Sep 24, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Miranda Belarde-Lewis, Sho Sho Esquiro and Clarissa Rizal plan the floor layout of their next year’s October 2016 exhibit at the Bill Reid Gallery in Vancouver, B.C.
A year after the initial idea of an exhibit featuring traditional and contemporary Northwest Coast regalia and clothing with Sho Sho Esquiro and Clarissa Rizal, we finally met up at the house of Curator Miranda Belarde-Lewis to review the basics of the exhibit!
The exhibit opens at the Bill Reid Gallery in Vancouver, B.C., Canada next year in October and will run for approximately 5 months. We will be featuring a total of 20 to 30 individual ensembles of which during opening night only will be modeled with the accompaniment of traditional songs set to Preston Singletary’s latest jazz funk band called “Ku’eex.” Directly after opening night, the ensembles will be placed on their respective mannequins.
Stay tuned for updates on the progress of our exhibit!
Curator Miranda Belarde-Lewis, Contemporary clothing designer Sho Sho Esquiro, and Ceremonial regalia-maker, Clarissa Rizal
Sep 21, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
One of the most up-town covered, outdoor fire pit shelter seats approximately 150 people in a cozy, intimate setting
A little over 10 years ago, when Preston and I had been talking about putting together the first gathering of Northwest Coast Artists to be held during Celebration 2006 in Juneau, Alaska, he had mentioned Islandwood retreat learning center on Bainbridge Island, Washington State as a possible location. He felt that the location of this beautiful retreat in a heavily wooded forest would foster a networking of life-long friendships, kindle collaborations, and create a very tight group of artists where we could truly focus on any art and cultural issues in a very real way. 10 years and 2 Northwest Coast Native artists gatherings later, we finally made it a point to visit IslandWood yesterday; it was obvious to me during this site visit why Preston insisted on IslandWood as the place for conducting next year’s gathering of Tlingit artists – the location of this retreat is astounding!
The purpose of this gathering of Tlingit artists is to establish a loose coalition of mentors to consciously create a mentorship “guide” for our younger generations so we continue to endorse our future artists in whatever field they work.
The warmth of solid oak and maple dining room
There are five, dedicated, professional Tlingit artists who are at the helm of helping to organize this retreat. They include: Sue and Israel Shotridge, Donna Beaver Pizzarelli, Preston Singletary and myself.
At this time, Artstream Alaska and the Evergreen Longhouse are two organizations who will help sponsor this gathering.
We will be re-vamping the Artstream Alaska website where we will have information on the gathering. The goal for website completion is by November this year.
In the meantime, although all of us work together on all aspects of organizing this gathering, we each have organically “fallen into our main roles.” Sue and Israel works on cultural values and the administration, Preston works on fundraising, Donna gathers materials to eventually design and create the website, and during my travels, I have been networking and collecting names of Tlingit artists.
Standing at the entry to Islandwood’s main hall, program coordinators L to R: Clarissa Rizal, Preston Singletary, Swil Kanim, Sue Shotridge (missing: Donna Beaver Pizzarelli)
At first we were going to invite any and all Northwest Coast artists from any background and tribe. Then we got to thinking about the differences in some of the values and we thought the gathering will already be challenging enough with the variety of egos, that we would like to keep it simple. We will be inviting only Tlingit artists for this gathering. We envision other tribes will be inspired to create their own mentorship program for their next generations.
The main lobby before the “Great Hall…”
IslandWood’s Story:
IslandWood is a nationally recognized outdoor learning center located across Puget Sound from Seattle’s urban center. IslandWood’s mission is to provide exceptional learning experiences and to inspire lifelong environmental and community stewardship. Each year, more than 25,000 people participate in IslandWood’s programs on the 225-acre campus and in communities throughout the region. In addition to our school programs, IslandWood offers a graduate program in partnership with the University of Washington, summer camps, and community programs for children and adults. Revenue from conferences and retreats and contributions from the community enable IslandWood to underwrite our outdoor education programs for children from low-income communities.
For more information on IslandWood, you may visit their website at: www.islandwood.org
Islandwood Program Director Christine welcomes the four of us to tour the small portion of the 250-acre landscape
As I mentioned earlier, Artstream Alaska will be our main sponsor for this project. When the re-vamped website is launched by November 1st, we will be inviting selected Tlingit artists to check out all the information to see if they would like to participate. We are inviting Tlingit artists based on their artistic merit, their involvement in the arts and culture and their obvious concern for the health and well-being of our people.
Sue Shotridge and Preston Singletary walk one of the many paths through the woods on the Islandwood Retreat
Currently, the dates for this 3-day Tlingit Mentorship Retreat is set for next year, September 16 through the 18th, 2016. This will be a retreat. We ask that each artist make a clear commitment all 3 days and nights. We encourage artists to book any outside activities (i.e. visit family and friends in the Seattle area, shopping, sightseeing, etc.) before or after the 3 days.
Just outside Islandwood’s “Great Room”
Once the Artstream website is re-vamped and we’ve got our ducks in order (goal is November 1st), we will send out our invites to our Tlingit artists pointing them to read about our mission statement, the confirmed dates and times, the agenda of the mentorship project, the cultural leaders who will be helping to guide this 3-day event, and the list of artists who will be committing to attend this historical event.
Islandwood’s Welcome plaque just before the shed of many hand carts
Our space has a capacity limit of up to 50 artists. The room and board is covered for each artist attending all 3 days. At this time, we are seeking funds to help pay up to $250 (or less) for each artist’s travel expenses. This will be invitation only, though we are open right now to receive names and contact info of anyone who you may know who fits the bill for a Tlingit mentor.
Stay tuned!
Swil Kanim and Preston Singletary discuss the meaning of being a mentor
Mentorship project coordinators L to R: Swil Kanim, Sue Shotridge, Preston Singletary, Clarissa Rizal
Sep 6, 2015 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, To Market To Market |
With hecklers from the side line, Ozzie Sheakley sports a “sporty” jacket with the 40-year anniversary design of a canoe with images of the 4 main clans from Hoonah, Alaska. Designed by Clarissa Rizal — photo by Deanna Lampe
I rarely wear these type of sporty jackets made of synthetic materials. I am spoiled with the wool jackets made by Woolrich or Pendleton. Remember the halibut jackets that were worn by all the cannery workers here in Alaska? And later on the Pendleton company started coming out with their fancy, lined Pendleton jackets and coats. That’s more my style. However, a jacket that has this cool image on it make me want to spend $250!
Sep 1, 2015 | Latest Art Projects, Tlingit Culture Accentuated |
“Raven Steals the Sun” Chilkat “tunic” t-shirt design by Clarissa Rizal – 1994
Over 20 years ago I designed this Chilkat “tunic” specifically for a t-shirt. I think only 5 or so shirts were printed. I’m not sure why I didn’t print any more than that. Anyway, if all goes as planned, I will have these T-shirts available for sale at the Clan Conference in Juneau, Alaska where a group of us local weavers will be doing another demonstration/presentation in the lobby of Centennial Hall starting on Thursday, October 29th. See you then!
Aug 15, 2015 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Tlingit Culture Accentuated |
Beginning student in Plein Rein, Clarissa paints at Eagle Beach, Juneau, Alaska – July 2015
Native Art Markets are good venues for certain artists who have sale-able works. I have yet to experience myself to fit into that category as my work appeals to a certain type of art collector or historian. However, art markets allow me to put myself out there and see who “bites.” The bites are folks who may be interested in buying my work later on, or they know of someone else who is, OR they are folks like those from the Tulsa Artist Residency who invite me to submit an application for a one-year residency starting in January 2016 in Tulsa, Oklahoma.
Of 300 applicants from across this nation, I was 1 of 12 who were selected. Whoa! This was quite the competition. Read the press release just received from TAR announcing their first 12 inaugural residencies: http://www.prnewswire.com/news-releases/tulsa-artist-fellowship-announces-inaugural-class-of-12-artists-300120297.html
Though I will be living in Tulsa for the entire year of 2016, I will still be traveling for business. I’ll post my 2016 calendar later on this year; stay tuned!
Aug 10, 2015 | Latest Art Projects, Tlingit Culture Accentuated, Tricks-of-the-Trade |
Beginning to weave one of the fingers on Clarissa’s latest Chilkat robe “Egyptian Thunderbird” – August 2015
I dye my own weft yarns in shades of golden yellow and a variety of blues. A couple of years ago I was trying to dye a beautiful turquoise, however, the yarns were unevenly dyed: I panicked! I couldn’t believe it; how come this was happening!? I did everything by the book: I mixed the colors evenly, I gave a gentle wash in gentle soapy lukewarm water after I had soaked the yarns for a few hours, I consistently stirred the pot!—And then to top it off, I was so enthralled by the beautiful deepening colors, I just kept stirring! HELLO!? Finally, I snapped out of my self-induced panic spell and snatched the yarns out of the dye pot!
And being the resourceful person that I can be, I wasn’t about to throw out dollars worth of yarns, so I saved it for a rainy day.
That rainy day came. I have used these unevenly dyed weft yarns for this present day robe I have been weaving this year. Using a Ravenstail technique within a Chilkat form, I am having a blast. Stay tuned for more close-ups of the robe as I move along with the weave in between all else that I am up to these days! I am carrying on as usual.
Aug 4, 2015 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Clarissa’s grand-daughter, Amelie models “Chilkat Child” a 5-piece handwoven ensemble to be featured as 1 of 18 Chilkat robes to be exhibited during the Antique Native American Art Show
The Antique American Indian Art Show launches at El Museo in Santa Fe’s Railyard with an opening night gala on August 17th (6-9pm) benefiting New Mexico PBS. Show dates run from August 18-20th (11am-6pm), featuring a special Chilkat Blanket exhibit – (they say) the most extensive collection ever presented!
Lily Hope, Delores Churchill and Cheryl Samuel are a part of this exhibit as well.
Come check us out on opening night Monday, August 17th; we’re gonna dress up and meet the Native Art Market crowd!
Read about the producers of this event by clicking here!
Jul 30, 2015 | Honoring Others, Tools-of-the-Trade |
A sculpture of a human wearing a Chilkat robe and cedar bark neckring by the late Tlingit carver Amos Wallace in 1964
While talking with the owner of the Haa Shagoon Gallery in downtown Juneau, in the middle of the conversation I suddenly turned around. I wasn’t even sure what I was looking for; just pure instinct led my eyes to this sculpture that totally caught my fancy. Why? I’m not sure, but as soon as I saw this figure I felt so compelled that it had to go home with a local, not a tourist, that I immediately called Amos’ grand-daughter and my friend, Donna Beaver Pizzarelli. With no answer and worried that a tourist would buy the sculpture, I snatched up this 8″ tall mold of a carving by Amos Wallace made in 1964 and I have it placed in a prestigious location: next to my weaving loom. This figure watches over me as I work. It’s great to have the company!
This small sculpture is a cast made of a plaster-like compound that gives it the appearance of wood or a stone called argillite. Manufactured by a company called Griffin’s Alaska based in Edmonds, Washington State between the years of 1964-67, they had a complete line of bowls and totems which are frequently mistaken for stone. Even the weight of this little guy feels like stone.
Amos Wallace was one of less than a handful of local Tlingit carvers here in Juneau, Alaska in the 1940’s until a few years before his passing in 2004. I grew up in the Russian Orthodox Church where he and his wife, Dorothy Wallace sang in the choir. It wasn’t until recently I discovered from his son Brian that Amos was of the Raven Moiety, T’akdeintaan Clan of Hoonah, which is also my clan! A gentle, soft-spoken man, his name was Jeet Yaaw Dustaa. Born in 1920, his older brother Lincoln Wallace, was also a carver.
Read the Juneau Empire article about Sealaska Heritage Institute receiving a collection of Amos’ drawings for their archives donated by Amos’ son, Brian Wallace at: http://juneauempire.com/art/2012-07-12/amos-wallace-collection-donated-walter-soboleff-center
Jul 23, 2015 | Tlingit Culture Accentuated, Tools-of-the-Trade, Tricks-of-the-Trade |
“Frog” clasp for button robe
Here’s an easy front clasp for button robes. Fetch one from JoAnn’s for about $5 (depending on size). One was enough for this robe however, if you have only smaller size, then think about using 2 or 3 “frog” closures for the robe.
Jul 13, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
7-year-old Elizabeth Hope reads the step-by-step instructions out loud on how to make a drum
Sealaska Heritage Institute sponsors the “Baby Raven Reads” program which mainly teaches young children how to read yet also conducts other cultural projects for the young minds and bodies. This past Sunday, Mary Folletti taught the drum making class for children and their families took place for a couple of hours at the Gajaa Hit Building near the ANB Hall in Juneau. Thank you Davina Cole, project coordinator from SHI…!
Prepared raw hide is soaked in water
The drum making kits were purchased from a supply store in Centralia, Washington State at Centralia Fur and Hide Company (their website is of the same name). The kits included the pre-bent wood frame, the pre-cut circle of hide and the raw hide threads.
A few tools and supplies needed for drum making: needle-nose pliers, hammer, scissors, push pins and “Tightbond” wood glue
My grand-daughter Elizabeth and I were one of approximately 20 Juneau families who took this class. Most of the children were around 4 to 7 years of age, though there were a few younger.
After the raw hide has soaked, place on a flat surface smooth side down with pencil markings facing down; pat with a towel to absorb excess moisture
For many years my friend, Becky Etukeok made drums from local hides such as deer, moose, and caribou. After taking this class I have a larger admiration towards her dedication to this art form. I had never seen how drums were made nor had the appreciation of how they were made until doing this simple class where all the hard work was done for us. Although Beckie now is the program director of arts at the Alaska Native Heritage Center in Anchorage, she is still known as “Beckie Drum-maker.”
Soak spiral-cut, 3/8″ “threads
When threading, pull so there’s no slack, but not too tight as that will make your drum too high pitch.
Instructor Mary Folletti demonstrates how to begin threading
How to include your young child in making a drum:
* Let your child explore the materials (sinew, frame, hide) while you name them.
* Talk about how the frame is a circle. Ask what shape the hide is and why it’s bigger than the frame
* Ask what the different materials feel like (smooth, wet)
* Ask or explain where the materials comes from (deer, tree, intestines)
* Count the holes together, name the tools (hammer, pliers, scissors)
* They can help pull the sinew through
* The can help “pull tight”
* They can help hammer tacks with close supervision
Begin threading through one hole and tie a half hitch knot
Thread through the hole directly across the first hole, and repeat
Clarissa helps her grand-daughter Elizabeth how to create a handle
Most everyone in the class has created their “star” pattern
I had a blast making this drum with my grand-daughter Elizabeth. I look forward to doing more cultural things with all of my grandchildren as they grow up.
Some drum makers fold rawhide between the threaded areas over the frame and hammer a tack in each section to hold it down.
When you have completed your drum, make sure you take the thumb tacks out and let your drum dry on a clean, flat surface, face up. Depending on your climate: it takes about 2 days to dry in Alaska, though at 7000 feet where the climate is a bit drier like the 4-corners area of the United States, the drum may not even take a day to dry!
Directly after creating the handle and pushing the raw edges of the leather to the inside of the drum, with her strong fingers, Elizabeth carefully smoothes the frame removing all the big folds and wrinkles – you must do this step as soon as possible before the hide even starts to dry
HOW TO CARE FOR YOUR DRUM:
Your drum was made out of an animal and a tree and some say the drum is a living being so you want to honor its spirit with love and respect
Store it wrapped in cotton, wool, or a custom drum bag face up or on a wall. Keep it from extreme temperatures and direct sunlight as heat may cause it to crack.
Water expands and heat constricts. On sunny days you can mist with a damp cloth or spray bottle. If your drum is cold you can warm it slowly, using your own skin as a gauge.
Clean with a slightly damp cloth. You can condition with Shea butter bought from cedarmountaindrums.com
Careful not to set anything on your drum and remember to play your drum often. It wants to sing!
Mary Folletti teaches some of the kids how to do various beats with their new drums and drumsticks
How to make a drumstick:
You will need a stick, padding (cotton or wool cloth), sinew, and a piece of buckskin.
1) Put glue on one end of stick covering 1″ down around the whole stick.
2) Wrap padding around end of stick that you glued, snuggly not to tight.
3) Use sinew and wrap around padding a dozen times crisscrossing, then tie off on stick behind padding.
4) Center Buckskin on end of padded end, pull down stick and hold snug behind padding then wrap sinew very tightly around buckskin and stick 7 to 9 times; tie off using scissors to trim excess buckskin
