first brochure, my business cards, and my power point presentation which kind of tells it all.
Basket-weaver Carol Emarthle-Douglas from Bothell, Washington explains her basketweaving technique and materials used to create the exquisite basket in the Power Point
My favorite part about the entire seminar was watching my fellow artists introduce themselves and their work. I am always interested in meeting other artists and seeing their work. (This was one of the main motivators as to why Preston Singletary and I started the biennial “Northwest Coast Artists’ Gathering” in Juneau, Alaska back in 2006.) I was thoroughly impressed with the quality and artistry of each individual’s work. I am proud of my fellow artists. It was an honor to be rubbing shoulders with some of the most influential artists of their communities. I introduce them here:
Cheyenne ledger painter and jeweler Alaina Buffalo Spirit from Billings, Montana
Northwest Coast artist Paul Peterson, Sr. from Hoodsport, Washington specializes in making bentwood boxes
Beadwork and parfleche artist Lauren Good Day Frank from Bismarck, North Dakota
From Hays, Montana, Roni Stiffarm presented the ancient art of drummaking
One of the few Ash bark basket weavers, Kelly Church from Hopkins, Michigan
Wasco Warm Springs artist Lillian Pitt from Portland, Oregon
Birch bark basket maker Sandy Peterson from Lac du Flambeau, Wisconsin
Menominee singer-songwriter Wade Fernandez from Keshena, Wisconsin
To find out information about First People’s Fund there is a part two to this blog entry entitled with the same name, but includes “Part II” to the title…AND there are additional photographs…check it out in next week’s blog entry…
Apr 3, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off |
In Minneapolis' 8:00 Morning rush hour; what's that?
Was I really in Minneapolis? Yep, but just for the weekend of March 24th through the 26th. I was one of the grant awardees to receive the First People’s Fund “Artist in Business Leadership” program. For three days, several Native American artists from around the country met for a marketing seminar in Minneapolis at the new “All Our Relations” gallery/coffee shop facility.
"Twilly", Roni and Lauren were crammed in the back seat of our escort's cushy van!
During the afternoon of the first day, we visited the Minneapolis Institute of Art. I am not one who enjoys visiting museums. I have this ingrown pattern of thought that I think stemmed from our own local Alaska State Museum in Juneau, where as a child, the museum was dark, grungy, lifeless with stale air and I saw no purpose in looking at these dark mysterious objects, let alone hang out in spooky “haunted house” of sorts. Like the only thing to do in a museum was to tell ghost stories and play boogie man! – Thank goodness I have grown out of that mode!
The entry to the Minneapolis Institute of Arts
Our tour guide was the Associate Curator of Native American art, Joe Horse Capture originally from Montana. Joe’s father was the first Native American curator. Joe is presently the only Native American curator of a significantly large museum in the nation.
Joe Horse Capture introduced the drift-wood mosaic created by Annishnabe artist George Morrison
A close-up of the wood mosaic by George Morrison - I liked this piece immediately even before Joe Horse Capture pointed it out to us
I’ve kept the text to a minimum in this blog entry; I want to show images of a few pieces of work collected for this museum.
At the introduction of the tour, Joe Horse Capture explains how he curated the entire display of Native American art at this museum organized by region and not by the political state or national boundaries. The map has no reference to geographical borders, no division of lands, nor reference to Canada, Mexico and the U.S. - The map is laid out with reference to the location of tribes
A carved ceremonial headdress by George Hunt in the foreground; a reproduction of a carved and painted house screen by Gordon Locksley in the background - the museum is hoping that George will eventually donate the house screen..
1st People's Fund Executive Director Lori Pourier, Program Coordinator Miranne Walker, and Montana Cheyenne artist Alaina Buffalo Spirit take a rest
Joe Horse Capture says he has collected 42 pair of Plains Indian tribe moccasins - there are approximately 22 pair displayed in the glass case
A close-up of some of the moccasins - notice the child moccasins in the center
A beaded, leather Plains Indian "war shirt" stood in the center of the round of moccasins
Two cradle boards from the late 1800's; the one on the left is quillwork, the one on the right is beaded - the beaded bonnet is modern day
A beaded, leather travel satchel from the 1930's
Lauren, Miranne, Carol and Stephanie prepare for the group photo shoot
Group shot
Mar 26, 2011 | Honoring Others, North Tide |
The Barrow Dancers performed for a full audience at Juneau's High School Auditorium
Lis, Greg and Leif pulled me out of the house last Saturday night, March 19th. I could have continued weaving on my robe, finish my homework due on Sunday, prepare for my business trip this week, or gone to the movies with my mother and brother; even though I love the dances of the Far North people, I was reluctant to go to the performance because of my stack of responsibilities. Of course, I was glad to have gone. The way of “Eskimo” dance is very different than any other kind of dance I have seen or have done; a happiness is reflected in the dances and songs of these people. The first time I had seen Eskimo dancing was about 25 years ago when the King Island Dancers performed at the ANB Hall here in Juneau. I was pleasantly surprised at how my spirit was uplifted by this kind of dance and song. I hadn’t heard anything like it. There is a quality that is highly spiritual – those are the only words I can find to describe the experience, a happy, spiritual experience. Watching the Barrow Dancers was as equally another spiritual experience.
A young man dances solo this story while the men drum with women sitting behind them singing the chant.
The Barrow Eskimo Dancers are all Inupiaq Eskimo. They are the oldest dance group in Barrow, Alaska and love to pass down their traditional motion dances that tell stores of life long ago and modern times. They are an all-ages group with over 60 members varying in age from two years old to almost 100! Some begin training while still toddlers and others join when they are in their 60’s.
The women wore purple, cotton kuspuks (traditional dress) and the men wore white shirts with bolo ties; every member wore black pants tucked into the traditional mukluks
The locally-derived songs of the Barrow Dancers were composed largely by original dance group members the late Walter Akpik, Sr. and Warren Matumeak and their forebears, and have their roots in the north central North Slope of Alaska. Other, more recently composed songs and motions were composed by some of the other dance performers. May of the recently-composed songs are performed with a smile (one dance, for example, mimics the pre-flight briefing of airline stewardesses). Some songs have been borrowed and exchanged with groups from as far away as Savoonga and Chukotka in the Bering Sea and Arctic Canada.
Dancing the famous "Walrus" dance!
“Even though most of our elders have passed on, what they taught us still lives on in many of the dances we do. Especially during practices when we are learning new dances or bringing back old dances. Teaching the young ones the songs and dances makes me feel like we are passing down our culture and the knowledge so that it lives on when we are gone.” Fred Elavgak.
Grandma Priscilla and grandson dance in friendship
Barrow is the northernmost city in the United States being 320 miles above the Arctic Circle. It is a desert averaging less than 5 inches of rain a year, a land of harsh extremes with extended darkness, strong winds, dense cloud cover and unforgiving temperatures. Archaeological sites in the area indicate the Inupiat lived around Barrow as far back as 500 A.D. Some remains of 16 dwelling mounds from the Birmirk culture of about 800 A.D. are still in evidence today on the shore of the Arctic Ocean.
Priscilla's son has created some of the dance groups new songs and dances
The Barrow Dancers participated in the inaugural parade for President-Elect Obama on January 20, 2009 in Washington, D.C. They have performed as a group as far away as China and are very excited for their first performance in Juneau.
This was such a cool dance, I just had to add another image of it!
The Barrow Dancers performance in Juneau was sponsored by Alaska Airlines and co-sponsored by the Driftwood Lodge.
Alaska Governor Sean Parnell dances with the Barrow Dancers - it was one of the highlights of their performance - you can see that everyone was digging it!
Governor Parnell's wife was also asked to join the dance - such an honor!
During the audience invitational dance, I got to take a close-up of the drummers
Backstage you can see a small portion of the big crowd who joined the dancers on stage during the audience invitational dance
A surprising number of audience members joined in the invitational dance - so much fun!
The Barrow Dancers stood for their Honor Song as the Tlingit Dancers joined them
Lyle James leads his Tlingit dancers to welcome the Barrow Dancers
The Barrow and Tlingit dancers merge as one
Mar 25, 2011 | Honoring Others, Tlingit Culture Accentuated |
Local silversmith, Ed Kunz presents his silversmithing and carving at UAS - Juneau campus
Last Thursday, March 17th, Ed Kunz gave a presentation on silversmithing and carving at the University of Alaska Southeast Juneau. The presentation is part of the “Art of Place” artists series. Son of the late Ed Kunz, Sr. and Cecilia Kunz, Ed began carving while living in Haines. His mentor was the late Ed Kasko. Although most silversmiths use an engraver’s block, Ed uses a wax to hold the strip of silver to a modest-sized, wooden board. When he began engraving the Tlingit design into the silver, he said he wanted an engraver’s block like he’d seen other silversmiths use, but with all of its accessories it came close to $100; then a few years later when he thought he could afford finally afford an engraver’s block, the price had risen to almost $500 so he said forget it.
Gold and Silver bracelets carved by Ed Kunz
ANS (Alaska Native Sisterhood) pendant carved by Ed Kunz
Ed has made many pieces of jewelry for his wife, Percy Kunz like the bracelets and pendants above. He usually works on a commission basis and sometimes does trades. I was real tempted to ask Ed if he wanted to trade a small Chilkat bag for one of those gold bracelets. Both of my parents liked jewelry and they both liked gold. I would have a golden bracelet in honor of my parents. Someday.
Ed's simple tdools of the trade
These are pretty much the two carving tools that Ed uses
Ed shows carving tricks-of-the-trade to UAS student assistant Justin
A reminder from the coordinator of the “The Art of Place” artists’ presentation, Ernestine Hayes: “Hello to all with a reminder that wood-carver Doug Chilton will be our visiting artist for our Spring 2011 Art of Place series tomorrow, Thursday March 24, beginning at 10:00 with a talk and discussion by the artist and a dessert potluck at 11:30, with an opportunity to meet and greet Doug over cake and coffee. The event will take place in the Glacier View Room.
On Thursday April 7, we will be visited by Florence Sheakley, who will share her knowledge on beadwork and button blanket-making and show some of her work (including a button blanket she made for me).
Please come to one or both events, and please remind your friends, students, and neighbors to come as well. We really appreciate your support for this important series!
Finally, please remember that our last event will take place on April 21 with Helen Watkins, and will feature a full potluck. We’re hoping for herring eggs! Gunalcheesh!
Coordinator Ernestine Hayes thanks the audience for coming out and supporting the artists!
Mar 9, 2011 | Honoring Others, Showing Off, Tlingit Culture Accentuated, Uncategorized |
A painting of Eileen Wagner weaving a cedar bark hat
A couple of weeks ago, Della Cheney contacted all of us who have attended the Sunday afternoon gathering of artists at Fireweed Place. She said that the group was invited to display any of their work in a show down at the Juneau Arts and Culture Center. When she asked Fausto and I to help set up the exhibit last Thursday night, I figured we’d have a few things to show – little did I know we would fill up an entire room! And little did I know that I had anything to show until Della asked me to show some of my paintings and prints. Ha-eh!?
Cedar bark hat in display unit by Eileen Wagner, cedar bark baskets by Della Cheney, Chilkat leggings on loom by Fausto Paulo
We were also invited to demonstrate whatever projects we may have on our looms and hat forms, so about 9 of us showed up, set up tables down the middle of the exhibit room and demonstrated the weaving of cedar bark hatbands, baskets and hats, Ravenstail pouches, leggings and bags, and the weaving of a Chilkat robe.
Juneau Arts & Humanities Director, Nancy DeChurney talks with Della Cheney about this evening's Gallery Walk exhibit
There is a feeling of cooperation and inspiration as we all work individually on our own projects sitting side-by-side with a kind of quiet companionship, the stuff that is made of long-term relationships that will most likely last a lifetime whether we are conscious about our efforts or not.
Patrice DeAsis weaves a cedar bark hat while coils of cedar bark soak awaiting to be stripped
Debra O'Gara and Kendra Makaily enjoy Ricky Tagaban's Ravenstail weaving made of plastic garbage bag strips. In the display case are Percy Kunz's first Ravenstail weavings
The beginnings of a small Chilkat robe by Nora Dauenhauer, a pair of Chilkat leggings and Chilkat by Patrice DeAsis, "Totemic Theory" acrylic on canvas by Clarissa Rizal, a pair of moccasins by Percy Kunz, and button blanket bib by Mary Ebona Miller
Percy Kunz weaving a small cedar bark basket - her pair of sealskin and moosehide mittens are in the foreground - Fausto Paulo's cross-stitched Chilkat tunic is in the background
Della Cheney explains her robe design to Melinda Cavanaugh - Fausto Paulo to the left concentrates on his latest Ravenstail weaving
With assistance from his mother Lorraine DeAsis, Joshua prepares cedar bark strands for weaving by running the bands through the "stripper"
Armondo DeAsis and his brother Antonio, are weaving another round of cedar bark headbands
Folk Festival president Greg McLaughlin with wife, Lis Saya and inventor, John Ingalls hang out enjoying all who attended the exhibit
Irene Lampe and her son, Richard, are excited about "digging in" to the wonderful refreshments
Thank you to all who came out on this cold, slightly-blustery evening and joined us for a round of pleasant artistic company and a bite to eat.
Mar 8, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Archie Cavanaugh with grandson, Joseph, and Clarissa who is proudly displaying Archie's latest two CD's "Love Birds" and "Alaska Jazz"
Tlingit Singer/Songwriter/Jazz musician, Archie Cavanaugh launched his latest CD titled “Alaska Jazz.” The past two days, I’ve been Chilkat weaving to “Alaska Jazz” along with Archie’s second CD “Love Birds”. The wonderful, upbeat, jazzy, loving energy of these two albums are the perfect sounds for me to Chilkat weave; I kid you not! I can go long stretches of time weaving happily away to cuts like “Sparklin Eyes”, “Amy” and “Love’s The Way” just to name a few. I mean like, I had to move my Van Morrison over for the past few days. I just want to hear Archie. The problem is that Archie has only three albums, and so the repetition is starting to get to me. What to do about it? Encourage Archie, help Archie, assist Archie, in any way, shape or form, to put together another album! In fact, go to his website and buy all three of his albums. This guy has got to catch up to the numbers of albums Van Morrison has put out, that’s all there is to it!
Check out Archie’s album cuts on his website at: www.archiecavanaugh.com
Mar 5, 2011 | Honoring Others, Tlingit Culture Accentuated |
Northwest Coast Native-influenced aerial sculpture in the modern entry way of Juneau-Douglas High School
I graduated from the Juneau-Douglas High School on my 18th birthday in June 1974. I haven’t been in the school since the City & Borough of Juneau had it remodeled years ago. I wasn’t living in Juneau when it was remodeled so I cannot tell you the date. Today was the second time I had been in the high school since I graduated. I did a presentation to the “early scholars” class of 9th, 10th & 1th graders. Directly before my presentation, I quickly took shots of the public art within the vicinity of the path from the front door to Room 214 where i was doing my presentation – I am sorry I did not have the time to get the names of the artists. Yet, judging by the style of art, I recognize some of the artists’ style. Do you know any of the artists?
The remodeled entry of Juneau-Douglas High School
I am impressed with all the public art within a minute from the front doors of the school. Public art was not something to be had anywhere in Juneau when we were in school. Then art teacher, Max Lewis would have loved to see this kind of progress. He tried to plaster the walls with our art any chance he could. If I had photographs of the school halls back then and compare them to what this school has now, we would think that we used to school in a slum.
No doubt a seal among salmon!
Several of these paintings line the upper walls of the cafeteria/commons room off the entry forum.
Even artwork along the stairwell walls!
Very large mural above the forum entry
I am reminded that I’ve been known to do some public art in various places throughout Alaska. With my Ex, back in the late 1980’s into the early 2000’s, we had created a variety of public art in various mediums. Our first one was in Sitka, then several in Anchorage, one in Fairbanks and at least three in Juneau, and one on the ferry to Bellingham, the MV Kennicott. I think I’ll gather up what images I may have of those works and post a blog about them. I’d like to see them all clustered in one public place…like this blog. Stay tuned…
