May 25, 2013 | Adventures of Rear-Mirror Rissy, Honoring Others |
Clarissa Rizal with artist friend Cecil Touchon at NuArt Gallery on Canyon Road in Santa Fe, New Mexico
I include Cecil Touchon in my blog posts on occasion because this is the guy that influenced me to get into painting and collage-making back in the late 90s. Here we stand before a two-piece painting he recently completed for his show opening May 24th in Santa Fe at the NuArt Gallery. The colors in this set jumped out at me bopping me on the head to paint my own rendition! Of course, it will not be anything like Cecil’s but, like most of the things that I “copy”, I do my own interpretation.
At the beginning of this year, I told myself this is the year for anything to do with Chilkat weaving; which by the way, is truly happening – let’s be careful what we ask for – however, I think next year it will be the year of painting, and I want to include my interpretation of Cecil’s painting above. Thank you for being a great inspiration and friend, Cecil Touchon!
May 15, 2013 | Honoring Others, Showing Off, Tlingit Culture Accentuated |
5 Tlingits each received a Rasmuson artist award including (L to R): Ricky Tagaban, Nahaan, Teri Rofkar, Clarissa Rizal and Norman Jackson
Today, 36 Alaskan artists received a Rasmuson Foundation award; check out the award ceremony at: http://new.livestream.com/rasmusonfoundation/iaa2013
I will be using the funds to help support me while I do several projects this year all having to do with Chilkat weaving, including the following: teaching an introductory Chilkat weaving workshop and spearheading the Indigenous Weavers’ Gathering and my art exhibit all at the Kwaanlin Dun Cultural Center in Whitehorse, Yukon; teaching apprenticeship in artist-in-residence in Haines, Alaska; helping weavers in Juneau, Alaska to begin weaving a Chilkat or Ravenstail robe in time for Celebration 2014; begin weaving my “Resilience” Chilkat robe, begin weaving my child-size Chilkat robe; and making the Chilkat weaving tour of Southeast Alaska and British Columbia down to Seattle, Washington this coming Fall.
The monetary support from this Rasmuson grant is invaluable for a (more than) full-time artist like myself. I have come to admit, my entire life is about creating art. And any and all monetary support is such a plus! Thank you, Rasmuson!
Apr 26, 2013 | Latest Art Projects, Tlingit Culture Accentuated |
The completed Ravenstail border for Israel Shotridge’s button blanket robe
Sue Shotridge is sewing a button robe for her husband, Tlingit artist Israel Shotridge, in time for the opening ceremonies of the Chief Shakes’ Clan House Renovation project in Wrangell, Alaska the weekend of May 3rd, 2013. They wanted something special for his button robe; this is it!
The preliminary drawing of the pattern for the border incorporating “Shaman’s Eyes” and “Bear Tracks”
The “bear tracks” pattern is an old traditional pattern; the ‘shaman’s eyes’ pattern was designed by my daughter, Lily Hope, which is a take-off on an old traditional pattern as well.
“Bear Tracks” pattern woven two ways – courtesy of the Ravenstail Weavers Guild booklet entitled “Ravenstail Weaving Patterns and Projects – Ancient and Contemporary” – can be purchased at Hearthside Books in Juneau, Alaska
Close-up of the “bear tracks” on top with “shaman’s eyes” below
Clarissa’s completed Ravenstail border on the weaving loom in front of the Chilkat robe she is presently weaving
The completed border will be attached to the button robe that Sue Shotridge is finishing for her husband, Israel – in time for the dedication ceremony of the Chief Shakes’ clan house renovation next weekend of May 3rd in Wrangell, Alaska
Apr 6, 2013 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated, To Market To Market |
The proposed “Resilience” Chilkat robe design by Clarissa Rizal
I would like your support on a project that is happening this week until the April 12th Art Event at the Portland Art Museum in Portland. This year, out of 7 art works, PAM will be purchasing only 2 of the new art works for their permanent collection. There are 7 curators who have chosen 7 different artists. Each of PAM’s seven curators have selected a work of art that they hope will find a place in the Museum—whether an ancient work of Chinese art or the latest from a contemporary artist.
There is only one choice for a new Native American art work to be placed in the museum; the Chilkat robe is IT! — Remember, there will be only 2 artworks out of 7 that will be chosen for PAM’s permanent collection
My proposed Chilkat robe called “Reslience” is up for vote; as of today, the Chilkat robe is placed 4th in the running. That’s not quite good enough; I’ve got to be at least 2nd in the running – here’s your chance to play a role in influencing the Museum’s permanent collection AND here’s your chance to vote for a Chilkat robe to be added to their Native American art collection AND here’s your chance to help me support myself with this Chilkat robe commission for this next year!
Go to the Portland Art Museum’s website at the address below and click on:
7 Curators, 7 Choices <https://www.portlandartmuseum.org/curatorchoices>
Scroll down to the image of the Chilkat and click on “more” – you may view the video and/or read the description by Deana, the Curator of Native American art. Scroll down and click on the “vote” button – this will automatically place your vote for the Chilkat robe!
I truly appreciate your time and support in placing a new Chilkat robe in the Portland Art Museum!
Remember, you must vote asap by April 10th(?) – time is of the essence.
Gunalcheesh! (Tlingit for “thank you”)
Apr 1, 2013 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
Above shows the texture of a “Fast-black” weave over three warp ends instead of two or four
Jennie Thlunaut would often use 4-ply yarn to weave just the yellow and black borders of her Chilkat robes. This enabled the weaving of the borders to be completed in half the amount of time when using the standard 2-ply yarn. However, I do not like the thickness of the weave, yet I wanted the weaving of the borders to go a bit quicker. So I “invented” (or at least thought that I invented) what I came to find out is called the “fast-black” weavers.
In the black border of the Chilkat robe, nstead of weaving over every two warp ends, I weave over 3 warp ends.
Years ago when I completed my first Chilkat robe for her uncle, my friend (and weaving student), Donna C., noticed that my black border had a different-looking texture to it. So being the inquisitive and fine weaver that she is, she carefully took a look at my weave and exclaimed “Hey, you are one of those fast-black weavers…I’ve seen this kind of technique in some of the old robes from our area and other places…!”
Really? I thought to myself,…and chucks, I thought I was doing something unique! Ha, I am reminded once again “there is nothing new under the sun” — if it has been thought of, it has been done!
Mar 29, 2013 | Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Clarissa and Ann Smith enjoy one anothers’ company at the Grand Opening of the Kwaanlin Dun Cultural Center during the annual Adaka Festival, Whitehorse, Yukon Territory – 2012
Whenever I begin weaving a Chilkat robe, I give thanks to Ann Smith, Kwaanlin Dun Wolf Clan from Whitehorse, Yukon Territory. I am remembering a life-turning conversation and experience I had with her. While it is true Jennie Thlunaut taught me how to weave Chilkat, and I will forever be thankful for the gift Jennie entrusted to me; it was Ann who inspired me to weave Chilkat robes.
In 1992, during a month-long Chilkat Weavers’ Gathering hosted by Darlene See, Ann was beginning the weaving of her first robe; she had the top 6 inches or so of the border completed. I hadn’t woven a Chilkat robe yet. At the time, I had no desire to weave Chilkat robes; I imagined myself on the path of weaving smaller pieces that accentuated modern-day clothing – yokes, cuffs, collars, lapels, etc.
I asked Ann why she wanted to weave robes at a time when it seemed like people didn’t appreciate them, much less even know how much time and dedication this type of weaving takes. She replied calmly and quietly “…Clarissa…it’s like this…we have to re-educate our people of not just the design and technique of weaving,…we have to educate them of the value…we have lost our knowledge of this art form and we have to gain back so much more than just that…” I added with a big sigh: “…well, Ann, that is a big task for us to tackle, don’t you think…?” To which she replied: “…well, that’s a choice we make. We are at a place in our lives where we can make that difference. What better choice to make than to be of service to our people who need this kind of strength in our lives…”
I asked her about working on a weaving that takes at least a year to make; like why would anyone want to work on something that took so long to make? Ann added: “…it’s the spirit of the thing…it’s the feeling that comes over me as I weave…it’s like this time-less connection of time immemorial that is happening at the same time…it feels as though all my relations are here with me, as though every Chilkat weaver that ever lived is standing behind me as I weave, watching, guiding and supporting me…” Ann motioned for me to sit down and weave on her robe. (Now that I have woven several Chilkat and Ravenstail robes, when a weaver invites you to weave on her robe, THAT is an honor!) I wove a few stitches on the border of her robe, maybe a total of 10 inches…when suddenly, I felt a power come over me, I felt a presence of many but I could not place my finger on it…I experienced the essence of what Ann spoke of!
Ann apprenticed with me in Chilkat weaving from 1992 to 1996. She is one of the most finest weavers I’ve ever known. Her finery too is woven in the manner in which she lives her life and guides her family and people. Over the years, I have sought her counsel in matters of relationships, art and business. She lead me to weave Chilkat robes; it changed my life in many more ways than one. Gunalcheesh, Ann!
Mar 26, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Looking through a window of Chilkat spirit
As I mentioned in my last blog entry, my teacher, the late Jennie Thlunaut taught me Chilkat “laws” or guidelines for weavers. She had indicated that many customs went by the wayside when the white man came. She said that when a woman was preparing all her materials to weave a robe, the weaver also prepared her mind and body. She prayed and refrained from certain foods and took care of her physical body. Once she began weaving the robe and during the entire time of the actual weaving of a Chilkat robe, the weaver refrained from any intimate relations with her man. When she told me this, immediately I wondered why we would have that custom.
Years later, when I was demonstrating Chilkat weaving during a Q & A period, an audience member had asked about any customs and laws pertaining to Chilkat weaving. When I had mentioned this particular custom, I was surprised at the immediate responses from the chuckling audience. They included:
“Oh,….no wonder why there aren’t very many robes out there!”
“Oh,…no wonder why there aren’t very many Chilkat weavers!”
“Oh really?…I think I’ll become a weaver!”
“Oh…what a perfect method of birth control…!”
“Whoa, there’s no way I’ll support my wife to become a weaver…!”
“No Wonder some weavers can weave a full size ceremonial robe in 2 or 3 months!”
If you have any responses and would like to share them, please feel free to leave a comment…!
Mar 22, 2013 | Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated, Tools-of-the-Trade |
Clarissa instructs Frances Joe and Marge Jackson during Clarissa’s 2nd Chilkat weaving class held in August 1990, Klukshu, Yukon Territory, Canada
Jennie Thlunaut taught me several Chilkat “laws” or guidelines for weavers and weavings. This day in age we would call them “taboos” since most of us modern folk do not (or will not) honor the laws of old – most modern folk think that following the “old ways of thinking and doing” no longer applies to us today. Some of us folks say that they want to follow the ways of our people, yet when it comes right down to applying those old teachings, or when it comes to honoring the elders and their guidelines, we choose to ignore.
You as a weaver, can decide for yourself which laws may apply to you.
The following list are some of the “rules of weaving.” Jennie was quite adamant about these certain things and I learned to honor them – they include:
1). no human hands – although you can weave three fingers and a thumb, you WILL NOT weave four fingers and a thumb!
2). Pray each morning before you weave – prayer is to always give thanks for the gift of weaving that you’ve been given, that you have your health and that you have lots of love in your family and friends,…prayer of giving thanks for everything you’ve been given, everything that you have, everything that has come to you.
An East Indian woven cloth to cover a Chilkat loom – a good protector from dirt and negative energies…!
3). Cover your work each time you are not working on it; always cover it before you retire for the night.
Complete the closure of any eye or circle before retiring for the day
4). When weaving a circle or an eye, always allow for enough time to complete weaving them before going to bed; so if you start an eye or a circle in the morning, and then you have other things to do during the day, you must make time to complete the weaving of the circle or eye, close it up, before you go to sleep that night – never leave it open during the time that you sleep.
5). Do not teach (“straight”) men – if you teach “gay” men, then make sure their character is in harmony with the Chilkat spirit.
6). Not to get big-headed about being a weaver; no room for being egotistical – keep your ego in check – especially when you are challenged by another
7). Go to your loom with clean heart, clean mind, clean body – do not weave when you are in a negative mood. That kind of energy goes into the robe and this is not good because the robe will carry that energy and may be transferred to the person who is dancing in the robe.
8). Do not show your weaving to the person who is buying (or may be buying) your weaving before it is completed.
Chilkat weaving is a strong spirit. Jennie tried hard to explain these things to me. I was young then, however, in my experiences as an active weaver, I have come to know many things of the unseen, and I see why the Chilkat laws of weaving apply today even as they did 100 years ago…the ways of the physical reality may change, the ways in how we live may change, yet the ways of spirit do not. I have experienced that when you apply these teachings, any or all, no matter what goes on in your life, positive and negative, there resides a strong, steady “rudder” serving as a guide of the straight and narrow path – and you will recognize all the good things that have been placed in your path – kind of like a path of righteousness.
Would these “laws” apply to Ravenstail weaving? I do not know, however, it wouldn’t hurt to apply these things to your every-day lives! What have you got to lose?
Mar 21, 2013 | Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
“Raven Brings Daylight to the World” or sometimes called “Raven Steals the Sun” or sometimes referred to “Raven Breaks Daylight” or “Raven Brings Box of Daylight” – Design by Clarissa Rizal – 1991
I found this t-shirt amongst my T-shirt collection (that I never wear) – I haven’t seen this for years! I think I wore it once maybe when first printed. I might have to do another rendition to make it more “weave-able or at least print another edition! – The image is as it says, a Raven holding the sun in its claws and beak…
Mar 20, 2013 | Honoring Others, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, Tools-of-the-Trade |
Close up of “Jennie Weaves An Apprentice” Chilkat robe by Clarissa Rizal completed 2011 – It is part of a series of Chilkat robe designs by Clarissa featuring a Chilkat robe within a Chilkat robe – the green and blue is to delineate between apprentice and teacher, the past and present, the present and future, Raven and Eagle clans
Jennie Thlunaut taught me several Chilkat “laws” or guidelines for weavers and weavings. This day in age we would call them “taboos” since most of us modern folk do not (or will not) honor the laws of old – most modern folk think that following the “old ways of thinking and doing” no longer applies to us today. Some of us folks say that they want to follow the ways of our people, yet when it comes right down to applying those old teachings, or when it comes to honoring the elders and their guidelines, we choose to ignore.
Chilkat weaving has a strong spirit. Jennie tried hard to explain these things to me. I was young then. I am young still, however, in my experiences as an active weaver, I have come to know many things of the unseen, and I see why the Chilkat laws of weaving apply today even as they did 100 years ago…the ways of the physical reality may change, the ways in how we live may change, yet the ways of spirit do not. I have experienced that when you apply these teachings, any or all, no matter what goes on in your life, positive and negative, there resides a strong, steady “rudder” serving as a guide of the straight and narrow path – and you will recognize all the good things that have been placed in your path – kind of like a path of righteousness.
In the next blog entries towards the end of March into April, I will list some of the Chilkat weaving laws, for both the weaving and the weavers. You as a weaver, can decide for yourself which laws may apply to you.
Thank you for staying tuned.
Mar 18, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Yellow cedar (approximately) 1/8″ strips – the color darkens to the like of red cedar because the sap is cooked out of the cedar in order to spin with the wool
A new student of Chilkat asked me a very good question: does it matter if we spin our Chilkat warp with yellow or red cedar bark strips? Is there a significant difference?
Yes, it does matter if we use yellow or red. However, the option is up to the weaver. And sometimes a spinner/weaver does not have a choice because of availability.
Yellow cedar is more pliable and supple than red. The yellow cedar and wool spin up smoothly for Chilkat warp. Some of us will use the red IF we do not have yellow available. The red does not split as evenly or smoothly as yellow. Warp with red cedar is a bit more stiff than warp with yellow (of course too this depends on the wool/bark ratio).
Split cedar strands hang alongside prepared wool roving on an antique drying rack – ready for spinning Chilkat warp!
You will notice red cedar used in the old Chilkat robes. These robes have a bit more “body” than those robes woven with yellow cedar warp. Like I mentioned, the preference is up to the spinner/weaver, and the whether or not the spinner/weaver has a choice in the availability of red or yellow cedar.
Mar 15, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Bundles of yellow and red cedar
Hang cedar to dry THOROUGHLY. Do not attempt to store until the bundles are completely dry. Depending on your climate, time of year and moisture in the air, drying time may take a couple of days to a couple of weeks. If you must place in a bag, use a paper bag at first. Always store in paper bag and not in plastic bag. You can use a plastic bag AFTER the cedar is completely dry!
Why am I stressing using the words THOROUGHLY and AFTER?
AVOID MOLD!
IF mold has set in to your cedar, check to see the depth of the mold. IF the mold has completely invaded the cedar through and through, then I would not use it for anything! IF the mold has only marred the surface of the cedar, then immediately soak the cedar bundles in vinegar water! Add approximately 1 tablespoon of vinegar to 2 gallons of water, immerse the cedar completely weighted down by a heavy bowl, and let it sit for an entire day before rinsing with warm water several times. Then let cedar bundles air dry THOROUGHLY!!!
If you’ve allowed your cedar to get moldy once, you will NOT ALLOW the next harvest of cedar to mold again!
