Jul 2, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, Tlingit Culture Accentuated |
Clarissa Rizal models her 7-piece dance ensemble created by 4 generations of women in her family: Clarissa’s Grandmother Mary Sarabia made the tunic for great uncle Leonard Davis, button robe designed by Clarissa and beaded by mother Irene Loling Sarabia Lampe, button work by daughter Lily Hope. (Photo by Minnie Clark)
This evening, the Adaka Festival sponsored the 2nd biennial Da Ze Tsan Fashion Show featuring traditional and contemporary designs from First Nations designers and artists, including a special sealskin collection from Nunavut, performances by Andrameda Hunter, Nyla Carpentier, and special guests. I was asked to be one of the special guests to show the following ensembles:
Mariella Wentzell models Clarissa Rizal’s latest 5-piece Chilkat woven ensemble “Chilkat Child” which includes the headdress, robe, apron and leggings (photo by Minnie Clark, Yukon News)
At $20/ticket (Elders and youth $10/ticket), I was totally surprised to hear that the tickets were sold out the first day of Adaka a week ago, and the standing room audience proved it so! — Fabulous traditional and contemporary works walked this runway. I did not include any photos here for several reasons: I was back stage during the event so I did not take any photos. These photos of my ensembles were borrowed from Minnie Clark, Photographer. And if you want to see photographs of the rest of the fashion show, then be-friend Minnie Clark on Facebook.
Megan Jensen models Clarissa Rizal’s three-piece leather ensemble made for her mother Irene Lampe by beadworker Kate Boyan in 1981 — Clarissa inherited the ensemble with her mother’s passing in 2011 (Photo by Minnie Clark)
Wayne Price models the “Egyptian Thunderbird” button blanket robe designed and sewn by Clarissa Rizal – though you cannot see the design in this photo image, you can check out the robe at the Haa Shagoon Gallery in downtown Juneau, or you may see it during one of the Native American art markets in Santa Fe, New Mexico (August), the Lawrence, Kansas (September) or Tulsa, Oklahoma (October), or Los Angeles (November – check out my “Calendar” website page for details (Photo by Minnie Clark)
Jun 29, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
Artist, Professor, and Instructor of Tlingit form line art, Lance Twitchell introduces the class first with the spiritual and cultural context
Yes, I took an evening of form line instruction. Yes, even though I have been drawing formline for nearly 40 years, I felt like I could use some FORM-al instruction. I learned a bit from the instructor, Lance Twitchell. I learned a few techniques that I had never though of using AND I learned that I am not too bad of a designer, and that I could use some more assistance and inspiration. After all these years, it’s fun taking a class in which you know almost as much as the instructor! Lol.
Approximately 18 students, many of them just beginners, in the form line class sponsored by Sealaska Heritage Institute
A few years ago, Sealaska Heritage Institute took it upon themselves to begin teaching form line classes after Haida Artist Robert Davidson told the audience in attendance at the Sealaska Juried Art Competition that “the Tlingit people didn’t have very good artists who mastered the form line art.” (I had heard complaints from other well-accomplished Tlingit artists about Robert’s statement. I laughed at the absurdity, though at the same time I know that all of us will continually better ourselves at the formline art. Even so, did Robert realize his statement was a slap in the face to several Tlingit artists who have been working as long as he or nearly as long, like Nathan Jackson, Preston Singletary, Israel Shotridge, Rick and Mick Beasley, the Chilton brothers, etc.?)
Students were given the task of choosing a design aspect of the carved bentwood box shown on the screen to replicate as best as they could on their drawing paper
I don’t know if Robert realized how he was saying these things may have caused a ruckus for the locals though nevertheless, SHI decided it was high time they do something about educating the Tlingit artists no matter where they were in their careers as designer/artists.
Lance provided a list of the various form line definitions created by Bill Holm and Bill Reid over 40 years ago
Lance Twitchell added some very good aspects to the one-night instruction plan: the design terms in Tlingit language! I felt Lance did a fine job of leading the students carefully step-by-step. Though the part I enjoyed the best about his presentation was his acknowledgement of all the artists who had gone before and the spiritual representation of the art. — Being self-taught in Tlingit form line design, I appreciate the fact that SHI has taken the initiative to conduct classes throughout Southeast Alaska. If we had these classes 10, 20, 30, 40 years ago, I would have taken them…and that’s why I had the privilege to finally attend one! Thank you Sealaska Heritage Institute!
Tlingit Names in Formline
Jun 8, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Raven Button robe is a collaboration of designer Preston Singletary and sewer Clarissa Rizal
A couple of years ago, I wanted to make some button robes, but I didn’t feel like designing them. I guess I was just feeling lazy! So I did what I’ve never done before – I asked another artist for designs! I called up my friend Preston Singletary and asked him if he had any designs on hand that were suitable for button robes. He sent me two; one of the robes is now owned by Crystal Rogers Nelson and the other one is this one: Raven. Made with black and red wool melton cloth and some of the thousands of antique mother-of-pearl buttons I have been collecting for a good 25 years. Little does Preston know that we are 2 of 11 Native American artists invited to submit something for an exhibit that is traveling Russia for over a year.
“Woven Together” is an exhibit intended to share a small part of Native American culture with Russians in the Urals. This will likely be the first exposure to Native American culture for many who visit the exhibit. Typically, the Consulate supports such artistic exchanges in order to encourage contact between Russians and Americans and to promote interest in the diverse people that inhabit the U.S.
Clarissa Rizal sorts antique mother-of-pearl buttons for the Raven button — a collaboration between designer Preston Singletary and button robe maker Clarissa Rizal
The exhibit will travel to three cities in Russia – Yekaterinburg, Orenburg and Surgut. In all three cities there will be opportunities to show objects in display cases as well as on the walls.
Yekaterinburg is an industrial city and the capital of the Urals. Previously, they have hosted an exhibit of Native American photography.
Orenburg is a remote city in the south of the Urals that is simply interested in learning more about other cultures. This will be their first time hosting an exhibit the American consulate and they are very enthusiastic.
Surgut is a city located in a region that is home to the Khanti and Mansi peoples. The region is committed to preserving and honoring the cultural heritage and traditions of the Khanti and Mani peoples, and they are particularly interested in the Woven Together exhibit to learn more about Native peoples in the U.S.
Corners of “Raven” button blanket made by Clarissa Rizal designed by Preston Singletary 2015
May 25, 2015 | Tlingit Culture Accentuated, To Market To Market |
The new guy on the block: Haa Shagoon Gallery features local Northwest Coast arts and crafts
Haa Shagoon Gallery recently opened it’s doors on May 1st this year featuring mainly Northwest Coast art from locals as well as anywhere else along Southeast Alaska and West Coast Canada, though one can find antique woven grass baskets, carved ivory and baleen from Alaska’s far north. Owner Don Morgan says he has sold twice as much artwork since the first two weeks than he did in two months at his other location in the Senate Building just a couple of doors down from his new location!
Owner Don Morgan of the Haa Shagoon Gallery
Haa Shagoon is a Tlingit phrase meaning “Our Land.” Haa Shagoon features artwork from about 20 Alaska Native artists including Jnu Didrickson, Boyd Didrickson, Debra O’Gara, Kay Parker, Ray Peck, Brian Chilton, Irene Jean Lampe, Lily Hope and Clarissa Rizal, to name a few. Items available for sale include carvings of totem poles, plaques and masks, Ravenstail robes, aprons, headbands, limited edition silkscreened and Giclee prints, silver, copper and gold jewelry, pottery, etc.
Everybody’s talking: Artists Jnu Didrickson, Israel & Sue Shotridge, Don Morgan
Generally every day, Haa Shagoon features an on-site artist demonstrating their work; sometimes there are two or three artists, yet always at least one, Most of the artists are locals who live in Juneau, but on occasion Haa Shagoon may feature an out-of-town guest artist spontaneously dropping in and demonstrating for the day! Jnu Didrickson is a regular demonstrator working in carved wooden masks and silver jewelry.
Haa Shagoon Gallery is sandwiched between El Sombrero Restaraunt and the Alaskan Hotel on South Franklin Street, Juneau, Alaska
On special occasion Chilkat or Ravenstail weavers may get the notion to demonstrate the weaving technique, just so we can “get out of the house!”
A Chilkat weaving demonstration took place on Memorial Day weekend, Sunday, May 24th with (L-R) Lily Hope, Clarissa Rizal and Irene Jean Lampe
I have approximately $60K worth of inventory featured at the Haa Shagoon Gallery; they carry the most work I’ve every had in any gallery at one given time in the past 15 years. They feature a variety of my work created in the past 3 years including, 5-piece woven ensemble “Chilkat Child”, the “Egyptian Thunderbird” button blanket, the 6-foot “Totemic Theories” charcoal on canvas, “An Ocean Runs Through Us” limited edition Giclee triptyck, and a wide selection of limited edition Giclee prints.
Front entry of Haa Shagoon Gallery
Haa Shagoon does a 70/30 commission; when an item sells, the artist receives 70%, Haa Shagoon receives 30%. Most galleries do a 50/50 split. Contact Don Morgan if you are an artist interested in Haa Shagoon carrying your work, please give Don Morgan a call on his cell at: 907-209-1501
May 16, 2015 | North Tide, Tlingit Culture Accentuated |
South Seward Street in Juneau, Alaska was blocked off the entire day of Friday, May 15th for the opening festivities of the Walter Soboleff Center
Hands down, many have stated the Walter Soboleff Center is the most beautiful, newly-built building in all of Juneau, Alaska. I must agree. The local architect did an amazingly beautiful job fitting this fineness sandwiched between the early 1900 buildings. Sealaska Heritage Institute’s president, Rosita Worl has worked hard to make what SHI is today; the manifestation of this building had to be her ultimate vision. She had every right to hold her head high during this grand opening occasion. I commend her and her team on a job well done!
The Soboleff Center is directly adjacent to the Sealaska Plaza parking lot – Juneau, Alaska
When SHI was only a year old, I applied for a job. Looking back now, I realize that I was the 4th or 5th employee. David Katzeek was president then, my cousin Lisa Sarabia was the receptionist, Mary McNeil was the scholarship coordinator and my Auntie Katherine Mills was one of the first to be hired temporarily to record and translate Tlingit history, Tlingit language, stories and song. I was hired to take Mary McNeil’s position. Now with more than 30 employees, SHI proves it has come a long way in 34 years!
The children of the late Walter & the late Geneveive Soboleff: Walter, Jr., Ross, Sasha and Janet
Like any non-profit organization, SHI started from ground zero. The scholarship program provided Sealaska shareholders grants to attend vocational training, higher education or apprenticeships in Native arts and culture. Aunt Katherine Mills started the grassroots of the archives of history, song, dance and language. The scholarship program and the archives were basically the two projects of SHI. Celebration did not begin until March 1982. Since then, with the mastermind vision and work of Rosita Worl and her carefully-selected team of employees and the backing of the Sealaska Board of Directors and the formation of the SHI Board of Directors, Rosita has made SHI what it is today.
Dignitaries of Tlingit Raven and Eagle Clans
The Walter Soboleff Center is the largest fruit of Rosita’s vision and labor. This building now houses SHI’s offices, archives, retail shop, exhibit space, carving “shed”, rooms to conduct classes and additional office spaces to rent.
Dinah Hobson carries two cedar saplings during her dance group’s performance
Many of us artists anticipate conducting classes in carving, metal smithing, language, writing/poetry, weaving, drawing, storytelling, etc. We look forward to working/teaching in a space with good ventilation, best lighting, ample accommodations, and “being in our own neighborhood.”
Wayne Price (right front) stands before his crew of young carvers from Haines – they paddled for three days in the dugout canoe in time for this event
Local artists and visiting artists look forward to the encouragement and support Sealaska Heritage Institute has promised. We look forward to SHI truly supporting their shareholder artists in a number of ways such as providing classes to established and up-and-coming artists in Northwest Coast design, marketing and sales, weaving, carving, metal smithing, storytelling, print-making, button-robe making, beadwork, etc. We look forward to gathering and teaching, networking, and making a living doing our passion. SHI could truly support our shareholder artists with additional public art commissions, artist residencies, and class space with no charge to the artist.
Crowd view from Front Street looking towards the Sealaska Plaza
Come to think of it, the “Seattle Tribe” (what many folks call the artists who live in Seattle area), received the monumental positions to create works for the new building. Robert Davidson designed the red motifs and the new SHI logo on the building’s front, Steven Brown’s designs were sandblasted(?) in the glass awnings, David Boxley, Sr.’s large, painted screen in the entry foyer and Preston Singletary’s glass screen is inside the “clan house.”
(It seems that for any Tlingit artists who wants to be acknowledged and with future commissions by SHI, they would have to move to Seattle area?)
Although shareholder artists were not acknowledged by SHI during the grand opening of the Soboleff Center, artists who were present during the event included Reggie Peterson (Sitka), Dahkeen Mehner (Anchorage), Doug Chilton (Juneau), Israel Shotridge (Vashon), Lani Strong-Hotch (Klukwan), Shgen George (Juneau), and myself. (I apologize to those who I may have forgotten or did not know were present at the grand opening.)
Ishmael Hope listens as Lieutenant Governor Byron Mallott speaks on behalf of the State of Alaska.
One of the complaints I have heard already about SHI’s retail outlet is that SHI is not really doing their job of encouraging local artists to sell their wares because their work was not accepted for sale in SHI’s new retail shop. Artists have also complained that nearly half of the retail shop includes too much manufactured stuff from Native Northwest (previously known as Garfinkles, Inc.) or other Canadian-based companies specializing in printed scarves, mugs, pins, wallets, jewelry, books, etc. and that every gallery up and down the coast of Southeast Alaska and British Columbia seems to be carrying the manufactured stuff, why would SHI’s retail shop be doing the same when by the time the tourists reach Juneau they would have already gotten their token souvenirs and would want to see the “real stuff” from locals? — Golly, I had never thought about this until I heard this complaint over and over again. So of course, the way my mind thinks is: well…is there a solution? are there many solutions…what are they?
SHI President Rosita Worl (in Chilkat robe) and elder Bessie Cooley, listen to Lieutenant Governor of Alaska Byron Mallott
Solution #1: I imagine SHI could dwindle their stock of manufactured items to half of what they have now and truly seek out artists who: a) have a unique line of work, b) up to par with SHI’s standards of design/fabrication/presentation, c) are willing to sell their wares with 70/30 split (artist receives 70% of sales price).
I have also heard that artists were turned down because SHI was not interested in the artists’ work or that SHI already had too many of that kind of work, etc.
Solution #2: SHI needs to be truly honest about why they will not carry an artist’s work. If SHI feels that any element of the design/fabrication/presentation of the artist’s work does not meet their standard, then SHI needs to tell the artist just so with positive critique; it is only in this way that the artist will know what to do in order to be accepted in any high-caliber gallery. How are we to know if we are not told the truth?
Solution #3: Shareholder artists who are turned down need to take a brave look at their own style and see if they need some improvement in design, quality, and/or presentation. Have others critique your work. Ask SHI what do they suggest you do to raise the quality of your product, and then go do it!
SHI has a responsibility to our shareholder artists to encourage and support our artists. Isn’t that what one of the main goals of why the Soboleff Center was created? Or was the act and manifestation of this building possibly a political stance to put feathers in the caps of both Sealaska and SHI Board of Directors to build more credibility?
Members of the Alaska Native Sisterhood (ANS) and Alaska Native Brotherhood (ANB) – the first civil rights group in America formed in 1923
Even before the grand opening, I have heard concerns and complaints about “how come there were no female artists commissioned to create a major piece of work for this magnificent building…? Why only male artists? And why only male artists who all live down South…?” Again, I hadn’t thought about this issue until it was brought to my attention.
My response is a personal one that I have answered directly to those who have complained but will not respond here in this public forum because on one hand I respect those who are in charge of making those kinds of decisions though I on the other hand, have been disappointed about being slighted and although I am used to being slighted, I tell myself that some day “my time will come…” (as some other artists have told themselves the same…), and I also remind myself that “my time is always right now”, so therefore, why be concerned?
The elite group of Northwest Coast Artists (L to R): David Boxley, Sr., David Boxley, Jr. Preston Singletary, Robert Davidson, Delores Churchill, Nathan Jackson
Our values are slightly different now. We have grown into the western way of thinking in many more ways than one mainly because most of us live entirely in the western way of doing and being; we cannot help but eventually change the ways in which we were taught, or the ways in which we genetically received the patterning which were in high contrast with western values.
I remember being at the very first Celebration in 1982. The feel of Celebration was extremely different than what it has become 34 years later. Many things were different but because my time is limited, I will bring to mind one: At Celebration 1982, elders from just about every clan spoke to us in our languages, and even though many of us young people did not understand what was said, we could FEEL the importance of what was said. In the old way, people were acknowledged and introduced. All elders were placed before all and were acknowledged; they were all positioned with equal footing. Stories of the songs were told before they were danced. Good feelings of respect, honor and grace filled the room. It was one of the most powerful things.
At Celebration 1982, there were no political entities standing before us on stage whatsoever, telling us about how great things were to come and patting themselves on the back. Politicians forget that they were elected to their position by the people…and they forget to pat their commoners on the back too. They forget to acknowledge everyone who is proud of them and who put them there. They forgot to position our elders on equal footing not just emotionally/spiritually but physically too where they are placed on the same platform as they! Politicians, who generally have more money than any commoner, forget to “feed” the people in many more ways than one. In my mind, it’s a 2-way street when it comes to “nourishment.” Which comes to mind, how come there was no food or drink offered to the general public at this grand opening!?
Preston Singletary and Lani Strong-Hotch (Chilkat robe woven by Clarissa Rizal & Ravenstail robe woven by Lani)
The invitational children’s dance groups led by school teachers Shgen George and Hans Chester
Wayne Price and his 7-member team of paddlers of the dugout canoe come ashore at high tide
Loading the dugout canoe ashore
Dancers in Chilkat: Preston Singletary wears a Clarissa Rizal Chilkat robe, Paul Marks wears a Jennie Thlunaut Chilkat tunic and Nathan Jackson wears a Dorica Jackson Chilkat robe
Young students await the signal to begin their song and dances – Marigold Lindoff, great-great granddaughter to the late Jennie Thlunaut, wears the 5-piece woven ensemble “Chilkat Child” woven by Clarissa Rizal
Writer and Alaskan poet laureate, Nora Dauenhauer
In front of his dugout canoe, Wayne Price accepts the honor from the young dancers
Another view of the welcoming ceremony of the dugout canoe
One of my mother’s best friends, elder Cecilia Kenyon, member of the Wooshkeetaan Shark Clan
I made it a point to attend this grand opening. Even though I would rather be in my studio doing my work in the comfort of my space, lighting and bed, I had several reasons why I had pack up and come back home sooner this Spring, than later.
I felt it was important to be a part of the event because I wanted SHI and all those attending to know that my presence was there to be supportive of what SHI has been doing for many years and that even though I may not agree sometimes with the way they do things, I commend the institute on all that they have done and their resilience no matter what the confusion, conflicts and complaints they may receive.
Elder Edwina Smith, member of the Kaagwaantaan Wolf Clan
I attended this grand opening also because I knew I would see elders I hadn’t seen in a long time; there are a few of my mother’s friends (above) who for many years I have always had a fondness.
I also wanted to see a couple of my button robes and some of my Chilkat weavings danced: my “Chilkat Child” danced by my weaving teacher Jennie Thlunaut’s great-great-great granddaughter, Marigold Lindoff; the Chilkat blanket I wove for Anne Gould-Hauberg 15 years ago now owned and danced for the first time by Preston Singletary; the Chilkat cuffs worn by one of Wayne Price’s young carvers/paddlers; the recently-completed “Egyptian Thunderbird” button blanket robe worn by glassblower Reese, and the button blanket robe “Eagle and Raven” owned and danced by Crystal (Rogers) Nelson.
Wayne’s pride
I also attended because I knew several of my fellow artist buddies of mine would be attending, including Wayne Price and his motley crew, Preston Singletary and Sue/Israel Shotridge.
Check out those Chilkat arm bands by Clarissa Rizal
And to top off the event, Ishmael Hope gave the closing speech; he spoke in the Tlingit language with the passion of any elder who lived long time ago. I was brought to tears as he called out with such reverence and yearning, love and respect, joy and sorrow, it made the entire day worth while of being present and in the moment.
All in all, it was good to gather our people under the same “roof.”
Ishmael Hope gives a compelling closing speech spoken entirely in the Tlingit language
Wayne Price rests against his pride of the dugout in the “carvers’ cave” just outside of the center
Clan crests adorn the heads of young dancers during the outgoing procession
Crystal Rogers dances her Eagle Raven button robe (design by Preston Singletary; sewn by Clarissa Rizal)
Ravenstail octopus bag
Chilkat octopus bag, woven and worn by Shgen George
Ishmael Hope and his newly-adopted daughter (his great great grand niece) Mary Goodwin
Veterans lead the closing ceremonial dance
May 14, 2015 | For Crying Out Loud, Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Preston Singletary double-checks the accuracy of the most recent panel installed
Two years ago, when I heard through the grapevine that Sealaska Heritage Institute was planning on building a cultural center where the old Juneau Lyle’s Hardware once was, I got excited and thought of a couple of artist buddies of mine who I felt needed to be represented in the new structure. So I called up Preston and said he needed to get his foot in the door and make sure SHI has a monumental piece of his work. He asked what I had in mind. I asked him what would it take to construct a life-size, glass house screen front. He chuckled and said that the Seattle Art Museum’s house front was as large as he thought he could do. I said I thought it needed to be larger; he laughed again. He agreed that he would check out the engineering logistics with his production crew: could it be done? After some research with his production and installation teams, the answer was yes!
The paper pattern of the complete house front design
We spent a week or two drafting up a proposal for SHI; it would be a collaborative project since I’ve had some experience in glass work with Preston years prior and I am a fairly good designer (with always room for more improvement!); Preston and I felt pretty good about submitting the concept. A few months later, though both of us submitted the proposal as a team, he received a letter addressed only to him from SHI stating they liked the concept though they did not want my design concept. We both thought it weird that SHI made no statement about “working with Clarissa” on what design they wanted on the house front instead. They simply stated they didn’t want my design (which I interpret as my name) being associated with the glass front. After reading the letter a couple of times, I knew what “they” were up to. I knew “they” didn’t want me in the picture; they wanted a close relative instead, and I had an inkling who that particular relative was.
The “clan house” inside of the new Sealaska Heritage Institute’s “Walter Soboleff Cultural Center” (In 2001, I wove the Chilkat robe laying on the bench; Preston recently acquired it from the original owner)
Preston asked me if I felt okay about him going ahead on his own instead of the initial teamwork we had planned. I told him that initially I wanted him to have a piece of his work represented in the cultural center, so even though he could have told SHI that we were working as a team, I told him to go on without me because I knew SHI would come up with whatever reasons to not have my name associated with any monumental art in the cultural center, and I wanted to avoid any further denials.
The installation of the 17′ x 12′ screen was created in panels — Preston sets the next plexiglass plate
About a year later in the Fall of 2014, SHI sent out an announcement requesting apprentices to work with Preston on the glass panel. Of course, I did not apply. I knew SHI already had the person(s) selected, one of them being the young relative to SHI’s president. The call for apprentices was the legal procedure they had to endure. Preston was given no say who his apprentices would be though he was very happy Nicholas Galanin was “chosen.”
How many guys does it take to screw in a 17′ x 12′ screen?
You, the reader, may interpret this blog entry as a bitter response to being edged out. You may also think that I write about these kinds of sensitive issues on my blog or elsewhere. Not so. This may be the first time (and most likely not the last) I have written about an unjust act on my blog. I may speak about unpleasant injustice or opinions to others face to face, but I am not one to write about injustice, especially in an art blog.
However, I have made an exception because I realize I made a mistake in the course of this story. There is no one else to blame about me not being “included.” When SHI “edged me out” of the art project, and I had told Preston to go on without me; I was not honoring myself as a one-of-a-kind, female, Tlingit, full-time artist of nearly 40 years; this is where I made a big mistake. There’s no other Tlingit or any other female artist out of all the Northwest Coast tribes, who lives now or lived before my time, who has ever accomplished all that I have designed and created in a variety of works. I realized that even now there is no other Native female artist from Alaska who comes close to my caliber of artistry. As the elder from the western TV film series would say: “…no brag, just fact…” How am I to be honored by others if I am not loyal to myself?
4 more glass panels to install
This particular story is a big lesson to myself. My mother always said I was too generous with others and that I always “sell myself short” and when people recognize this, there will always be those who take advantage of people like me without intention of giving back. This concept did not ride home to me until I saw a few photos of the making of this art installation on Facebook. I felt a ton of bricks crashing into the core of my being. I was depressed for a few days; I let myself down, but I looked within myself for my answers.
In white gloves…
So why do I tell this story here? It’s for me. First, this story is to remind myself of how I have been all my life; it is to remind myself to forgive myself for not honoring myself, not being loyal to who I am and what I do and what I have become and continue in my human becoming. Second, I tend to forgive and forget, even this is a lesson I must learn and retain, else I repeat the same pattern, going through the school of hard knocks and never earning any credits. Why do we need to acknowledge and earn our credits? So we can “graduate!” Hello!? — I have always said “Patience Is Worth Waiting For” and this definitely applies to the patience any of us need as we continue to “grow up!”
Preston with his professional installation crew: Jeremy Bosworth and Joe Benvenuto
Though this was a big lesson to go through regarding this project, I bear no hard feelings towards SHI nor Preston. Like anyone else, they have nothing to do with my self-worth. I had a wake-up call about my lack of self-respect, loyalty to self with honor. Although SHI has hired me to do small projects like book covers, I have known for awhile where I stand with SHI regarding large projects whether they benefit me and/or others; I have learned to work around them because I just want my ideas put out there and get done. AND, I am proud of my friend Preston and his great piece of work. The inclusion of his work was my initial idea; my friend is now represented in the art collection of Sealaska. What more can I ask for? I helped him get there, and I can pat myself on the back for this!
Read more about the details of this art installation online at the Juneau Empire:
http://www.capitalcityweekly.com/stories/052015/ae_1248671002.shtml
May 14, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
Clipping a little girl’s fingernails
To ensure a young girl to become a good weaver, in the olden days, her fingernails were clipped and woven into the Chilkat robes. The late master Chilkat weaver Jennie Thlunaut’s daughter, Agnes Bellinger called this “…kind of like a brainwashing…” This method was to encourage a straight and narrow path for the girl to grow up to be a strong, talented woman of good character. Agnes said “You can use this method for anything you want your child to become…”
May 7, 2015 | Latest Art Projects, Tlingit Culture Accentuated |
A roll of Seminole Indian Patchwork waits to become borders for button blanket robes designed and made by Clarissa Rizal
Back in 2005, I was given the honor to design and create a button blanket robe for a prominent elder in our community, Ethel Lund. The border of the robe was a Seminole Indian patchwork trimmed out with Navajo ribbon work. The robe is called “Frog Speaks” — it is part of my button blanket collection on my website at this link: http://clarissarizal.com/gallery/button-robes/
I have several feet of this roll of Seminole Indian patchwork wide enough for the borders to a couple of button blanket robes — with all the designs and options of fabrics, etc., it’s so hard to make up my mind how I want them to turn out! The possibilities are endless! You ever have that problem!?
May 2, 2015 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
A collection of antique fishing lures were hooked into becoming the embellishment to the next button robe designed and created by Clarissa Rizal
I’ve been collecting antique fishing lures from garage sales, antique and 2nd hand stores since 1999. While fishing with my father off shore at Outer Point back in the early 90’s, I had this notion that I would create a button blanket to honor my two older brothers and my father who were all commercial fishermen and also to just honor fish in general, especially salmon! Well 16 years later, my oldest brother and my father are now gone, and the other brother no longer fishes for a living because even that profession has nearly gone by the wayside too.
The salmon are disappearing; when our mother said that years ago, I didn’t want to believe her. Yet, we who are older than 50 have seen it with our own eyes. And the waters are so contaminated, that I will eat salmon maybe once a year because even though I crave our fish, I don’t trust what salmon are carrying.
I plan on creating a series of salmon button robes to mourn the loss of our salmon, however also to inspire faith our salmon will one day return in great numbers — maybe not in our lifetime, but possibly in our grand-children’s lifetime. If you, dear reader, come across antique fishing lures like those above, bring them to my attention so I can fetch them OR better yet, send them my way to my Alaska address or Colorado address – either way they will get to me! Thank you!
Apr 25, 2015 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
“Naaxein” is the Tlingit word for Chilkat weaving
During the Summer of 2013, a couple of my apprentices and I had volunteered to do Chilkat weaving demonstrations at the Sheldon Museum in Haines, Alaska. While we were there, of course, they had a nice collection of Chilkat weavings from the area, and to our surprise some weaving terms in the Tlingit language! So on behalf of the Sheldon Museum, I post some of the Chilkat weaving terms as well as the origin of Chilkat weaving according to an anthropologist from the turn of the century who wrote the book “The Chilkat Blanket, George Emmons.
In addition to the comment in the above photo made about Jennie Thlunaut’s signature, Jennie’s checkerboard “signature” was a pattern of yellow and blue.
Cost of a Chilkat robe back in the mid-1800’s was $30
Jennie had told me that she sold her first robe for $50. If my memory serves me, it was the robe started by her mother who passed away when she was a young teenager. She thought $50 was pretty good for a Chilkat robe; she had a confident smile on her face as she spoke.
“Kasek’xu” Tlingit word for dye
Jennie and Agnes Bellinger (Jennie’s daughter) told me the golden yellow was what weavers strived for and the best way to do this was all in the urine. The best urine to make the golden yellow was urine from a woman in her last month of pregnancy; second best urine was from a newborn infant. The way they collected the urine from a newborn was to place the “wolf moss” in the diaper and only collect #1 (as opposed to #2) and put the soaked wolf moss in the dye bath. The older the baby, or child’s urine, the more pale the golden yellow. Jennie and Agnes said there is no wolf moss in Southeast Alaska. The moss was a trade item with the tribes on the other side of the coastal mountains in British Columbia, Canada. The youth of the urine made the biggest difference in the color achieved and the set of the dye.
“Kakein” is Tlingit word for yarn
The mountain goat wool and cedar bark spin together as if they were mated for life; they are attracted to one another like bee to a flower! Mountain goat hides are hard to come by; and even if they were easy to acquire, there are so many Chilkat and Ravenstail weavers on board, we would make the herds run away further up into the high barren mountains! In the bio on Jennie Thlunaut here on my website under “Tributes,” there is a map showing the places where the men would hunt for mountain goat. Today there are a couple of guys who hunt mountain goat. We weavers need to do trades with these guys so we can let go of using the 2nd best wool that has replaced the mountain goat: merino wool from New Zealand. This wool is the closest fiber in the world next to the mountain goat. It spins up okay, but not as fine as the bee and flower of cedar bark and mountain goat wool…!
Teey Woodi Tlingit for Cedar Bark
The Western yellow cedar is best o split because the strands are silky smooth (when wet), they pull out into longer strands than the cedar (which is more brittle), and when you spin the bark and wool (done on the thigh), your hands are not prone to the first layer of skin rubbing off! Though if red cedar is all there is to collect, or someone gifted me some, then it is only sensible to not look the gift horse in the mouth. You acquire what you can! It is best to harvest the red cedar when the first sign of spring shows up with new green growth at the tips of the cedar tree boughs.
Chilkat weaving origins
There are several stories of the origin of where Chilkat weaving first began and how it came to and was retained in the Chilkat River Valley in Haines/Klukwan, Alaska. The Nishga’a in the Nass River area claim the weaving originated in the Nass River and only the Nishga’a inhabitated the area, not the Tsimpshian. The Tsimpshian from the Skeena River say Chilkat weaving originated there. The weaving had died out because of western contact in both areas, but fortunately, as one of the stories go, a Chilkat chief married a weaver from the Nass River (or Skeena River?), and then another story says it was the other way around. No matter what the story, all agree that there were specifically 4 sisters of a Raven Clan in Klukwan who unraveled the Chilkat apron to gain the knowledge of how the weaving was done.
Traditionally men designed the Chilkat robes because they were the artists of form line; women were the weavers…
Jennie said she finished a Chilkat robe in 6 months; she had pride on her face as she spoke. I didn’t believe her at first, but after I learned her fingering of speed, accuracy and tension, and I applied her knowledge to my weavings of today, well……?
