Mar 13, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Stained cedar bentwood box carved and painted by Clarissa when she was 16 years old under the tutelage of Peter Bibb, the woodshop teacher at Juneau-Douglas High School. The box was a Mother’s Day gift for her mother, Irene. After Irene retired, she began doing bead work; within a 15-year period, she had filled the box with beaded floral and clan emblem pieces. In celebration of her 50th wedding anniversary, Irene’s beaded pieces were applied to button robes, vests and octopus bags for her children and grandchildren. – A smaller cedar bentwood box sits to the right with a beaded “sailor hat” on top a glass head – Clarissa inherited both hat and box when her grandmother passed in 1976.
In the olden days, cedar bentwood boxes stored our clan regalia. Cedar boxes are/were the perfect natural insecticide against moths who have appetites for the woolen regalia in the Chilkat, Ravenstail and Button blanket robes and accessories. Nowadays, many of us use the Rubbermaid plastic tubs for storage, unless of course, you can afford your own work and grace one’s self with carved cedar boxes, or you trade with an artist friend to carve one for you!
When I carved the bentwood box, it was my very first introduction to Northwest Coast Art. Peter Bibb encouraged a number of us Native students to take up our own art because there were very, very few people still carrying on the traditions. He provided us Bill Holm’s “Looking at Northwest Coast Art” book, and if I am not mistaken, the design of this box comes from that particular book. ( I don’t know for sure because I eventually gave that book to my son after my mother passed so I don’t have it on hand to confirm design origin.) Peter kept close watch on my carving; at one time he grinned “…young lady, it looks like you’ve got a natural skill at this…(he chuckled)…who woulda known a little thing like you could do this!?”
When I carved this box for my Mamma, I did not imagine 40 years later I would have it sitting on one of my work tables; it stores woolen yarns as I have begun to learn how to knit.
Mar 5, 2013 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Assistants to the curators at the Portland Art Museum in Portland, Oregon hang “Resilience” to be photographed for P.A.M.’s website. The painting on canvas is the “pattern board” for a Chilkat robe Clarissa is proposing to weave this year. There’s the possibility the Portland Art Museum may commission this robe. (Photo by Kate Damon, P.A.M.)
Design Narrative by Deana Dartt-Newton, PhD, curator at the Portland Art Museum:
“The Chilkat Robe, an enduring symbol of Northwest Coast Native cultures, has remained an icon of Native American art through time. Today, fine examples of Chilkat robes can be seen right here at the Portland Art Museum.
Chilkat robes, a complex form of tapestry twining, are the best-known textiles of the Northwest Coast. Emblems of nobility, they are prized for crest significance, fine workmanship and spirituality. The labor-intensive process to create a robe includes spinning wool and cedar bark warp, dyeing weft, then weaving the blanket. The abstract designs of crest animals on Chilkat blankets fill the entire design space.
In the Resilience design, Tlingit weaver Clarissa Rizal, student of Master Weaver Jennie Thlunaut of Klukwan, will illustrate in a commissioned traditional Chilkat, a narrative about colonial impacts on Northwest Coast Native cultures.
Within the central design field, Eagle and Raven symbols dominate, as they continue to form the foundation of culture – the clan system. Rizal expresses adaptations for cultural integration and survival by incorporating logos of the Native corporations and organizations “giving flight” to Native rights and sovereignty. The right and left panels contain symbols of Western influences integrated into lives of Native people including museums, institutions, and mining represented by the pair of hands holding the gold pan.
A powerful bridge between the traditional and the modern, the Resilience robe will set the stage for an exhibition in 2017 highlighting continuities and change among the art forms of the Northwest Coast. The picture of balance and symmetry, the Resilience Chilkat is modern expression woven in traditional form and represents the powerful bridge we need to bring our historic collection of Northwest Coast Art into the 21st century.”
Read about Clarissa’s design description of this robe is in a previous blog entry: http://www.clarissarizal.com/blogblog/?p=2914
Feb 28, 2013 | Class Act, Tlingit Culture Accentuated, Uncategorized |
Chilkat warp stick
Chilkat “warp sticks” are an easy device for measuring warp for your projects. This “traditional” warp stick (shown above) was fashioned directly from Jennie Thluntau’s warp stick. The stick measures approximately 53″ high x 2″ wide x 1″ thick.
Chilkat Warp Stick notches are cut at 1″ intervals
The warp sticks are generally made of wood with notches at 1″ intervals. There are two groups of 1″ notches: The group of longer lengths are for a standard size Chilkat robe; the shorter group of lengths is for a standard size Chilkat apron.
Vanessa Morgan measures her warp lengths on her brand new Chilkat Warp Stick!
Using a piece of cardboard as another alternative for a Chilkat “warp stick” – a piece of cardboard cut to the desired length of a weaving project, you wrap your warp around and around and cut only one end of all the warp – another one of Jennie Thlunaut’s “tricks-of-the-trade”
I hope you are enjoying the various “tricks-of-the-trade” shared with you the past couple of weeks – please stay tuned for additional ones within the next couple of months….thanks for visiting!
Feb 27, 2013 | Acting Out and Musical Chairs, Honoring Others, Tlingit Culture Accentuated |
Clarissa and her ukelele – which, by the way, was purchased at Hawaii Music Supply…
Who woulda thought I’d be playing Tlingit songs with the sounds of a ukelele? Well, it was bound to happen sooner or later…!
I learned this song in 1972 from Harry K. Bremner, Sr., who then was in his mid-80’s. He said I had the rights to sing this song because our clan, the T’akDein Taan Black-legged Kittywake had branched down from the Coho Clan on the Alsek River near Yakutat – the Coho who are the owners of this song.
Here I sing with the ukelele accompanying just a shortened version.
YakutatBackStage
The following is a shortened version of a T’akDeinTaan song written by J.K. Smith; my sister Irene Jean Lampe discovered this song on an old recording of clan elders. I play a shortened version (without any of the words):
J.K.SmithSong
My very first song I wrote called “Shifting Shanks” – It’s influenced by “spaghetti western” sound, like a combination of “cowboys and indians” – the song is about not being aware of our Western privileges; we have so many freedoms many other countries do not have…we are born with “silver suspenders…”
ShiftingShanks
Feb 23, 2013 | Class Act, Tlingit Culture Accentuated |
Skeins of Ravenstail warp
Depending on the size of your robe, apron, leggings, etc., the following are the AVERAGE amounts needed for projects in either Ravenstail or Chilkat weavings:
Pouch …………………… 30 yards
Leggings ………………. 60 yards (both leggings)
Apron ………………….. 150 yards
Blanket ………………… 800 to 1000 yards
(and for Chilkat robe, add 200 yards for the side braids)
To determine the amount of warp needed for any project:
To work out the amount of warp you need for a project, use the following equation. First decide what size of piece you want to weave (Remember to give yourself a little extra length so you have enough to trim the ends straight. On a weaving without fringe, add at least 3” to the finished length so that you can work the bottom rows easily.
The Equation:
– Width of piece x number of warp ends per inch = total number of warp ends
– Length of piece x number of warp ends = number of inches needed
– Divide total number of inches needed by 36 (# of inches in a yard) and the resulting amount is the number of yards you will need for your piece.
Example:
Width of piece = 30”
You will use 10 (epi) ends-per-inch warp
Length of piece = 18”
So 30” x 10” warp ends-to-the-inch = 300 warp ends
300 warp ends x 18” long = 5400 inches of warp
5400 inches divided by 36” (in a yard) = 150 yards
You will need 150 yards for the project.
Need warp but you don’t want to spin your own? Just a reminder, I’ve got a couple of friends who are spinning both Chilkat and Ravenstail warp for us! You may place your order any time…!
Feb 13, 2013 | Class Act, Showing Off, Tlingit Culture Accentuated, To See or Not to See |
Notice the slightly darker shade of the braids than the weaving in both the yellow and the blue – that’s Jennie Thlunaut’s Chilkat trick-of-the-trade #1… (please forgive the blurred photo: I’ll replace it one of these days!)
Back in 2006 when I was visiting the University of Pennsylvania’s Museum collection of Chilkat robes, one of the staff members had pointed out that during another weaver’s visit to their collection earlier, they had noticed a difference in color of the braids from the weavers in a very old robe and wondered why that was…guess what I told ’em?
Jennie Thlunaut’s “Trick-of-theTrade #1” – While we are weaving, sometimes we mistaken our braids for our weavers. To avoid this annoying blunder, use a slightly different shade of braid, lighter or darker, than your weaver. Oh boy! Happier Weaving!
Feb 12, 2013 | Class Act, Tlingit Culture Accentuated, To See or Not to See, Tools-of-the-Trade |
The late Jennie Thlunaut’s hands showing Clarissa a trick-of-the-trade…photo by Clarissa during her apprenticeship with Jennie – May 1986
In the next few weeks, I will be posting a variety of weaving “tricks-of-the-trade” – many of those that Jennie taught me and a few I devised from my years of weaving experience. Some of the tricks are conveyed in my Chilkat Weavers’ Handbook, however, I am too busy to revise and update the handbook, therefore no handbooks. However, I am on a Chilkat weaving roll right now – anything to do with Chilkat and I’m on to it – and I want to assist my fellow weavers, and any past or future students of mine. I want you to be a happier weaver as these tricks will help ease your process of weaving – So, stay tuned!
And hey, if you have any weaving tricks, I welcome you to share them!
Feb 11, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
“Resilience” Chilkat robe “pattern board” draft – copyright Clarissa Rizal 2013
I think it’s either brave of me to reveal to the world a Chilkat pattern board I recently designed, or I am plain stupid. Is it taboo to show a pattern board of a Chilkat robe I am planning on weaving this Summer? Will someone steal this idea before I get around to weaving it, or do a rendition of it? Am I “jumping the gun” and sabotaging the energy of actually weaving this robe by sharing the pattern board? Anyone want to share your thoughts on this?
I have wanted to weave the idea of this robe since 1985; I finally got around to drafting up the design – I actually have the full-size “pattern board” – just the design field (without the borders) measures 48″ w x 28″h. The following is the design meaning:
“Resilience” is a “document” depicting icons of Western influences that changed our Northwest Coast indigenous peoples during the past 300+ years, and Native logos reflecting cultural integration and strength.
The Icons and their meanings:
• ships – Russians, Spanish and English explorers/traders
• double doors flanked by columns – museums, collectors, anthropologists
• pair of hands holding the gold pan – mining, western monetary system
• cross – Christianity, missionaries, organized religions, boarding schools
The Logos and meanings:
• Eagle and Raven represents the clan system-the fundamental foundation of the culture; also represents the Tlingit and Haida Central Council (logo) established in 1935
• Within each wing, logos of the ANB (Alaska Native Brotherhood) established 101 years ago in 1912 and the ANS (Alaska Native Sisterhood) were first indigenous civil rights groups in the U.S. – these two organizations gave “flight” for indigenous rights
• Within the chest of the Eagle and Raven, the Sealaska Corporation logo, 1 of 13 Regional Native Corporations of Alaska spawned from the passing of the Alaska Native Land Claims Settlement Act (ANCSA) in 1971 – these organizations reflect the “heart” of the present-day cultures’ integrating western ways of living and conducting western business while maintaining cultural values and ethics
• Tail – the new “rudders”; the new institutions created to assist in archiving, preserving and perpetuating the Native cultures of today; depicted is the Sealaska Heritage Institute (logo) established in 1980.
I plan on including Ravenstail weaving patterns in the “water” behind the ships and in the white “pillars.” I’ll also weave Ravenstail here and there in the robe. It’s fun to incorporate the Ravenstail weaving patterns into the Chilkat robes.
Feb 10, 2013 | Class Act, Tlingit Culture Accentuated, Uncategorized |
Hans Chester (in the background) brought out a Chilkat robe in a protected container to show to the 2003 Chilkat Weavers’ Gathering of 2003 including, L to R: Shgen George, Catrina Mitchell, Pat Walker, the late Elaine Etukeok, elder Bessie Coolie, Yarrow Vaara, Darlene See and Liana Wallace – July 2003
I am happy to announce a Chilkat/Ravenstail Weavers’ Gathering in Whitehorse, Yukon Territory held during the fabulous Adaka Festival at the new Kwaan Lin Dun Cultural Center on the Yukon River June 21-26, 2013. The Festival program includes: a gallery exhibition, artist demonstration tent, traditional and contemporary Indigenous music and dance, fashion, workshops, cultural presentations and more. Festival coordinators are currently working on this year’s line-up however you may check out last year’s information on the week-long Adaka Festival on their website at: http://www.adakafestival.ca/
Clarissa Rizal and Darlene See – the best part about the Weavers’ Gatherings is the sharing of laughter…it’s real good Chilkat medicine!
The Chilkat/Ravenstail Weavers’ Gathering is a wonderful venue where weavers from all levels of skill congregate to share in techniques, tricks-of-the-trade, establish life-long friends and gain spiritual and emotional support just by being together! Past Gatherings have been held in Hoonah, Juneau, Sitka, Haines, Alert Bay, Prince Rupert, and Pagosa Springs. We are excited to be hosted in Whitehorse. Chilkat and Ravenstail weaver, Ann Smith, Wolf Clan of the Kwaan Lin Dun people in Whitehorse, will be our local weaver “ambassador.”
Ann Smith begins weaving a Ravenstail robe while a Navajo weaver looks on – she is demonstrating weaving at the Heard Museum’s Indian Art Fair & Market – March 2003
The Gathering will be held in the Cultural Center’s Elder’s Room kitty-corner on the left from the main hall where all the festival performances will be held. The room is all glass allowing an ample amount of natural light.
The Adaka Festival Co-Executive Producer, Charlene Alexander is very excited about hosting the Weavers’ Gathering as part of their festival activities this year. Currently, Charlene is working on finding a large house where all of us may stay, and/or depending on number of participants, she will find locals who are willing to host us. However, if you need your space and privacy, there are several hotels and motels available, and I would suggest you book sooner rather than later.
As in the past, each weaver is responsible for their transportation to and from the Gathering. If you want grant assistance, applications for Alaskan residents may be obtained at the Alaska State Council on the Arts and the Rasmuson Foundation are due in just three weeks this coming March 1st. Also the New England Foundation for the Arts’ Native Arts Program has a travel grant with the stipulation that they must receive your application 2 months before travel date. It’s a fairly simple application and these people are helpful and generous. (In the past four years, I have applied and received this travel grant twice.) Because I am not Canadian, I am not familiar with the Canadian grants available, but I KNOW they are out there! Please do whatever it takes to help one another out in attending this wonderful Festival and Gathering!
If you are traveling by car, think about coordinating your travel plans with other weavers, just in case several of you want to car pool a drive from Haines or Skagway up to Whitehorse or a carpool from British Columbia. Spread the word about this Gathering!
You may take part for the entire week, or just for a few days or weekend – it’s up to your time and dime.
Bring whatever project you have on your loom, however, if you do not have a project and would like to begin one, gather your materials together to begin one. At past Gatherings, there is always someone who will assist you.
I will be conducting a weaving workshop during the Adaka Festival; I will mainly focus on teaching beginner students, however, if you want to brush up on your skills or obtain tricks-of-the-trade, you are welcome to attend.
If you need warp to begin your new project, you may place your order with me; I formed the Warped Bank, a team of people who spend part of their time spinning Chilkat and Ravenstail warp!!
If you have any questions about the Adaka Festival, please contact Charlene Alexander – her email address is: calexander@northwestel.net
If you have any questions, suggestions, concerns, etc. about the Weavers’ Gathering, please contact me via email at: clarissa@www.clarissarizal.com
I know many of us have time constraints due to jobs, family, fishing, etc. Just remember, you are not required to attend the Gathering during the entire week of the Festival; you may attend for a day or two if that is all your schedule allows.
We look forward to seeing you at the Gathering and Festival!
Feb 3, 2013 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A ball of Chilkat warp (still in the process of being spun) and in the background prepared strands of wool
A couple of friends of mine are providing the service of spinning warp for all you Chilkat and Ravenstail weavers who don’t have the time (nor the inclination?) to spin warp for yourselves. Place your orders now to be placed on our schedule.
The definition of e.p.i. – “ends per inch”
PRICES: Chilkat warp – $2.65/yard Ravenstail warp – $2.25/yard (Prices do not include shipping, handling and insurance)
ESTIMATED AMOUNTS FOR PROJECTS (varies according to size of project and size of warp) – below are estimates of yards using the standard size of 10epi:
* Chilkat or Ravenstail robe – 1000 yards
* Chilkat or Ravenstail apron – 250 to 300 yards
* Chilkat or Ravenstail leggings – 200 – 250 yards
* Chilkat or Ravenstail bag – 60 to 100 yards
* Chilkat or Ravenstail headband – 80- 100 yards
* Chilkat or Ravenstail pouch – 30 – 50 yards
Standard sizes of Chilkat warp – Ravenstail warp is spun the same but without the cedar bark
You may place your orders for Chilkat and Ravenstail warp by either emailing me (clarissa@www.clarissarizal.com) or giving me a call (970-903-8386 – and yes indeed the area code is 970).
We will also be creating a “warp bank” – we are optimistic that we can keep it continually stocked for sudden immediate requests!
In the near future, we will open a “Chilkat Store” on my website to provide Chilkat and Ravenstail products including Chilkat and Ravenstail warp, weft yarns, various size weaving looms and bags, simple weaving kits, spinning supplies, etc. Currently, I am in the process of recruiting the spinners, dye-ers, woodworkers, etc.
We will keep you posted to our progress! In the meantime, Happy Weaving!
Feb 2, 2013 | Honoring Others, Tlingit Culture Accentuated |
Clarence Jackson (photo courtesy Sealaska Heritage Institute)
If she knew when and where he was speaking
our mother would tell us she wanted to go see him
with her childish laugh and Raven eyes twinkling
we knew he must have been a special, special man
so we had to see for ourselves who he was
and while we sat amongst many others listening to his stories
we all received his gift of simple humor
and his Killerwhale lightening flash of smile
wet with the rainforest glowing in his full moon face
reflecting bright with light
our mother and we walked home with his smile
in our hearts.
Jan 30, 2013 | Class Act, Relationship Overdrive, Tlingit Culture Accentuated |
Huddling together, Darlene See, Jeanette Tabor and Jean Lampe weave Chilkat headbands on the portable mahogany looms – 22 years ago in January 1991
How is an apprenticeship different from a workshop or class? As I understand it, in the old sense of the word, “apprentices” would learn from a “master” artist craftsman by getting acquainted first through various tasks, i.e. cleaning up the shop, performing menial tasks for the master, sometimes making the meals, doing the errands, etc., and then when the apprentice became “worthy” (by the master’s definition and time frame), the apprentice would assist the master creating works without pay. An apprentice could work with the master for several months to several years.
Two of Jennie Thlunaut’s grand-daughters, the late Phoebe Warren (left) and Louise Light (right), with Darlene See (center) and Clarissa – all three are weaving Chilkat aprons – in March 1992 in Clarissa’s “Juneau studio”
According to my definition of apprentice, in the very beginning, the woman jumps through a lot of hoops if they are going to spend time with me; I am not easy to pin down nor get to – I live in a remote place of Colorado and my Alaska home these days is wherever I can lay my hat (although I still plan on making a home in Haines…(sigh)…someday soon). I am also not going to waste my precious time with someone who just wants to dabble in Chilkat weaving, so she has to prove herself to me and mainly I want her to prove herself to herself. An apprentice is someone who pays (in Jennie’s words) “big money” to have me to themselves, one-on-one. The apprentice has such a strong desire to learn the intricate art of Chilkat weaving, that before she even contacts me, most have already bought their loom, drafted up a pattern, purchased Cheryl Samuel’s Chilkat weaving book, and have the wool and cedar to begin spinning their own warp – and if they don’t have any of their materials just before they get a confirmation from me, they get their materials together real quick!
Vanessa Morgan weaves her very first Chilkat project: a pair of leggings in the shape of a copper T’naa (Chilkat face above/Ravenstail pattern below)
It is okay for my apprentices to be “loyal” to me (meaning: they shall have no other instructor other than me). However, I do not require this nor do I suggest it, the reason being first, that I am not a “god” and there have been many”gods” before me (LOL), the second being that I believe it is a good thing for students to learn from at least another instructor, and of course, the students will learn from other fellow students. I encourage my students to share their experiences without fear of “doing the wrong thing.” There are four techniques in Chilkat weaving: the 2-strand twine, the 3-strand braid, the interlock and the drawstring. Everything else that we learn are tricks-of-the-trade, and we can learn these things from watching other weavers, learning from other weavers, and listening to other weavers. Jennie had more than one teacher. She learned Chilkat weaving first from her mother, and when her mother passed when Jennie was 12, she learned from her aunties. Note the plural. And who knows how many other fellow weavers she learned from in her 84 years as a Chilkat weaver!
Vanessa Morgan and Clarissa Rizal with their Chilkat “T’Naa” Leggings
Also understand that if you are a beginner, intermediate (or master?) Chilkat weaver, be easy on yourself. As you are a student in learning about life, you will always be a student in learning the vast “seen and unseen” intricacies of Chilkat weaving. There’s more to Chilkat than meets the eye. I am weaving my 5th Chilkat robe; this is the first robe where I feel like my fingers are flying through the robe as if I know what I am doing; what(!?)…it’s taken me nearly 25 years to FEEL like I KNOW what I am doing! Hahahaha! And although there are some shapes I am not familiar with weaving, I am figuring it out just by logic and reason and having an artistic eye (which really helps!), and I have asked myself why it has taken myself so long to begin to feel “comfortable in my skin with Chilkat”…that answer is unfolding as I write. So if you think I am a master weaver, you can quit that. I tell you what, even after 96 years of being one of the most prolific Chilkat weavers in Chilkat history beginning at the age of 12, Jennie did not call herself a “master” weaver – other people called her that to which she replied at the 1985 class she taught in Haines: “…me a master weaver? I am not a master weaver…I am still LEARNING!”
Vivian Land – one of Jennie’s four granddaughters who began to learn Chilkat weaving during Clarissa’s first Chilkat weaving class in 1989.
I encourage my students to pay attention to their emotional and spiritual parts of themselves; this is one of the most important aspects of Chilkat weaving that Jennie taught me; these are things that are not easily conveyed in anything written on the history of Chilkat. According to Jennie Thlunaut “…it’s the spirit of the person that counts,…not just anybody belongs to Chilkat…this is not to have big heads about it…that’s not what this is about…this is about our people, this is about our precious land, this is about our relatives, the animals of the ocean and land and sky,…this is about appreciating this that has been gifted to us, given to you…always give thanks for what you got, for what you have been given…before you go to your loom every day, first thing you pray and give thanks…go to your loom clean – clean mind, clean heart, clean body…”
