Feb 12, 2013 | Class Act, Tlingit Culture Accentuated, To See or Not to See, Tools-of-the-Trade |
The late Jennie Thlunaut’s hands showing Clarissa a trick-of-the-trade…photo by Clarissa during her apprenticeship with Jennie – May 1986
In the next few weeks, I will be posting a variety of weaving “tricks-of-the-trade” – many of those that Jennie taught me and a few I devised from my years of weaving experience. Some of the tricks are conveyed in my Chilkat Weavers’ Handbook, however, I am too busy to revise and update the handbook, therefore no handbooks. However, I am on a Chilkat weaving roll right now – anything to do with Chilkat and I’m on to it – and I want to assist my fellow weavers, and any past or future students of mine. I want you to be a happier weaver as these tricks will help ease your process of weaving – So, stay tuned!
And hey, if you have any weaving tricks, I welcome you to share them!
Feb 11, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
“Resilience” Chilkat robe “pattern board” draft – copyright Clarissa Rizal 2013
I think it’s either brave of me to reveal to the world a Chilkat pattern board I recently designed, or I am plain stupid. Is it taboo to show a pattern board of a Chilkat robe I am planning on weaving this Summer? Will someone steal this idea before I get around to weaving it, or do a rendition of it? Am I “jumping the gun” and sabotaging the energy of actually weaving this robe by sharing the pattern board? Anyone want to share your thoughts on this?
I have wanted to weave the idea of this robe since 1985; I finally got around to drafting up the design – I actually have the full-size “pattern board” – just the design field (without the borders) measures 48″ w x 28″h. The following is the design meaning:
“Resilience” is a “document” depicting icons of Western influences that changed our Northwest Coast indigenous peoples during the past 300+ years, and Native logos reflecting cultural integration and strength.
The Icons and their meanings:
• ships – Russians, Spanish and English explorers/traders
• double doors flanked by columns – museums, collectors, anthropologists
• pair of hands holding the gold pan – mining, western monetary system
• cross – Christianity, missionaries, organized religions, boarding schools
The Logos and meanings:
• Eagle and Raven represents the clan system-the fundamental foundation of the culture; also represents the Tlingit and Haida Central Council (logo) established in 1935
• Within each wing, logos of the ANB (Alaska Native Brotherhood) established 101 years ago in 1912 and the ANS (Alaska Native Sisterhood) were first indigenous civil rights groups in the U.S. – these two organizations gave “flight” for indigenous rights
• Within the chest of the Eagle and Raven, the Sealaska Corporation logo, 1 of 13 Regional Native Corporations of Alaska spawned from the passing of the Alaska Native Land Claims Settlement Act (ANCSA) in 1971 – these organizations reflect the “heart” of the present-day cultures’ integrating western ways of living and conducting western business while maintaining cultural values and ethics
• Tail – the new “rudders”; the new institutions created to assist in archiving, preserving and perpetuating the Native cultures of today; depicted is the Sealaska Heritage Institute (logo) established in 1980.
I plan on including Ravenstail weaving patterns in the “water” behind the ships and in the white “pillars.” I’ll also weave Ravenstail here and there in the robe. It’s fun to incorporate the Ravenstail weaving patterns into the Chilkat robes.
Feb 10, 2013 | Class Act, Tlingit Culture Accentuated, Uncategorized |
Hans Chester (in the background) brought out a Chilkat robe in a protected container to show to the 2003 Chilkat Weavers’ Gathering of 2003 including, L to R: Shgen George, Catrina Mitchell, Pat Walker, the late Elaine Etukeok, elder Bessie Coolie, Yarrow Vaara, Darlene See and Liana Wallace – July 2003
I am happy to announce a Chilkat/Ravenstail Weavers’ Gathering in Whitehorse, Yukon Territory held during the fabulous Adaka Festival at the new Kwaan Lin Dun Cultural Center on the Yukon River June 21-26, 2013. The Festival program includes: a gallery exhibition, artist demonstration tent, traditional and contemporary Indigenous music and dance, fashion, workshops, cultural presentations and more. Festival coordinators are currently working on this year’s line-up however you may check out last year’s information on the week-long Adaka Festival on their website at: http://www.adakafestival.ca/
Clarissa Rizal and Darlene See – the best part about the Weavers’ Gatherings is the sharing of laughter…it’s real good Chilkat medicine!
The Chilkat/Ravenstail Weavers’ Gathering is a wonderful venue where weavers from all levels of skill congregate to share in techniques, tricks-of-the-trade, establish life-long friends and gain spiritual and emotional support just by being together! Past Gatherings have been held in Hoonah, Juneau, Sitka, Haines, Alert Bay, Prince Rupert, and Pagosa Springs. We are excited to be hosted in Whitehorse. Chilkat and Ravenstail weaver, Ann Smith, Wolf Clan of the Kwaan Lin Dun people in Whitehorse, will be our local weaver “ambassador.”
Ann Smith begins weaving a Ravenstail robe while a Navajo weaver looks on – she is demonstrating weaving at the Heard Museum’s Indian Art Fair & Market – March 2003
The Gathering will be held in the Cultural Center’s Elder’s Room kitty-corner on the left from the main hall where all the festival performances will be held. The room is all glass allowing an ample amount of natural light.
The Adaka Festival Co-Executive Producer, Charlene Alexander is very excited about hosting the Weavers’ Gathering as part of their festival activities this year. Currently, Charlene is working on finding a large house where all of us may stay, and/or depending on number of participants, she will find locals who are willing to host us. However, if you need your space and privacy, there are several hotels and motels available, and I would suggest you book sooner rather than later.
As in the past, each weaver is responsible for their transportation to and from the Gathering. If you want grant assistance, applications for Alaskan residents may be obtained at the Alaska State Council on the Arts and the Rasmuson Foundation are due in just three weeks this coming March 1st. Also the New England Foundation for the Arts’ Native Arts Program has a travel grant with the stipulation that they must receive your application 2 months before travel date. It’s a fairly simple application and these people are helpful and generous. (In the past four years, I have applied and received this travel grant twice.) Because I am not Canadian, I am not familiar with the Canadian grants available, but I KNOW they are out there! Please do whatever it takes to help one another out in attending this wonderful Festival and Gathering!
If you are traveling by car, think about coordinating your travel plans with other weavers, just in case several of you want to car pool a drive from Haines or Skagway up to Whitehorse or a carpool from British Columbia. Spread the word about this Gathering!
You may take part for the entire week, or just for a few days or weekend – it’s up to your time and dime.
Bring whatever project you have on your loom, however, if you do not have a project and would like to begin one, gather your materials together to begin one. At past Gatherings, there is always someone who will assist you.
I will be conducting a weaving workshop during the Adaka Festival; I will mainly focus on teaching beginner students, however, if you want to brush up on your skills or obtain tricks-of-the-trade, you are welcome to attend.
If you need warp to begin your new project, you may place your order with me; I formed the Warped Bank, a team of people who spend part of their time spinning Chilkat and Ravenstail warp!!
If you have any questions about the Adaka Festival, please contact Charlene Alexander – her email address is: calexander@northwestel.net
If you have any questions, suggestions, concerns, etc. about the Weavers’ Gathering, please contact me via email at: clarissa@www.clarissarizal.com
I know many of us have time constraints due to jobs, family, fishing, etc. Just remember, you are not required to attend the Gathering during the entire week of the Festival; you may attend for a day or two if that is all your schedule allows.
We look forward to seeing you at the Gathering and Festival!
Feb 3, 2013 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A ball of Chilkat warp (still in the process of being spun) and in the background prepared strands of wool
A couple of friends of mine are providing the service of spinning warp for all you Chilkat and Ravenstail weavers who don’t have the time (nor the inclination?) to spin warp for yourselves. Place your orders now to be placed on our schedule.
The definition of e.p.i. – “ends per inch”
PRICES: Chilkat warp – $2.65/yard Ravenstail warp – $2.25/yard (Prices do not include shipping, handling and insurance)
ESTIMATED AMOUNTS FOR PROJECTS (varies according to size of project and size of warp) – below are estimates of yards using the standard size of 10epi:
* Chilkat or Ravenstail robe – 1000 yards
* Chilkat or Ravenstail apron – 250 to 300 yards
* Chilkat or Ravenstail leggings – 200 – 250 yards
* Chilkat or Ravenstail bag – 60 to 100 yards
* Chilkat or Ravenstail headband – 80- 100 yards
* Chilkat or Ravenstail pouch – 30 – 50 yards
Standard sizes of Chilkat warp – Ravenstail warp is spun the same but without the cedar bark
You may place your orders for Chilkat and Ravenstail warp by either emailing me (clarissa@www.clarissarizal.com) or giving me a call (970-903-8386 – and yes indeed the area code is 970).
We will also be creating a “warp bank” – we are optimistic that we can keep it continually stocked for sudden immediate requests!
In the near future, we will open a “Chilkat Store” on my website to provide Chilkat and Ravenstail products including Chilkat and Ravenstail warp, weft yarns, various size weaving looms and bags, simple weaving kits, spinning supplies, etc. Currently, I am in the process of recruiting the spinners, dye-ers, woodworkers, etc.
We will keep you posted to our progress! In the meantime, Happy Weaving!
Feb 2, 2013 | Honoring Others, Tlingit Culture Accentuated |
Clarence Jackson (photo courtesy Sealaska Heritage Institute)
If she knew when and where he was speaking
our mother would tell us she wanted to go see him
with her childish laugh and Raven eyes twinkling
we knew he must have been a special, special man
so we had to see for ourselves who he was
and while we sat amongst many others listening to his stories
we all received his gift of simple humor
and his Killerwhale lightening flash of smile
wet with the rainforest glowing in his full moon face
reflecting bright with light
our mother and we walked home with his smile
in our hearts.
Jan 30, 2013 | Class Act, Relationship Overdrive, Tlingit Culture Accentuated |
Huddling together, Darlene See, Jeanette Tabor and Jean Lampe weave Chilkat headbands on the portable mahogany looms – 22 years ago in January 1991
How is an apprenticeship different from a workshop or class? As I understand it, in the old sense of the word, “apprentices” would learn from a “master” artist craftsman by getting acquainted first through various tasks, i.e. cleaning up the shop, performing menial tasks for the master, sometimes making the meals, doing the errands, etc., and then when the apprentice became “worthy” (by the master’s definition and time frame), the apprentice would assist the master creating works without pay. An apprentice could work with the master for several months to several years.
Two of Jennie Thlunaut’s grand-daughters, the late Phoebe Warren (left) and Louise Light (right), with Darlene See (center) and Clarissa – all three are weaving Chilkat aprons – in March 1992 in Clarissa’s “Juneau studio”
According to my definition of apprentice, in the very beginning, the woman jumps through a lot of hoops if they are going to spend time with me; I am not easy to pin down nor get to – I live in a remote place of Colorado and my Alaska home these days is wherever I can lay my hat (although I still plan on making a home in Haines…(sigh)…someday soon). I am also not going to waste my precious time with someone who just wants to dabble in Chilkat weaving, so she has to prove herself to me and mainly I want her to prove herself to herself. An apprentice is someone who pays (in Jennie’s words) “big money” to have me to themselves, one-on-one. The apprentice has such a strong desire to learn the intricate art of Chilkat weaving, that before she even contacts me, most have already bought their loom, drafted up a pattern, purchased Cheryl Samuel’s Chilkat weaving book, and have the wool and cedar to begin spinning their own warp – and if they don’t have any of their materials just before they get a confirmation from me, they get their materials together real quick!
Vanessa Morgan weaves her very first Chilkat project: a pair of leggings in the shape of a copper T’naa (Chilkat face above/Ravenstail pattern below)
It is okay for my apprentices to be “loyal” to me (meaning: they shall have no other instructor other than me). However, I do not require this nor do I suggest it, the reason being first, that I am not a “god” and there have been many”gods” before me (LOL), the second being that I believe it is a good thing for students to learn from at least another instructor, and of course, the students will learn from other fellow students. I encourage my students to share their experiences without fear of “doing the wrong thing.” There are four techniques in Chilkat weaving: the 2-strand twine, the 3-strand braid, the interlock and the drawstring. Everything else that we learn are tricks-of-the-trade, and we can learn these things from watching other weavers, learning from other weavers, and listening to other weavers. Jennie had more than one teacher. She learned Chilkat weaving first from her mother, and when her mother passed when Jennie was 12, she learned from her aunties. Note the plural. And who knows how many other fellow weavers she learned from in her 84 years as a Chilkat weaver!
Vanessa Morgan and Clarissa Rizal with their Chilkat “T’Naa” Leggings
Also understand that if you are a beginner, intermediate (or master?) Chilkat weaver, be easy on yourself. As you are a student in learning about life, you will always be a student in learning the vast “seen and unseen” intricacies of Chilkat weaving. There’s more to Chilkat than meets the eye. I am weaving my 5th Chilkat robe; this is the first robe where I feel like my fingers are flying through the robe as if I know what I am doing; what(!?)…it’s taken me nearly 25 years to FEEL like I KNOW what I am doing! Hahahaha! And although there are some shapes I am not familiar with weaving, I am figuring it out just by logic and reason and having an artistic eye (which really helps!), and I have asked myself why it has taken myself so long to begin to feel “comfortable in my skin with Chilkat”…that answer is unfolding as I write. So if you think I am a master weaver, you can quit that. I tell you what, even after 96 years of being one of the most prolific Chilkat weavers in Chilkat history beginning at the age of 12, Jennie did not call herself a “master” weaver – other people called her that to which she replied at the 1985 class she taught in Haines: “…me a master weaver? I am not a master weaver…I am still LEARNING!”
Vivian Land – one of Jennie’s four granddaughters who began to learn Chilkat weaving during Clarissa’s first Chilkat weaving class in 1989.
I encourage my students to pay attention to their emotional and spiritual parts of themselves; this is one of the most important aspects of Chilkat weaving that Jennie taught me; these are things that are not easily conveyed in anything written on the history of Chilkat. According to Jennie Thlunaut “…it’s the spirit of the person that counts,…not just anybody belongs to Chilkat…this is not to have big heads about it…that’s not what this is about…this is about our people, this is about our precious land, this is about our relatives, the animals of the ocean and land and sky,…this is about appreciating this that has been gifted to us, given to you…always give thanks for what you got, for what you have been given…before you go to your loom every day, first thing you pray and give thanks…go to your loom clean – clean mind, clean heart, clean body…”
Jan 7, 2013 | Honoring Others, Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, Tools-of-the-Trade |
After drafting the pattern in pencil, then I outline with a black Sharpie marker
Have you noticed that even though I may be weaving on a Chilkat robe for a year or two, I do not ever show the process of me weaving on this blog until AFTER the robe is completed? The reason is because I was taught by my teacher Jennie Thlunaut that whenever Chilkat weavers are weaving a robe (as opposed to an apron, headdress, leggings, etc.), that we are not to publicly show the robe to the person(s) who has commissioned the robe. Another Tlingit taboo? I don’t know. While I was weaving with Jennie, I gave up asking her the question “Why” every time she told me certain Chilkat “guidelines.” I remembered that the elderly folk of that time period and before did not explain the “why” of things – you just did what you were told, and that was that.
Using the Sharpie marker, I fill in the form line. I used elements from a couple of robes. This is a Diving Whale with an Eagle in the right side of the body and a Raven in the left side. – The far right design elements are called the “filler.”
I apologize that I cannot show you the process of weaving this robe. My goal is to finish by May 1st this year; then I will post a sequence of photographs.
Jan 1, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Crayon sketch #1 is prototype for one of several paintings to do this year…
Last year in February 2012, my friend Lis Saya gifted me a box of “woodless” colour pencils (more like crayons); she thought that pencils without the wood were fascinatingly unique so she bought herself a set as well. During a concert, we sat together and put our sketchpads to use! I’ve posted a few sketches from my drawing pad; these will be used as “patterns” for my next few paintings this year…
This one reminds me of the coloring of overlapping shapes we’d do in Kindergarten, so I call this one “Kinder-ed Spirits”
This line drawing reminds me of the red earth canyons in the Southwest with varying levels, boulders and pebbles…just ink on paper
One of my very first charcoals in a long time; this reminds me of seaweeds and bull kelp…sometimes I just doodle and these are the things that come out of me…these kinds of drawings allow me the freedom to just play. They are not structured, purposeful, sophisticated art for example, the button robes and Chilkat weavings. I like the structure and the playfulness of both ways of being and doing.
And hey, MERRY CHRISTMAS AND HAPPY NEW YEAR!!!
Dec 2, 2012 | Adventures of Rear-Mirror Rissy, Health and Wellness, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Hand-caste paper feathers by Clarissa Rizal will be available for sale during Juneau’s First Friday Gallery Walk, December 7th, 2012
During the First Friday Gallery Walk, December 7th (4:30-7:30pm), Clarissa will be the guest artist at the “Aurora Healing Arts” on North Franklin Street just a half-block up from the Hearthside Books in downtown Juneau.
The hand-caste paper feathers above are made with recycled papers, with a vein of cedar bark trailing down through the middle of the feather to a mother-of-pearl button tipped with a strand of beads and with a crystal teardrop dangling at the end.
You may purchase the feathers with Native American quotes hand-written on them or there are blank ones to add your own inscription or keep it plain and simple!
Aurora Healing Arts is located on North Franklin Street a 1/2 block up from Hearthside Books in the Triangle Building in downtown Juneau
Aurora Healing Arts is owned and operated by Jan Parrish and Greg Garrison, featuring Infrared saunas, Devil’s Club salves and teas, healthy lifestyle products and herbal remedies. Also, Jan has been a licensed acupuncturist/herbalist with nearly 30 years experience with a treatment room off the retail store outlet. They recently opened a month ago.
Window into the world of “Aurora Healing Arts” – check out the paper feathers and all other good things for you in the window the next time you walk past…!
Aurora Healing Art’s uniquely exclusive Devil’s Club Chai tea in both decaff and caffeinated – and in my opinion, “Miracle Mend” is the best all-around healing salve
Auromatherapy spray mists “Raven Woman”, “Eagle’s Feather” and “Glacier Mist”…wonderfully fragrant for swinging into good moods!
Clarissa will have a variety of things available for your Christmas shopping options; they include: beaded wool felt Russian-style 1800-s Navy hats, shrink-wrapped Giclee prints, hand-caste paper feathers, gumboot earrings, greeting cards, original charcoals, cell phone covers and Chilkat robe pattern board paintings on canvas. (Note: The limited edition of hand-printed, hand-sewn Tlingit dolls have all been sold.)
Below are photos of some of the items for sale at this December Gallery Walk in Juneau…
9 greeting card images of button blankets based on robes designed by Clarissa – buy them individually or in a pack of 9 – use them as greeting cards or mat and frame them!
Beaded Russian-style wool felt hats by Clarissa – long-time friend, Kamala with Clarissa stand in front of a Chilkat pattern board on canvas
Spraying clear laquer to set the charcoal (to prevent charcoal from smearing!) – “Totemic Theories” is a charcoal on canvas available for sale in two separate formats: a wall panel measuring 28″w x 72″h and a free-standing column measuring 28″ x 76″
Dress up in your favorite, festive winter garb and join the Gallery Walk this coming Friday, December 7th; come visit Auorora Healing Arts and have a swig of Devil’s Club Chai and a bite to eat while checking out Clarissa’s work – we look forward to seeing you!
Nov 11, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Tlingit Culture Accentuated, Uncategorized |
Just enough room to fit 7 students learning to create a buttonblanket robe sampler in the cozy Raven’s Nest Gallery owned and operated by Sue and Israel Shotridge on Vashon Island, Washington State
Almost 30 years I’ve been designing and creating button robes. It never occurred to me to teach a class until Sue Shotridge dropped the first hint a couple of months ago. She bugged me some more until she got a real commitment. Golly, I’m sure thankful she insisted. As usual, like anything a teacher teaches, we just get better at it. With the tricks-of-the-trade I learned from my students, I shoulda been teaching classes long time ago!
Tools of the trade: thin sock filled with baby powder, pounce wheel, rotary cutter, snip scissors, Elmer’s glue, paper pattern, straight edge, antique mother-of-pearl buttons and of course, your fabric…!
The pounce wheel creates tiny holes along the design lines which will allow the baby powder to filter through onto the wool
Cindy Leask using the rotary cutter to cut the pattern in her black wool
…cutting out the design. The entire class pretty much kept up with one another…impressive!
A few of the students worked late into the evening…
After sewing down the design with a blanket stitch, the buttons are carefully laid out
Each button is carefully glued in place. This trick I learned from the late Agnes Thlunaut Belllinger back in the late ’70s when I never even thought of making robes – one day during dance practice, out of the sky blue, Agnes said “…Clarissa, when you are making button robes, do the layout of all the buttons and then one-by-one glue each carefully with Elmer’s glue…” Little did she know I couldn’t stand sewing buttons onto even a shirt let alone a robe with hundreds of buttons, but somewhere along the line, she musta known what my spirit many years later would go into…
It was great to see enthusiastic students play with buttons…
Clarissa’s first button blanket-making class – L to R: Clarissa, Anne Kelly, Michelle Ruelas, Paul Barry, Marilynn Short, Cindy Leask, and Steven Seto
