Jul 1, 2013 | Adventures of Rear-Mirror Rissy, Honoring Others, North Tide |
Yukon festivities would not be complete without comedians Grandma Suzi and her boyfriend Cache Creek Charlie, aka Sharon Shorty and Duane Aucoin from Whitehorse, Yukon Territory
Crystal and I stumbled across Yukon’s Adaka Festival last year when we took a three-day jaunt to Whitehorse. We were so pleasantly and enthusiastically surprised by all the festivities at the event that we made it a point to attend for the entire week this year, though with the intention that we would bring other Chilkat and Ravenstail weavers with us – and that we did!
Entrance to the Kwaanlin Dun Cultural Center on the banks of the mighty headwaters of the Yukon River in Whitehorse, Yukon Territory
This festival was held June 21 through June 27, 2013. The Adaka Festival is kind of like the Alaska Folk Festival in that it runs for a week, it is entirely free, it consists of talented performers, teachers, artists, supporters, volunteers and administrators all coming together to pull off this huge event! Though one of the main differences is that the artists, performers and teachers are all First Nations people mainly from Yukon, some from British Columbia, elsewhere in Canada, and a couple of ’em from Alaska (I being one of the two.)
Yukon Jack (and his band) are a long-time favorite of Yukonians – they played some of my most favorite spaghetti westerns, ballads and western rock-n-roll !
The performers are all First Nation professionals working in contemporary and traditional genres including rock n-roll bands, traditional song and dance, fiddlers, rap singers, soloists and R&B, just to name a few.
There were daily workshops including but not limited to, drum-making, carving a paddle, Chilkat and Ravenstail weaving, skin-sewing, beadworking, mocassin-making, and singer-song writing.
Check out Adaka’s website for more information and lots of pictures.
Female members of the local Native dance group, Dahka Kwaan, led by Marilyn Jensen originally from Carcross, Y.T.
I am amazed at the amount of talent that is up in this Northern part of the continent, and that there is even a Native event like this. Do we have a Native event that comes close to this in Alaska? I don’t know. Maybe the Native Arts Festival held in Anchorage and the one held in Fairbanks – but are those still happening? (Sorry folks, we cannot compare this event to the Alaska Federation of Natives – that’s like comparing apples to oranges…!)
William Wasden, a traditional singer and composer from Alert Bay, B.C., graced the audience with his booming voice and strong presence.
This event is unique, that’s all there is to it. I wouldn’t travel all the way from Alaska (or even Colorado for that matter), to attend this event on an annual basis, but folks, that’s what I intend to do. And someday when my grandkids are old enough, I’m taking them with me.
Joe Migwans instructs his students on how to glue the two ends of the hoop together
Using clamps to secure the glued seams…!
Much like Celebration and the Alaska Folk Festival, this event is like a big family reunion where friends, relatives and fellow artists and musicians come together annually and have a great time just being together!
Copper smith Brian Walker, weaver Ann Smith, Carver/silversmith Wayne Price and multi-media artist/weaver Clarissa Rizal pose for a “one-of-these-days-this-photo-will-be-famous” shot.
Come on out to the Adaka Festival next year always starting on June 21st; there is quite the mixture of old and new, young and old, rough and tough, and all that stuff! Mark it on your calendar for a time when the sun doesn’t set and nor do its people!
Aug 11, 2012 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off, To Market To Market |
Blending recycled papers to pour into the paper casting bath while granddaughter pays attention(?)
15 years ago, I made a button blanket ceremonial robe in honor of a fellow clan member, J.B.(short for John Bruce) Fawcett from Hoonah, Alaska, who passed away in the mid-80’s. The robe was called “A Robe to Capture the Passion of Our Tears” made of paper feathers sewn to a blanket of handwoven raw silk adorned with a painted leather capelet. While moving back into my studio last Winter, I found my feather papermaking frames and told myself that I would begin making paper feathers once again. So here I am 15 years later making paper feathers for the Santa Fe Indian Market this coming weekend of August 18th & 19th.
Submerging the feather frames in the paper bath
Just in case you are in Santa Fe during this coming weekend, my booth number is 283PAL which is one of the 10′ x 10′ booths on Palace Avenue which is located between Washington and Cathdral Streets. When you head East on Palace from where all the local Natives sell their wares year around, my booth is on the right. Come by and pluck a feather; they will be available for sale starting first thing in the morning by 7am at the 91st Annual Santa Fe Indian Market!
Placing “leftover” cedar bark strips as the central “vein” of the feather
Handcrafted paper press
After pressing the stack of feathers (that are placed on cloth sheets), Clarissa pulls up each sheet of feathers to dry in the sun.
Once feathers are dry, Clarissa peels each one off of the pressed sheet
I embellished the one-of-a-kind feathers with buttons and beads and wrote inspirational quotes by a few Native leaders and chiefs.
My beaded work table: Once feathers were completely dry, a mother-of-pearl button and single beaded tassel were sewn at the tip of each feather, then the written quote.
the stack of unique, hand-cast paper feathers
During the last minute before heading driving down to Santa Fe for the Indian Market, thank goodness for friends like Emily and Shayla who helped attach the fine elastic loops at the top of each feather
I will have these paper feathers available for sale on my website under “Shop & Buy”; they are $25 per feather or 2 for $30 – they measure approximately 11″ high x 3 to 4″ wide.
Aug 8, 2012 | Honoring Others, Latest Art Projects, North Tide, Showing Off |
Vanessa prepares to begin weaving the design field of her child-size Chilkat robe
This blog entry is a continuation of “Vanessa Learns to Chilkat Weave” posted a couple of weeks ago. Vanessa is an apprentice to Clarissa Rizal. She has started on a child-size Chilkat robe and intends to complete it by mid-February 2013 for an annual event in her village on the Nass River.
Clarissa completes design for Vanessa’s Chilkat robe; she translated a button robe image of the design into a Chilkat rendition specifically designed for weaving in the Chilkat style – the design is one of Vanessa’s clan emblem, the Frog Starfish – this is a copyrighted design; it belongs to her clan — we request no one else use this design
A modern “Chilkat template” where the pattern is transferred onto clear transparencies – again, this pattern is copyrighted – it belongs to Vanessa Morgan who clan emblem is the Frog Starfish – we request no one else outside of her clan family use this image
Vanessa begins weaving the top central portion of her design field – notice her “Ravenstail” nails!
To establish her left and right boundaries, Vanessa begins weaving the side faces of her Chilkat robe.
With just a couple of weeks of weaving, Vanessa has completed her robe thus far.
Jun 30, 2012 | Adventures of Rear-Mirror Rissy, North Tide, Tlingit Culture Accentuated |
Alaskan Tlingit carver Wayne Price (red shirt) leads the carving of a red cedar totem pole to commemorate the survivors of the missionary schools in Yukon Territory
I video taped various performances including the DahkaKwaan Danders, the canoe ceremony, and an interview with Wayne Price and the totem pole, however, for some reason just my still photos transferred but none of my videos would transfer to my computer. Alas, I was terribly disappointed. But, I have a few photo images here to console me; at least I have these!
The Kwanlin Dun Cultural Center entrance, Whitehorse, Yukon Territory
Out back of the cultural center, a wooden platform graces the banks of the mighty headwaters of the Yukon River
Directly behind the cultural center there's a large firepit circled by concrete seating stepping down to the wooden platform on the Yukon
Chilkat & Ravenstail weaver, Ann Smith stands in front of the painting created by her youngest son, Justin Smith
Ravenstail & Chilkat weaver Charlene Baker demonstrates Chilkat on her portable loom
Approximately 40 artists mainly from Yukon Territory displayed and demonstrated their work during the Artist Market
Tents were erected just in case of rain - there were food booths, demonstrating artists, workshops, etc.
Men in Cool Hats: Copper smith Brian Smith and silversmith/silkscreen artist Alano Edzerza
Artists taking a break - L to R: Brien Smith, William Callahan, Sean Smith, Dustin Johnson, Alano Edzerza, Crystal Rogers, Ann Smith and her grandson, Tyrone
Ann and Brien Smith stand next to their artwork displayed in the cultural center's new gallery space
Cherri & Wayne Price and Ann & Brien Smith stand before an historical display "back to the river" which was the theme of this year's Adarka Festival - the display shows Ann's "Grandmother's Time" Ravenstail robe, her mother drying fish, and her son Justin in the newly-carved red cedar canoe
The New Taku Dancers from Atlin, British Columbia
Button robes of the New Taku Dancers
Wolf Clan member and Chilkat/Ravenstail weaver Debra Carlick - she adorns the carved wolf hat created by her husband Wayne Carlick
Leader of the New Taku Dancers Wayne Carlick is adorned by a Chilkat headdress woven by his wife Debra Michel Carlick
With all the money our Native corporations have generated since 1971 (over 40 years), I am reminded that Juneau does not have a cultural center. Sure we have the ANB Hall, sure we have the Sealaska, Goldbelt, and Huna Totem corporate offices, sure we have the T&HCC offices, sure we have the T&HCC community center at Salmon Creek, however none of these come close to the cultural center organized by a grassroots group of local indigenous peoples in the Whitehorse area, whom 20 years later have a place that is specifically theirs on the homeland’s river bank.
Goes to show you that money does not necessarily do all the talking…takes a group of those who walk their talk, that are earnest, diligent, committed individuals with a strong vision to address and create a modern place to educate and perpetuate the modern culture of the indigenous people – it allows the rest of the world that we still exist and are alive and well!
May 3, 2012 | Honoring Others, North Tide, Tlingit Culture Accentuated |
2008 Northwest Coast Artist Gathering - Juneau, Alaska ----- Insert L to R: Aldona Jonaitis, Nicholas Galanin, Nathan Jackson, Marianne Nicholson -- sponsored by Artstream Alaska with support from Sealaska Corporation
In 2010 and again this year in 2012, Sealaska Heritage Institute has assumed the role of sponsoring an artists’ gathering held the day before the biennial “Celebration” gathering of the Tlingit, Haida and Tsimpshian peoples of the Northwest Coast. The artists’ gathering is scheduled on Wednesday, June 6th, 11am to 3:30pm at the Old Armory (now the Juneau Arts & Culture Center). All artists working in the Northwest Coast Native art traditions are invited to this event.
For clarity purposes, this artists gathering is a spin-off on the original productions created and sponsored by the non-profit organization Artstream Alaska in 2006 and 2008.
Although the original directors and producers, Preston Singletary and Clarissa Rizal are not a part of the coordination of this year’s event, the following is a brief history of the original Northwest Coast Artists’ Gathering…
Northwest Coast Artists’ Gathering 2006 & 2008 – sponsored by Artsream Alaska
The original Northwest Coast Artists’ Gatherings were sponsored by Artstream Alaska with additional financial support from Sealaska Corporation. The mission of the Northwest Coast Artists’ Gathering is to bring together artists and facilitators that work in the indigenous northwest coast style of art: to foster dialog; to develop connections; to explore new materials and techniques; to inspire new work; and to create a community that is inclusive and thoughtful, and that honors tradition while moving into the 21st Century.
In 2004 Alaska Native artists Clarissa Rizal and Donna Beaver were photographing and filming at “Celebration 2004,” for their regalia documentary project. Clarissa spent time with long-time friend and fellow Tlingit artist Preston Singletary. The concept of creating an artists’ gathering began when Clarissa and Preston talked and wished for an opportunity to meet each other’s artist buddies (Clarissa introduces Donna and Preston). They had no idea that they would meet over and over again, even later that year in September 2004, with approximately 20,000 Native Americans from all over the hemisphere at the opening of the Smithsonian Institution’s National Museum of the American Indian (NMAI). and with assistance from Artstram’s Board of Directors and other volunteers, Preston and Clarissa coordinated the first NWCAG in 2006; four years later in 2008, and again with assistance from Artream’s BOD and volunteers, Chloe French coordinated the Northwest Coast Artist Gathering receiving support from the NMAI.
The Northwest Coast Artist Gathering was a unique opportunity for artists from all backgrounds who work in Northwest Coast inspired art forms to meet and share information about themselves and their work. The event was sponsored by our non-profit Artstream Cultural Resources (now Artstream Alaska) and partially funded by Sealaska Corporation. Artstream Alaska held the first Juneau event in May 2006, one day before Sealaska Heritage Institute’s well-known biennial Celebration. This first Gathering – as it is sometimes referred to – was a one-day event and drew about 125 artists and arts organization representatives.
The second Artist Gathering in June 2008 was a two-day event, again sponsored by Artstream Alaska with partial funding from Sealaska Corporation and NMAI and coordinated by artist Chloe French. The first day featured an artist panel discussion on Native Alaskan art-related issues, sponsored and organized by the NMAI. Several Alaskan Native artists made up the panel — including Marianne Nicolson from Victoria, B.C., Nathan Jackson from Ketchikan, and Nick Galanin from Sitka, along with moderator Aldona Jonaitis, Director of Museum of the North, University of Alaska, Fairbanks. Later, all participating artists were given the opportunity to introduce themselves during a Power Point Presentation featuring their work; this is a highlight of the event since many have either seen an artist’s work and not met the artist or have met the artist but was not familiar with their work! During the second day, Gathering participants worked on an interactive collaborative design project based on the issues discussed during the morning’s panel discussion. Keynote speaker Walter Porter from Yakutat gave his lecture,“Box of Daylight” (view Walter’s lecture from event). Both days’ activities were held at the Old Armory in Juneau.
Many events occur during the Sealaska Celebration. Artstream was pleased to be able to provide space at the Old Armory for the HAIL awards ceremony, spearheaded by the late Andy Hope III. HAIL stands for “Honoring Alaskan Indigenous Literature” and that organization’s event presented awards to five outstanding Native Alaskan writers, of which Clarissa Rizal received one of the awards for her “Jennie Weaves An Apprentice: A Chilkat Weaver’s Handbook.” Artstream also agreed to rearrange its Gathering schedule to accommodate Sealaska Heritage Institute’s final set up preparations for the Native Artists’ Market, which was also to be held in the Old Armory following our event.
The Gathering’s volunteer organizing committee included Clarissa Rizal, Preston Singletary, Aldona Jonaitis, Jan Steinbright, Donna Beaver, Chloe French, Doug Waugh that reflected a mix of cultural and professional backgrounds, including teachers, artists, curators and arts activists, both Native and non-Native. A big thanks to all the artists who attended and all our volunteers who made 2006 & 2008 Gatherings a success!
Northwest Coast Artist Gathering 2006 & 2008 coordinators L to R: Doug Waugh, Aldona Jonaitis, Alan Pizzarelli, Donna Beaver Pizzarelli, Clarissa Rizal, Jan Steinbright, NMAI art director Keevin Lewis, and Preston Singletary
The 2012 Native Artists Gathering sponsored by Sealaska Heritage Institute is inviting all Native artists to bring photographs of their work to share and network. There will also be an artist panel discussion and light refreshments. We envision SHI’s gathering of artists is a welcomed event and enjoyed by all!
Mar 29, 2012 | Health and Wellness, Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated |
Adding the Devil's Club leaves to the black & white Chilkat robe design - acrylic painting on canvas measures approximately 24" h x 38" w - Clarissa Rizal; March 2012
I was commissioned by the NNAAPC (National Native American AIDS Prevention Center) in Denver, Colorado to create an image for this year’s convention. Of course the theme is based on the awareness and attendance to health, healing and prevention. They asked for a traditional image that would reflect their theme. I couldn’t think of anything better than of course, Chilkat!
Added the traditional colors of yellow and blue along with the green leaves of the Devil's Club
If you’ve studied the older Chilkat robes of the past 200 years, you will notice there are robes that have similar designs, where there are slight changes between each robe, yet distinctly they are related – like a variation on a particular theme. I am doing this with my “Chilkat robe within a robe” series. Although I have designed a couple of robes with this same theme for a couple of my students, my very first one that I designed and wove was called “Jennie Weaves An Apprentice” (which I finally finished weaving last August 20122), which is what this painting is based and of course I changed some of the design elements (i.e. smile faces as opposed to grims, etc.), yet the design description (described below) is very different than that of “Jennie…”
Almost completed - just need to add the Devil's Club berries, give the painting a more "painterly" effect, and a coat of matte medium
Native Americans used Devil’s Club both as food and medicine. The plant was traditionally used by Native Americans to treat adult-onset diabetes and a variety of tumors. Devil’s Club is employed as a blood tonic, used in salves for skin ailments, rheumetoid arthritis, cuts and bruises. For spiritual protective purposes, the stalks were shaved of their thorns and placed above doorways, made into beads and worn on the person, and shaved stalk were placed in bowls and placed around the house. Sometimes, Devil’s Club was dried and burned like an incense during certain spiritual ceremonies. In vitro studies showed that extracts of Devil’s Club inhibit tuberculosis microbes. Because Devil’s club is related to American Ginseng some think that the plant is an adaptogen. The plant has been harvested for this purpose and marketed widely as “Alaskan ginseng”, which may damage populations of Devil’s Club and its habitat, which is why many Alaska Native peoples are very protective of our Devil’s Club population; we do not want the plant to disappear because of capitalist exploitation. We consider this plant very precious.
The plant is covered with brittle yellow spines that break off easily if the plants are handled or disturbed, and the entire plant has been described as having a “primordial” appearance. Devil’s Club is very sensitive to human impact and does not reproduce quickly. The plants are slow growing and take many years to reach seed bearing maturity, and predominately exist in dense, moist, old growth conifer forests in the Pacific Northwest, which is why we will harvest only what is needed. There are times we will harvest the entire stalk if the need calls for this, otherwise, we will take a small cutting at the lower backside (the part that does not face the beach or face of the forest). We never harvest the entire plant. To ensure the continuance of the Devil’s Club, we dig a small hole nearby the area we have harvested and we place an “offering” of tobacco, cedar or sage – we are “giving back” and paying our respects. Many Native American people consider ourselves “stewards of the land and sea.”
Devil’s Club generally grows to 3.5 to 5 feet tall; however, instances exist of it reaching in excess of 16 feet in rainforest gullies. I have literally walked under “forests” of Devil’s Club. The spines are found along the upper and lower surfaces of veins of its leaves as well as the stems. The leaves are spirally arranged on the stems, simple, palmately lobed with 5-13 lobes, 8 to 16 inches across. The flowers are produced in dense umbels 4 to 8 inches in diameter, each flower small, with five greenish-white petals. The highly poisonous fruit is a small red drupe 0.16 to 0.28 inches in diameter elongate in clusters.
Devil’s club reproduces by forming colonal colonies through a layering process. What can appear to be several different plants may actually have all been one plant originally, with the clones detaching themselves after becoming established by laying down roots.
This species usually grows in moist, dense forest habitats, and is most abundant in old growth conifer forests. It is found from Southcentral Alaska down throughout Southeastern Alaska to western Oregon and eastward to western Alberta and Montana. Disjunct native populations also occur over 900 miles away in Lake Superior on Isle Royale and Passage Island, Michigan and Porphyry Island and Slate Island, Ontario. I personally have seen Devil’s Club here and there in the higher elevations in marshy areas of the San Juan Mountains surrounding Pagosa Springs, Colorado. The plants are not as large as those in Alaska, but then again, Alaska grows things big.
The completed "Chilkat Devil's Club" painting on canvas for NNAAPC by Clarissa Rizal - March 2012
Design Description of the painting entitled “Chilkat Devil’s Club”
The stylized Chilkat ceremonial robe design depicts a smaller Chilkat robe within a larger Chilkat robe which is part of a series of Chilkat robes portraying “a robe within a robe” image. This particular theme is one that tells the story of the transference of indigenous knowledge healing methods from one person to another, or from one tribe to another, from one community to another, of from one culture to another; this is shown by way of the main human face (the Creator) who has gifted us the Devil’s Club and is flanked by the human faces on the top and left corner of the main robe who are holding the smaller robe (center lower half outlined in the yellow/black border) showing the recipient (smaller human face) of the healing knowledge and simultaneously the recipient of the healing modality. In this case, although the Devil’s Club signifies the ancient healing methodology of the indigenous peoples mainly of the Northwest Coast across the Northern part of the U.S. and southern Canada to Ontario, because of small cottage industries in Alaska and Canada who are creating healing salves, teas and tinctures, the healing properties of Devil’s Club is available to anyone in the world.
Mar 21, 2012 | Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
The beginnings of Clarissa's "argillite" done in charcoal
Well,…not only am I finally getting around to posting new posts on my blog, I am finally getting around to doing more work in charcoal – in this case, a charcoal done on raw canvas. I call it my “argillite carving.” (What is argillite? It is a black stone from the British Columbia area suitable for carving.) When completed, this piece will be approximately 30 inches wide x 6 feet tall. I’ll post the finished product when I complete it – stay tuned!
Sep 24, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
"Raven Knows Its Light" multi-media collage with faux pas painted frame - Clarissa Rizal
It’s hard to believe I actually got enough material together for a half-way decent show of some of my contemporary paintings and collages! The show opened on Thursday, September 1, 2011 at the Stonington Gallery in Seattle, Washington. My works were in good company with a couple of other friends of mine, Chloe French and Preston Singletary. Yes, all the works are for sale via the Stonington.
Stonington Gallery show opening - September 1, 2011
"Totem Theories Revisited" acrylic painting on canvas by Clarissa Rizal
Stonington Gallery show opening September 1, 2011
Tlingit World Series #092 - Clarissa Rizal - 2011
The above collage is a series based on the original painting “Ravens Prepare for Next Ice Age.”
"Jennie Weaves An Apprentice" Chilkat pattern board (for the Chilkat robe of the same name) - acrylic painting on canvas - Clarissa Rizal
If you are in the Seattle area, check out the show or…
Read about the opening show article in the Seattle Times – Friday, September 23, 2011: http://seattletimes.nwsource.com/html/thearts/2016289325_ar23tlingit.html?syndication=rss
Aug 26, 2011 | Adventures of Rear-Mirror Rissy, North Tide, Showing Off, Tlingit Culture Accentuated |
Buyers at Clarissa Rizal's booth during Indian Market 2011
Sealaska Heritage Institute worked with the Santa Fe Indian Market sponsor Southwest Association of Indian Art (SWAIA), to create the Southeast Alaska venue of artists and performers located at the St. Francis Cathedral Park across the street from the Institute of American Indian Arts Museum in downtown Santa Fe.
An Alaskan presence of Tlingit, Haida and Tsimpshian artists at the Santa Fe Indian Market included Nicholas Galanin, Beckie Etukeok, Celeste Worl, Louise Kandinger, Donald Gregory, Holly Churchill and Clarissa Rizal
Clarissa's booth at the Santa Fe Indian Market 2011
Crystal Worl, Beckie Etukeok and Clarissa putting the ends up in the back of the Chilkat robe at the Santa Fe Indian Market
Alaskan Tlingit storyteller, Ishmael Hope on stage at the Santa Fe Indian Market
Featured Alaskan dancers at the Santa Fe Indian Market were the Mt. St. Elias Dancers from Yakutat
Watch the Mt. St. Elias Dancers – Santa Fe Indian Market 2011 <http://www.youtube.com/watch?v=xDKzpn5Hr04> 
http://www.youtube.com/watch?v=xDKzpn5Hr04
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
