Jul 12, 2011 | Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Strolling along Auke Bay with Irene Loling Sarabia Lampe wearing one of her favorite hats - 2007
The following is written by our sister, Irene Jean Lampe (Photographs taken by Clarissa unless otherwise noted):
Irene Loling Sarabia Lampe was born June 25, 1925, in Port Althorp, Alaska. She died July 4, 2011, at age 86. Her Tlingit names were Latseenk’i Tlaa, Naax Seex Tlaa, and Xaays’ Neech. She was Raven Takdeintaan from Kaa Shaayi Hit and Tax’ Hit of Hoonah, Alaska, and Kaagwaantaan yadi and Kaagwaantaan dachxan.
Irene's parents Grandpa Juan and Grandma Mary pick apples with the smiling Jack Henke at 10 years old - circa 1960 - (photo courtesy Irene's family album)
Irene’s mother was Mary Wilson Brown Sarabia whose Tlingit name was Lxeis’. Mary’s first husband was Paul Brown, a Kaagwaantaan and song composer. Irene’s maternal grandmother was Jennie Edna White Wilson McClancey whose first husband was Bill Wilson, Kaagwaantaan, and second husband, Peter McClancey. Her maternal great-grandmother was Mary Phillips.
Irene's father Juan Sarabia - 1976
Irene’s father Juan Sarabia was a member of the Visayan tribe from Aklan province of the Philippines (PI), northwest portion of the Panay Islands in the Western Visayas Islands. Juan left PI and signed up with the U.S. Army in Hawaii in 1918. He traveled up the Pacific Coast to Alaska where he jumped ship with another soldier for a short time period. He was adopted into the Kaagwaantaan by Harry Marvin and given the name Deixyaanteen.
Irene’s husband William Boyd “Bill” Lampe was Bikolano from the southeastern peninsula of Luzon Island, the island where Manila is located. He was adopted into the Kaagwaantaan by Willis Peters and given the name Chaalk’ Tlein (Big Eagle). Irene affectionately nicknamed him “Lano” and in recent years, “Dudley.” Bill gave Irene the nickname “Bip.”
Bill saw Irene for the first time when she traveled to Seattle on the Princeton Hall sometime during the school year of 1947-48. She was a member of the Sheldon Jackson high school choir and they traveled for 3 weeks to perform in Seattle. Bill loudly said to her, “I’m going to marry you one day!” Later he met Irene again while working at Excursion Inlet cannery. Bill and Irene married on August 20, 1955.
William and Irene - Christmas in Seattle at his mother's house - Christmas 1955 (photo courtesy family photo album)
Irene grew up in Hoonah and Excursion Inlet. In 1935, she was enrolled in 1st grade at age 10 because her mother witnessed the negative effects of a western education system towards her older daughters. Her mother tried to shield her from the harsh treatment received by her older sisters. Irene barely knew any English at the time and was punished by school authorities for speaking the Tlingit language. She quickly learned the English language and continued to study it into the 1960s.
William and Irene stand in front of the The Excursion Inlet Packing Company cabin where we spent summers (50s & 60s) while she worked in the fish cannery and he was a fisherman - 2007
She enjoyed playing sports and was a member of the Hoonah Braves volleyball and basketball teams. During the summer months, she lived in Excursion Inlet and went to fish camps in Glacier Bay, Dundas Bay and Icy Strait to preserve food for winter. She fondly remembered gathering seagull eggs at Marble Island in Glacier Bay.
In 1941, Irene and her parents spent a year in Juneau. They rented a house at the bottom of Carrol Way and South Franklin Street. Irene had to walk to a bus stop where Fireweed Place is currently located to catch the bus across the Douglas Bridge to attend the government elementary school in Douglas, now the Douglas Montessori School.
In 1948 she was the valedictorian of her graduation class at Sheldon Jackson High School. She sang in the high school choir. She graduated with her close friend Katherine Wanamaker Goade. Just after graduation, Irene had enough money to travel to Seattle with some classmates. She wanted to attend Griffin Business College but her mother begged her to come home after being away from home for four years. Irene cashed in her ticket and returned to Hoonah.
Irene's long-time friends Katharine Goade (left) and Rachel Carpenter (right) - Celebration 1998
Besides babysitting for relatives and employed as a cannery worker for Excursion Inlet Packing Co., Irene’s first job after high school was as a waitress at the Alaskan Lunch Box, now the Alaskan Bar. She was also a housekeeper at the government BIA hospital near the present location of Federal Building and at St. Ann’s Hospital.
In the 1960s while working a full time job during the day, she attended Juneau Community College in the evening for about 5 winters where she enrolled in bookkeeping, shorthand, dictation, transcription, English, and typing classes. She was one of a handful of Tlingit women who were hired by the State of Alaska. She worked approximately 16 years for the State as a file clerk with Fish & Game, a clerk with Health & Social Services, promoted to an accounting clerk with Labor, and transferred to another accounting clerk position with Revenue Treasury Division. She quit State employment to work for Tlingit Haida Central Council for approximately 15 years. When she began work for T&H, there were only 2 employees – her and Ray Paddock, the president. She always said he was the nicest man anyone could work for.
Irene taking communion at St. Nicholas Russian Orthodox Church - 2008
Irene attended the St. Nicholas Russian Orthodox Church in Hoonah and Juneau following her ancestors. She believed in the Church because the Tlingit language was used in the services. She knew all the songs in Tlingit. A parish group photo was taken at the church on May 4, 1929 when she was 4 years old. She wore a hat in the photo and continued to wear hats throughout her life.
St. Nicholas Russian Orthodox Church - 1929 - Irene is sitting under the icon - the littlest one on the right wearing the hat - (photo courtesy Fr. Simeon)
Irene’s belief in the afterlife was heightened when she had a near death out of body experience in the late 1950s. She lay unconscious in a hospital room and recalled looking down at herself from above. When she woke up, she asked the attending nurse if there was a piece of crushed paper in the trash can next to her bed. The nurse said, “why yes, they haven’t cleaned the room yet.” Irene said the nurse then looked perplexed and asked, “how could you know?”
Irene was a fluent speaker of the Tlingit language. She enjoyed conversing in Tlingit with other speakers and young people just beginning to learn. She especially like to listen to elders such as Andrew Johnnie and Clarence Jackson for their excellent speaking skills and storytelling. She would literally gasp with excitement at their speaking ability.
Grandma Mary Wilson Sarabia sewing moccasin tops - 1972
Irene learned the art of bead work from her mother. Her first lesson was to thread all needles for her mother who was an excellent bead worker. She beaded many moccasin tops for her mother which helped to provide a source of income for her mother and family. Irene spent many hours every day devoted to bead work especially during her retirement years. She made several Takdeintaan beaded crests and octopus bags and handed them out to family members. When she was no longer able to thread needles, granddaughter Lily thread the needles for her.
Portrait during Celebration 1994 - (photo courtesy Wilhelm Photography)
Irene dancing at Celebration 2000, with friends Lillian Austin (left) and Marlene Sternberg (right)
Irene with lifelong friend, Pedro Barrill - Grand Entrance Parade - Celebration 2000
Irene loved Tlingit dancing and singing. She was a member of Yun Shuka dance group in the 1980s and danced with the Mt. Fairweather group on several occasions. She participated in every Celebration since the very first one in 1982 and except 2010. She was always excited about the Grand Entrance parade.
Irene in pink dress (hand-sewn by Clarissa) for New Year's Eve - 1988
Irene and Bill also loved to dress up in their finest to go out dancing at the Dreamland, Occidental Bar, and the Baranof Latchstring. They celebrated all the holidays by going out to dance. They especially liked dressing up in costume on Halloween.
Irene was washing dishes; Dad pulled her out "onto the dance floor" in the livingroom - (notice the rubber gloves) - 1999
Irene crocheted many blankets and gave to family members. She also gave away stacks of them at each of her sister’s memorial potlatches. She taught Bill to crotchet when he had a heart attack and stayed home more often in the evenings instead of going to bingo. He was so proud of his work.
One of Irene's first afghan's - 1980 - (A gift on the occasion of granddaugther Lily's birth)
Irene liked to walk and pick berries with her best friend Lillian Austin. Irene would walk from her house in Lemon Creek to Lillian’s house in Switzer Creek and together they would walk to Fred Meyer and back. They often picked berries at North Douglas. On several occasions they saw black bears walk right by them. Irene would be afraid to say anything to Lillian but when the bear departed, Irene would quietly say to Lillian, “Let’s go now” so as not to scare her.
Irene and Bill loved to travel to Hawaii, and to visit relatives and friends in Washington. Almost every other year, Bill got the driving bug. They drove to Anchorage to visit her niece and her husband Edna and Sam Lamebull, and to visit her brother Robert Sarabia in Seward. Irene’s sisters Katherine Mills and Sue Belarde joined Irene and Bill on a couple of road trips north.
William, son Timothy, and Irene Lampe - Hawaii - 1996
Irene was well known for her sense of humor, she liked to make people laugh! Often she would say or do something so hilarious in public that Bill would feel embarrassed and walk away from her. She collected and distributed photocopies of jokes and cartoons to friends and co-workers that would be considered “harassment” by today’s standards. Many former co-workers, especially at T&H, said they enjoyed working with her because of her sense of humor.
Irene pulls out her file folder of jokes she collected for many years - 1999 - (photo courtesy Dee Lampe)
Irene loved going to the movies to see comedies and scary movies. She was always laughed the loudest in a theatre. She loved to watch scary movies with Bill every Friday night. The more gruesome the movie, the better.
In her youth, Irene was always ready to participate in pie and watermelon eating contests. She said once her entire face was covered with blueberries. It’s no wonder she had a healthy appetite for such a little lady in her later years.
Irene was close to her brother Edward Sarabia, Sr. Photos of their youth indicate a sense of humor and as they got older, there was always laughter between them.
Irene lived up to her name Latseenk’i Tlaa (meaning strong little mother) in mind/body/spirit. In the face of adversity, discrimination, hardships, she overcame obstacles to provide a better life for her family all along maintaining that sense of humor and laughter. Irene sometimes made up her own words and instead of goodbye, she said “Boombie” which were her last words to her children. She will forever live on in the hearts of all those who knew and loved her.
Irene doesn't wave "good-bye" - she waves "Boombie!" - June 2011
Irene was preceded in death by her husband; parents; son Robert Allen Lampe, brothers, Edward T. Sarabia, Sr. and Robert “Bobby” Sarabia; sisters and their spouses, Katherine and Gilbert Mills, and Sue and Eladio Belarde; nephews, Gilbert “Butch” Mills and Patrick Mills; nieces, Barbara Sarabia Casey and Phyllis Mills Bean; aunts, Susie Wilson Davis and Kitty Lawrence; uncles, Mike Wilson, Alex “Shorty” Wilson, and Frank Wilson; extended family members, Sophie Davis Hanke, Leonard Davis, Fred Hanke, Jr., Joe Moses, Mary Lawson Jones, Gertrude L. White, and Moses Alex John. She was also preceded by three cats, Midnight, Kiki, and Kobe.
She is survived by her children, Richard Lampe, Clarissa Rizal, Tim Lampe, Irene Jean Lampe, Deanna Lampe; grandchildren, Amber and Brooke Lampe, Kahlil Hudson, Lily Hope, Ursala Hudson; great-grandchildren, Elizabeth Hope, Violet Hudson, and Amelie Haas; daughter-in-law Sarah Lampe; sister-in-law Helen Sarabia and family; Takdeintaan Mills and Belarde families; extended families of the Takdeintaan Head House; many friends, and her husband’s cat Bingo.
Pallbearers:
Frank Lee
Norman Sarabia
Kahlil Hudson
Ishmael Hope
Thomas Mills, Jr.
Aengus Saya
Honorary Pallbearers
Charles Jack
Thomas Jack
James Jack
Earnest Jack
David Katzeek
Ralph Knudson
Sam Lamebull
Harold Martin
Alfred McKinley, Sr.
Edwin Mercer, Jr.
Mickey Pico
Frank White
Ray Wilson
Guy Benningfield, Sr.
Lillian Austin
Bea Brown
Rachel Carpenter
Lillian “Ginger” Collier
Katherine Goade
Annette Hanke
Flora Huntington
Violet James
Jessie Johnnie
Anna Katzeek
Jennie Lindoff
Cecelia Unik
Lily White
Memorial service will be held at 6 p.m. Tuesday, July 12 at Tlingit and Haida Community Building, 3625 Hospital Drive in Juneau. Cards may be sent to Deanna Lampe, 350 Irwin St. #411, Juneau, AK 99801.
Thank you to all who helped make the memorial possible. Thank you to Donald Gregroy, our Chief Chef. Thank you to Tony Tengs of The Chilkat Cone for his donation of Chilkat cones for the memorial reception dessert. Thank you to several of my lifelong friends who helped serve the food, including: Charito Reid, Margaret Ramos Ashe, Lis Saya, Kelly Burnett, and Rhonda Mann.
Gunalcheesh, ho ho!
I have posted a previous blog entry last week “An Eternal Friendship With My Mamma” with more photographs and memoirs in honor of our mother, Irene Loling Sarabia Lampe.
Jul 5, 2011 | For Crying Out Loud, Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Irene and Clarissa at Celebration 2000
My mother passed away yesterday on a day of freedom, Independence Day, the 4th of July. I know my mother has been liberated from the restraint of her aged, wretched body. After intense suffering since the passing of our father over two years ago, including the recent passing of a son three months ago, she’s now a free woman. 8 days prior, she turned 86.
Irene with Clarissa and younger brother, Timothy - Summer 1958
Irene Loling Sarabia Lampe was born June 25, 1925 in Port Althorp, a place that doesn’t exist anymore, near Hawk Inlet. She was born during her family’s Summer fish camp to Juan and Mary Sarabia. They spent their winters protected from the cold North winds in the small village of Hoonah, near Glacier Bay. Eventually her parents worked Summer months at the Excursion Inlet Packing Co. (XIP); and in 1955 while working at the cannery, she met and married my father, William Lampe on August 20th. Nine months later, I was born. My parents dispute over my name. I would have been named Kate if I were born on June 5th, my mother’s eldest sister Katherine Mills’ birthday; or, I would have been named Patricia (i.e. Pat), after my father’s mother Patricia Rizal Lampe if I were born any other day other than June 5th. However, the day before I was born, my father dreamt a girl would be born to them and her name was Clarissa, a name he had never heard before.
William B. Lampe & Irene Loling Sarabia Lampe model the Eagle & Raven button blanket robes made by their daughter Clarissa - 1987 - collection of Tlingit & Haida Central Council offices, Juneau
Irene helps sew the button blanket wall mural "Following Our Ancestors' Trail" - 1992 - Private Collection, Austin, Texas
Most of her adult life, our mother helped support our family by working for various state and local agencies including the State Department of Education, Department of Health & Social Services, the Department of Revenue and Tlingit & Haida Central Council. A year after she retired in 1990, she said she didn’t know how she got all the things done that needed to get done when she worked a “real job.” She enjoyed traveling with her husband, hosting her grandchildren overnight, sewing quilts, crocheting afghans, taking daily walks and getting back to her bead work. She said she learned how to bead work when she was 5 (I have that 5-year-olds’ first beadwork), and that it felt good to get back to beading after almost a 60-year absence.
Sewing a beaded eagle for the back of her husband's vest - June 2005
One day I realized that I didn’t have a button blanket of my own. (Uh, huh. You are most likely thinking about the shoemaker who doesn’t make his own shoes and goes barefoot. Yep. That’s what I had been – over 20 years as a regalia-maker of robes for others, but not for myself nor family – yup!) Because I could create any kind of robe I wanted, from a Chilkat robe to a Ravenstail robe to a button blanket, I asked what kind of robe would I make for myself, and the answer was: “…you design the robe, coordinate the colors to match your tunic (I inherited in 1976 from my maternal Uncle Leonard Davis) and have your mother do the bead work; it will then hold special meaning for you…” – of course, why didn’t I think of that long time ago!? – The robe is made with deep red and deep brilliant blue melton cloth of 100% wool, antique, carved Mother-of-Pearl buttons, and machine-embroidered braid. The bead work and designs were sewn by my mother; I sewed the robe and did the embellishments with the embroidered braid and buttons. Below are images and details of the robe.
Clarissa's Black-legged Kittywake T'akDeinTaan button blanket robe - a collaboration with mother Irene Loling Sarabia Lampe who did all the bead work, and Clarissa designed and sewed the robe - 2005
*(For many our clan assumed the emblem as the common Seagull, and for many years I had questioned and doubted our clan emblem as a Seagull because the beaded representation of our clan designs was a bird that had a golden beak, black markings towards the tip of its wings and if there were legs portrayed in the design, they were black; plus, there was generally two birds hovering above a nest – to indicate that the nature of the bird: both parents raise their young. Due to my sister Irene Jean Lampe’s research a several years ago, we are now on the right track of the true identity of our clan emblem of the Black-legged Kittywake T’akDeinTaan.).
Small sea bird commonly dwells on cliffs near glaciers called the"Black-legged Kittywake" - Clan emblem to the Alaskan Tlingit T'akDeinTaan - beaded by Irene Loling Sarabia Lampe for her daughter Clarissa's robe - 2005
Close-up of the carved, antique Mother-of-Pearl buttons placed on the machine-embroidered braid along the borders of the button robe - Clarissa Rizal - 2005
When I put together the robe, I felt a need to “give back” to my mother. What could I do to repay her for the hours and talent she put into my robe? She would not take money from me. So I left the “debt” wide open until the idea came a year later when we were looking through her large box of all the bead work she had created over the course of 15 years since she retired in 1990; she had beaded flowers of all sorts and sizes and she had beaded at least 10 of the Black-legged Kittywakes. Suddenly, the idea popped into my head: “…sew up button robes for all of your Mother’s children and grand-children and place her bead work on each robe…” She loved the idea. This project ended up being a collaboration between mother, daughter and granddaughter; I sewed the robes, daughter Lily sewed the buttons, and we sewed down Mom’s bead work on each robe. We also sewed a couple more octopus bags fashioned after the one (on the right) that my mother had sewn. A weaving apprentice Julia Sai Carlson, had helped attach Mom’s bead work to the bags too. I had never sewn octopus bags before; it was fun. All the bead work was designed and sewn by our Mother. Below are the three octopus bags with Irene’s bead work.
The Octopus bags - August 2005 - collection of Robert Lampe's family
After my parent’s 50th wedding anniversary dinner on August 20, 3005, we went to their house to do a family ceremony of “bringing out the robes.” My parent’s children and grand-children were present. My mother gave a speech; it was an emotional time for her. (She had said she is not a public speaker – not even in front of her own family.) I was proud of our Mother. She spoke of how she kept the old bead work patterns that were once her Mother’s (Mary Wilson Sarabia), she mentioned that each robe had our clan emblem, the Black-legged Kittywake T’akDeinTaan, or a beaded raven (for our brother, Robert); she hoped that each of us would keep our robes long after she was gone. Directly after her speech, our sister Irene Jean sang and drummed a Tlingit song, and for the first time in our family, we witnessed all our family members dancing together; it was a thing of beauty, we laughed together. I felt this was a significant moment in our family’s life. My parents beamed.
We honored our parent's 50 years of marriage, with new robes for all the children and grandchildren - August 2005
Also, as part of our parent’s 50th Wedding Anniversary, we took a 3-day trip to Excursion Inlet. Included in our entourage was my sister Dee, my kids Kahlil and Lily, my apprentice Julia and myself. We joined our brother Rick, cousins Janie, Linda and 2nd cousins Thomas and Lydia. I have fond memories of spending a few Summers in Excursion Inlet when I was a child; it was a good feeling to hear stories of my parent’s days as young adults – it was good for my own children to experience the place and to hear the stories. We tend to forget that old people were once young.
William and Irene walking the "boardwalk" in Excursion Inlet - the cannery village where they first met in 1955 - He was a fisherman with his own seiner and had stopped there for the Summer, she worked in the cannery - August 2005
Another thing my mother incorporated into her life as soon as she retired was a daily walk. No, not just a walk around the block, but a real walk! Years of working at a “normal” job kept her in the condition of waking at 5am, so by 6am she was ready to go. From the age of 65, she began walking at least 6 miles a day. Sometimes she would walk with her friend, Lillian Austin. Sometimes she walked with another friend, Rachel Carpenter. She paced a steady rythym. I remember a time about 10 years ago, when she was 76, our brother Bunny met us at the Hoonah ferry terminal and we walked into town. At one point, we noticed she was walking way ahead of us; none of her kids nor husband kept up with her pace! The following photos are a few places where we walked…
Walking the Flume - July 2007
Walking the Juneau tour ship dock...June 2007
Walking Auke Bay...August 2007
Taking a rest on the Dan Moller Trail...2001
Starting in 2005, my parents began to ask me when I would move back home, so in 2007 I moved up to Juneau for about 7 months. During this time we took a couple of ferry trips; one to Hoonah (and my father hadn’t been there for over 30 years), and the ferry to Skagway to drive up to Whitehorse, Yukon Territory (a place they would pass through when they took their annual Summer drive into the Yukon and interior of Alaska.) I also took my parents on day trips in Juneau they hadn’t been in many, many years like the Lena Loop picnic area, Auke Bay, Eagle Beach, Echo Cove, Thane Road, Evergreen Bowl, Twin Lakes and Sandy Beach; and to places they had never been like The Flume and the Treadwell Mine. I knew then what is confirmed now: Forever I will cherish the Spring/Summer of 2007 – the time I made to enjoy with my parents.
William & Irene walk the Treadwell Mine Trail...July 2007
About 20+ years ago, my father, who was an avid gardener, had too many packets of daisy seeds. (I say “too many” cuz I quote my Mom.) During those years, my Mother walked Twin Lakes often with the family dog, Nick. One day she took several packets of the daisy seeds and sprinkled them on the banks between the highway and the Twin Lakes path. Over the years, the daisies have naturally spread their seeds. Right now, the daisies are in full bloom. The following two photos are of my parents during one of our walks back in 2007. During this walk, Mom and I told Dad the story of her sprinkling the seeds which resulted in the entire banks covered with daisies. As we walked the path, although my father’s response was an “Umph”, my mother and I knew he was proud of her. My Mother smiled quietly; she was very happy to be walking the path with her husband.
Irene walking Twin Lakes admiring all the daisies she "planted" many,many years ago...July 2007
William & Irene walking Twin Lakes - notice the expressions on their faces - he commented "hmmmm....I guess that's pretty good" - and she all along smiled with a spirit of satisfaction and pride...July 2007
Irene's of late walking shoes and cane - July 4, 2011
In 1996, I designed and created a leather button blanket style robe in honor of my mother Irene Lampe, in honor of mothers around the world, and in honor of our Mother Earth. It is called “Mother Earth Child.” The circle is the earth and the womb; inside the “womb” a mother tenderly embraces a child, the child tenderly touches the lips while listening to the mother. The circle of human hands represents the constructive and destructive nature of mankind. The robe is made of forest green leather machine-sewn appliqued upon turquoise leather with antique Mother-of-Pearl buttons. The turquoise represents the ocean and sky; the green represents the land.
The robe is currently displayed in the Hilton Hotel lobby in Juneau; it is part of the permanent collection of Native art of Goldbelt, Inc. I wasn’t sure about selling this robe to be displayed in a public art setting. Yet, as I am writing about this topic, I realize the robe in a public setting can be a reminder to all of us how important our mothers are.
Sewing the leather button robe in honor of my mother, "Mother Earth Child" on the 1935 Singer machine - August 1996
When my mother turned 70 in 1995, I felt it was time to honor my relationship with her; I began drafting out this design. My mother and I were not just mother and daughter; we were friends. I cannot remember a time when we had any disputes or discord between us (except maybe when I was a teenager and she worried about me like most parents do with teenage children!). She was always respectful of me even though she did not always agree with some of the decisions I made in my life and I was respectful of her even though I may not have agreed with some of the decisions she made in her life. Our mother was kind and generous to all of us. She watched out for us, protected us, guided us and she had a great sense of humor. Like most parents, she was always “watching our back” even to her very last day. Even though she is no longer in physical form, I think she will still be watching our back. Our mother loved us.
I will greatly miss our mother. Yet, as long as I live and my memory remains good, I will continue to have a lifelong friendship with my Mamma.
In honor of Irene Loling Sarabia Lampe: "Mother Earth Child" - copyright Clarissa Rizal - 1996 - collection of Goldbelt, Inc., Juneau
Jun 27, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Close-up of yoke of Tunic #1 - synthetic fringe, machine-embroidered trim, bias tape, felt body
I must have been almost 16 when I met him. I think it was 1972. He was part of a team of four Tlingit men who had come together under the organization of Gilbert Lucero. At a time when the Native culture was just beginning to “sprout” back, Gilbert’s vision was to provide the young Native community of Juneau a holistic approach to help revive the Tlingit culture by way of evening classes for an entire month held at the Totem Center. Cy Peck, Sr. came in from Angoon to teach the Native ways of conducting various ceremonies, clan ownership of the sacred objects and the Tlingit language; A.P. Johnson came from Sitka and introduced us to the conflicts of Native law vs. Western laws; and Harry Bremner, Sr. from Yakutat taught us the songs and dances of the Mt. St. Elias people. (There was a fourth elder who was a part of the team and I can see his face so clearly but I cannot remember his name – he had a permanent smile on his face, not much taller than I, with a head of thick, white hair – he was the one who, upon seeing me for the first time, called out to Harry and exclaimed: “Harry, come quickly, come!…Take a look at this nose!”) – Harry came up to me and looked at my face and checked out my nose. (You can imagine how I was embarrassed!) Harry then said: “You!…I want you to be my song leader and drummer…!”). That’s how I officially met Harry K. Bremner, Sr., 40 years ago. Coming to know Harry during those next four years lead me down a path I have yet to stray.
Full view of Tunic #1 - sleevless with ties at the side
These are photographs of my very first Tlingit dance regalia. They are styled after Yakutat’s Mt. St. Elias dancers’ regalia. I had never sewn anything before. I followed Harry’s instructions; he was the designer and knew exactly what he wanted. One day Harry said we were going to the fabric store and making tunics…(for the five, young students who seemed most committed to the songs and dances.) Those students included Deena (Aceveda) LaRue, Doug Patterson, Victoria (Canul) Dunne, Catrina (Camposano) Mitchell, and myself. Harry was preparing us to perform with the Mt. St. Elias Dancers who were going to be touring Southeast Alaska (at a time when Native dance groups did not exist, much less touring dance groups, was unheard of). None of us had any dance regalia; as far as I know, these were our very first regalia pieces. We learned the songs of Yakutat and Mt. St. Elias. Over the years, whenever I see the dancers perform and hear the songs, I feel a sentiment and a peace; I am immediately brought back to a time when these things were new, we were innocent to what lay ahead, and all of what I learned then is still a part of me now, as Harry helped bring me back home to myself.
My first five hand-sewn tunics - yes, indeed there are 6 and I don't remember making that one, but I've included it with the rest of these tunics; it has my clan emblem on it, the T'akDeinTaan, sewn to the front. I didn't know how to do the formline art back then so I KNOW I didn't make that tunic!
A few years ago, during the 2007 Clan Conference, I was talking with Elaine Abraham (Ramos), who is a niece to Harry. She was telling me that Harry was talented at many things – being a tailor was one of those talents. He had learned while he was living in Seattle working at a tailor shop. My very first sewing lesson was a question Harry asked me: “How long do you make the thread for your needle when you are hand-sewing?” I shrugged my shoulders. He replied: “The proper length of your thread is the distance from the object being sewn and your arm outstretched…” He added “…if you have it any longer than that, it will be too long and your thread will always tangle…” I have sewn hundreds of garments, costumes and regalia since then, and I kid you not, every time I have threaded up a needle and measure the length, I have ALWAYS thought of Harry. 40 years, and most likely still going!
Brilliant blue felt tunic trimmed with white felt and a matching pair of cotton work gloves trimmed with yarn pompoms at the finger tips and outer sides of palm - with synthetic gold fringe - Harry used these kind of gloves when he danced; I don't think any of us had ever seen this type of dance regalia accessory before - nowadays, most of us are familiar to these pompommed gloves
Days before I graduated from high school, my mother asked me what I would like as a graduation gift. I replied: a sewing machine. She looked perplexed “Huh? You don’t sew…I’ve had a sewing machine for years and you’ve never used it…” I replied “Well, if I had my own, I would sew…” Graduation Day was on my 18th birthday. My Mamma loves me; I received a brand new Genie Singer sewing machine – I love that machine. I used to travel with my machine all the time! The machine is compact, light-weight and is able to fit under the seat on a jet! Like I mentioned earlier, I’ve sewn hundreds of items. I taught myself how to read patterns and make clothing. I made clothing for my children, family members and friends. I brought it to a Chilkat weaving workshop in Haines in 1985 and after class I sewed two dresses for my Chilkat weaving teacher, Jennie Thlunaut. (In fact, she is wearing a dress I made for her in some of the last photographs of her taken by photographer, Larry McNeil.) Although I have a sophisticated Bernina, and I have a classic 1935 Singer sewing machine in a cabinet, I still use my Genie on occasion. I’ve even bought this same model for each of my daughters. When my mother saw the results of her gift, and witnessed my involvement with the Native songs and dance, she sewed me a button robe with a beaded emblem of our clan crest, the T’akDeinTaan. Funny thing, I had no idea my mother could sew button robes!
Tunic #3 - trimmed with bias tape, cult felt fringe and single strands of beads and sequins at the bodice
Harry was from the Kwaashki’kwaan from the Owl House in Yakutat. He said the T’akDeinTaan branched from Yakutat area by way of a tributary called T’akDein of the Alsek River. He said because we were related, I could call him “Grandpa.” He was a gentleman and had a sophisticated dignity about his appearance. I am not saying vanity in a negative way; I speak of it with respect in reference to this man. He was in his early 80’s and was gently proud of his physique – he made me note his 42″ barrel chest slimming down to a 32″ waist with no potbelly whatsoever. He had a brisk, direct walk. His mind was alert. And there has not been a Native dancer of his age like him; whoa, could this man dance! When I visited him in Yakutat in 1975, I discovered he was still building a house, building a boat and still went fishing! (At the time, me being only just 16, I was unawares of how remarkable he was – but now looking back upon it, I realize this amazing elder was in great shape.) Harry was a hunter, fisherman and he played the mandolin. (Now that I think about it, this guy was my kind of man!)
Tunic #4 - this was the tunic I wore - red felt body with blue synthetic fringe, bias tape and single strands of beads and sequins
I had no idea until a few years ago my mother had kept these tunics in her closet all these years! She asked me if I wanted them; of course! I am thankful to my Mamma that she kept these; she knew the value in them. In the meantime, she watched me designing and making button robes after button robes. She probably knew that although I had “neglected” these tunics, as I was young and going out into the wide blue world, I may want them some day. Of course! They are like little treasures of historical documents with the young sweat of our DNA and they were an introduction to a way of life I had not even imagined. Because Harry and I worked on these tunics, they are part Harry and part me. Can you tell I have deep admiration, respect and love for this man? And I am thankful that my Mamma saved these tunics; I think my Mamma is proud of me. I am fortunate to have these pieces as they are the living proof of where I began as a maker of regalia; it is living proof of how specific people in one’s life can make all the difference of what we be and do.
Full view of Tunic #4 - this was one of two tunics I had sewn that had sleeves - it was the first time I had sewn sleeves on anything - I do not have a photo of the other tunic; it belongs to Catrina (Camposano) Mitchell
Harry told me many stories; his voice would change when he was telling me something of great importance, something he wanted me to take heed. As he was telling the following parable, I could “see” the entire imagery; and, maybe that is why I have remembered this “lesson” well…and maybe I’ve remembered this lesson because I applied it to my life…
“Say you are across the sea on another continent and you will be taking a long return voyage home. The voyage might take a week, it might take a month, but whatever the length of time, you take care of yourself so you can make the long journey. You will not be drinking the pop or the alcohol – you will not eat bad food; if you do, you know what happens, you will get seasick and puke over the side. Depending upon how much you abuse or neglect your self, you may not make the long journey back home…stay away from these things so you may make that long journey and return to your self and know who you are…”
Harry K. Bremner, Sr. and I - Yakutat airport - April 1975
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!
Jun 21, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
I immediately took this shot 2 months ago when I moved in and set up my new temporary space. Nope, I didn't plan on having the black leather loveseat match the Tibetan rug match the turquoise couch match the bench match the yellow metal set of drawers match the Chilkat robe - it "grew" organically!
One of the first things I do when I move into a space is set it up comfortably, make the space “flow” and make it aesthetically pleasing; then, I place my loom where it feels best with the natural light being one of the major determining factors for its location. As a young child, my father always encouraged me to “make it look nice.” He encouraged me to take care of my surroundings, be clean, neat, organized, tidy,…and, make it beautiful. I’m not sure if I was already born with the capacity to design and create an aesthetically pleasing, workable space, or if I learned it. But, I enjoy creating spaces. I’ve even helped some of my friends’ do remakes in their homes. It’s fun. And a funny thing, every time I am designing or re-designing a space, I think of my father’s words.
The Chilkat robe on the loom is called “Jennie Weaves An Apprentice” – it is a tribute the apprenticeship with my weaving teacher, the late Jennie Thlunaut from Klukwan, Alaska – it’s the first of my series of robes I call “A Robe Within A Robe.”
Jun 20, 2011 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A "Catabiense Alba" rhododendrun blooms outside the window overlooking mountains and water. My latest painting: "Jennie Weaves An Apprentice" an acrylic on canvas, is part of a series with this design as its base. It is also the "pattern board" for the Chilkat robe I am presently weaving and intend to complete by mid-July!
I’ve been a privileged girl all my life. My basic needs have been met. I’ve had a roof over my head, decent food to eat, wild water to drink, and nice clothing if I want (but now I’m stuck on black sweatpants over the past 8 years and nobody can get me out of them!). No matter where I have lived in Juneau, there is always a beautiful view because it is just about impossible to not have a view of mountains, meadows, trees, a river, creek and/or the ocean. Although the past two years have been a challenge and I’ve struggled to maintain my basic needs, I am quite blessed with having a wonderful view while I am painting my next 6 original paintings on canvas and new collages. Like what more do we need when we’ve got astounding views to create by, right!?
Painting in the kitchen studio - only for another month, then it's time to move again...("pack it in, pack it out - pack it in, pack it out...")
I am planning on creating a series of 4 to 6 original acrylics on canvas with the same name as above, but numbered in sequence of their creation. Each one will have the foundation of the Chilkat robe pattern board, but a completely different painting. I’m excited about doing this series of paintings. I’ll have one of them for sale during my first show (ever!) at the Stonington Gallery in Seattle, opening September 1st. The others I am hoping I will have completed by the Santa Fe Indian Market August 20-21st.
Jun 19, 2011 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Drafting up a traditional Chilkat robe based on an old one. This one I call the "Lovebirds Diving Whale."
I’m working on a couple of Chilkat robe designs. One I just completed as part of my “robe-within-a-robe” series for a collaborative project with another artist; the other robe design is this one above. This design is a “diving whale” with an Eagle and a Raven, the Lovebirds. This is a draft of the robe I am preparing to weave, yet I am having second thoughts about re-doing the design so that it goes along with my “robe within a robe” series. My Chilkat robe-within-a-robe series are designs where there is a smaller Chilkat robe within the main image of the Chilkat robe. I have almost completed my first Chilkat robe within this series; it is called “Jennie Weaves An Apprentice.” The deadline for the completion of this robe is mid-July – however, I have been predicting the completion of this “Jennie Weaves” robe for the past two years; so what makes me (or others for that matter) believe me when I say it’s gonna be done by mid-July, huh?
Jun 10, 2011 | Class Act, Tlingit Culture Accentuated |
Strips of sap-free cedar bark in the foreground - students braving an adventure of spinning Chilkat warp!
Sunday night, a few hours after the tail end of the 1st Annual Yakutat Tern Festival, 18 women began to learn the art of spinning Chilkat warp of yellow cedar bark and merino wool. Traditionally, we use mountain goat wool, however, mountain goat wool is a rare find these days and merino wool is the closest fiber to match that of the mountain goat. The class began at 6pm and was only supposed to be 2 hours, but we didn’t get out of the classroom until 11:30pm that night when Evelyn finally broke the spell and said: “Gee, I’ve got to go home now…” Suddenly, all of us realized it was way past our bedtime! That’s what happens when we’re having too much fun!
A class of 18 students making their first attempts at spinning Chilkat warp - L to R: Carol Pate, MaryAnn Porter, Angel Harry, Evelyn Dierick, Carolyn Donohue, Eva Sensmeier, Victoria Demmert, Lois Dworshak, Yvonne Baker, ,Anne Pollnow, Shirley Cain, Joy Klushkan, (Maka Monture & Alison Bremner obscured), Judy Ramos, Penney James, and Gloria Benson
Some of the students are weavers of Ravenstail learned from Cheryl Samuels who revived the art of Ravenstail weaving back in the late 80’s. Ravenstail warp is not spun with cedar bark; Chilkat warp is. Someday, these students want to learn the art of Chilkat weaving, and with the eagerness of learning how to spin their own warp, I can tell these women will be persistent about learning Chilkat weaving.
Thin strips of yellow cedar bark ready to spin with the wool - silky when wet, rough when dry
L to R: Joy Klushkan, Maka Monture, Alison Bremner, Judy Ramos
The youngest student in the class, Angel Harry, organizes her strips of cedar bark and her wool roving to prepare for the next step - the actual spinning on her thigh!
Many thanks to MaryAnn Porter who helped organize this event and brought the class members together, to Carol Pate for the use of her Home Economics classroom and to all the students who braved the adventure of spinning Chilkat warp!
Jun 8, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
Nice heavy-duty pressure cooker
Cedar bark basket weavers need not cook the sap out of the bark as part of their preparation of their materials. Those who are Chilkat weavers need to cook the sap out of the cedar bark before spinning the bark and wool to make their Chilkat warp. In the olden days, a large pot full of water filled with cedar bark strips was placed on a fire outside. The water boiled for an hour or two, then dumped and clean water added and brought to a boil. This procedure continued for a week until there was not a whole lot of sap mixed with the water. This is a long procedure; I did it this way for several years until (the late) Agnes Bellinger, daughter to my weaving teacher (the late) Jennie Thlunaut, taught me how to do it the modern method:
1) With a paper towel, rub the interior and the lid of a large pressure cooker with vegetable oil; 2) Fill the pressure cooker with 2/3 water; 3) Add just enough cedar bark strips to fit into the pot comfortably – do not stuff the pot full; 4) Cover, bring pot to a boil – let boil at 10 pounds pressure for at least one hour, at the most two hours; 5) Release steam; 6) Open lid, let cool down up to an hour; 7) Find a place outdoors where you do not mind sap water being dumped. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet. Follow these procedures…
Strips of cedar bark awaiting to be lifted out of their sappy water
With a stick, lift out cedar bark strips from the sap water and place on news paper. (Note: if you use paper towels, there will be a tendency for the paper towel to stick to the bark).
Rule of Thumb: Always take the bark out of the water before dumping the sap water.
Lifting cedar bark out of the sap water
Find a place to dump the sap water. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet.
Dumping sap water
8) With a paper towel or rag, immediately wipe all the sap residue from the interior of your pressure cooker including the lid – then wash with pressure cooker with soap and water
Your cedar bark should be free of most of its sap, ready to be split into fine silky strips for spinning with wool to create Chilkat warp.
9) Store your bark in paper bags; never plastic bags nor plastic containers unless you know for sure that your bark is completely dry.
Happy sappy-free bark!
May 3, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Baskets waiting to be filled with treasures from the Easter egg hunt...
SikiKwaan with a filled basket in front of the St. Nicholas Russian Orthodox Church
I’ve taken our church for granted; that’s a normal thing they say cuz I grew up with this church and we all take things for granted that are a part of our everyday experience. Even so, that’s no excuse.
I had not ever really appreciated the full beauty of our Russian Orthodox Church (http://stnicholasjuneau.org) in Juneau until a friend, who was brought up in the Catholic Church across the street, had attended my brother’s memorial service a few weeks ago, commented on the beauty of the ceremony. “So I got to thinking about it…” (A statement that our elders would say when they contemplated…) The following are some of my thoughts on the subject of our unique beauty of our church:
Inside the church - view left
What church in Juneau is over 100 years old, and was built at the request of the Tlingit people in this area who helped actually design and build their church? What other church in Juneau has this kind of history combined with the elegance of the original paintings on canvas of those over 100 years old along side recent modern ones? Who else in town has a round church? Who else still burns untainted incense and burns hand-dipped beeswax candles during every service? Who else wears the traditional embroidered garments and robes during every service and wear crowns during significant ceremonies? Who else decorates their alter with satin cloths and real flowers? Who else serves actual wine and fresh-baked unleavened bread for communion? Who else has the congregation stand during the entire service of 2 hours? (Actually, there are chairs for those who need to sit.) What other church in Juneau has respected the Tlingit traditions for over 100 years and continues to integrate some of those traditions with the Russian Orthodox ways of doing things? AND who else sings traditional chants in 3 languages of Slavonic, Tlingit and English!?
Holy! After I got to thinking about all these things, I realized we’ve got one heck of a church that stands out amongst all of them in this community!
Inside the church - view right, where the choir stands
You would think that this being a unique church just in its visual richness and cross-cultural integrations, there would be more folks attending. Yet, not. As the elderly Native folks who were baptized many years ago pass away, and technology has shaped us over the years to have an attention span that requires more “entertainment” as long as it is short-lived, most folks do not have the patience to stand for almost 2 hours during a ceremony. If so, we have been conditioned into being “rewarded” with something if we are going to “suffer” through 2 hours of standing! Holy!
SikiKwaan finds another treasure!
Tichnon has filled his basket he handmade himself!
Directly after the Easter Sunday services, the church shared a potluck meal with traditional foods of Russia and Alaska Native - we've got the best of both worlds for more than one hundred years! -- Father Simeon cuts the roast lamb
Our traditionally-favorite Easter bread "kulich" - this loaf was made by Nora Dauenhauer - she has one of the best recipes!
Come visit our church; open your mind to another experience unique to this area. Stand for yourself and with all those around you. Show yourself that you have the discipline to stand and can pay attention and be alert to the life and love around us. It is true not all in life is rosy; not all is comfortable. However, when we stand up for ourselves, we gain an inner and outer strength; if you need a “reward”, let this be enough reason. Here’s an open invitation to come stand with us and share an inner and outer elegance.
