Oct 31, 2012 | Latest Art Projects, Tlingit Culture Accentuated |
Clarissa drafts her pattern for her first child-size Chilkat robe. It will fit a child from about 2 years to 6 years old, depending on size of kid. It is a robe that can be also used as a dance apron by an adult.
Jennie Thlunaut’s last Chilkat weaving was a child-size robe finished directly before she passed in July 1986. I don’t know why I never thought of weaving a child-size robe, but I got inspired by seeing all these little people dancing on stage at the commemoration of the new cultural center in Whitehorse, Yukon Territory this past June. It was my mother’s birthday; my Mamma was on my mind as I watched these little kids as confident in their dance as any adult I’d ever seen – I know my mother would have enjoyed seeing these kids…then suddenly in my mind’s eye, I saw children in Chilkat robes….! And that was that! In honor of my mother, in honor of those children and their inspiration and in honor of my own grandchildren, I’ve got the borders woven on my very first child-size Chilkat robe! And today I’m finishing up the design!
Oct 29, 2012 | Class Act, Latest Art Projects, Tlingit Culture Accentuated |
A canvas spinning pad is strapped to the thigh and moistened to provide friction for spinning Chilkat warp. Yes, the pad was made my Clarissa today while Teahonna split cedar bark and prepared wool to begin spinning her first 100 yards of Chilkat warp!
Oct 23, 2012 | Class Act, Latest Art Projects, Tlingit Culture Accentuated |
The back side of two child-size Chilkat robes side by side on Clarissa’s front porch – yes, it is past mid-October and it’s warm enough to weave! Where are we? Well…the color of the sky is the big give-a-way! We’re NOT in Southeast Alaska…
As I demonstrate on my robe, Crystal learns on hers. It’s the perfect pair. In this way, I don’t weave her experiences – she weaves her own experiences. The weaving looms are quite portable and compact. They were originally designed by my Ex and I years ago; these ones were created by local woodworker, Bill Hill.
Front view showing the borders of the child-size Chilkat robes
Crystal Rogers weaving her Chilkat robe; it is almost ready to begin weaving the design field – how exciting!
Drawing upon other Chilkat robe designs Clarissa has designed laying about her drafting table, Clarissa draws preliminary sketches for Crystal’s Chilkat robe.
Sep 30, 2012 | Class Act, Tlingit Culture Accentuated |
Clarissa’s grand-daughter helps spin Chilkat warp with wool and cedar bark
Back in 1986, when I was apprenticing to master Chilkat weaver, the late Jennie Thlunaut, she relayed the story of how she began weaving. She said she was around 5 years old. Her mother and aunties were weavers and of course, spun all their own warp and weft. Jennie had no other choice but to “play” with the warp and weft, “weaving her own creations…” Jennie advised: “…so that is how I started, and that is how many of us can start…let the real little ones “play” with you…watch how they become…you will see whether or not they become one of us…” Jennie giggled and smiled real big “…heehee, you will see…”
Amelie has her own method of placing markers on the warp ends…at two years old, she is already demonstrating her innovativeness (is that a word?…well it is now!)
I don’t know why I never thought of this before, but I am weaving a child-size Chilkat robe. I am hoping I can help inspire other Chilkat weavers to do the same. I imagine a whole slew of them to be woven this Winter/Spring into Summer and to be completed in time for Whitehorse, Yukon Territory’s Adaka Festival the last week in June next year. Imagine little Chilkat robes being danced by little ones of the 1st Nations people of Yukon. Just way to cool. I think Jennie would be pleased to see this.
Aug 20, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Clarissa Rizal’s booth #283PAL at the Santa Fe Indian Market – someone commented that the booth was set up like a “little museum” – and another commented it looked like a “miniature gallery” – nice compliments, indeed!
I just don’t know how artists do this market annually; when I was younger I bounced back – not any more. Some have done this market for 50+ years. I’ve done this market 4 times in 18 years, since my first one in 1994. As exhilarating and exciting this market can be with the variety of artists and their works, the thousands of people in just two days, and all the other art shows, fashion shows, musical and artistic events crammed into a total of maybe 4 days, I find that I am just not cut out for this kind of intense activity like I used to be. However, I think that I just have to learn how to preserve and contain my energies while I’m at the market so that it doesn’t take me three years to re-couperate!
Top left feathers hang; bottom left is the wire “tree” with gumboot earrings, Chilkat/Ravenstail doll with the red Rusisan-style Navy hat next to the Ravenstail ensemble of “Copper Child” with the “Totemic Mosaics” in the background
I give thanks to all the folks who put this event together; producing a market of this magnitude is a lot of work. What?–there are over 1000 artists crammed into tiny cubicles in the heart of Santa Fe – White booths line both sides of the streets each one block off the Plaza – and Santa Fe has done this for 91 years! HOly Moly! I commend SWAIA for the extraordinary dedication – I give thanks to all my friends, family members and DanDan who helped me get my stuff done and then off to market; and those friends who live in Santa Fe, whom I haven’t seen in months or years, who came by to visit. The experience of people working together for a “cause” is a pleasant feeling; it makes all the work worthwhile!
the wire “tree” is adorned with the gumboot earrings – what are gumboots? (See description below) These particular gumboot shells were harvested from Glacier Bay National Park in Southeast Alaska
The Gumboots chitons, Cryptochiton Stelleri are also known as the giant Pacific chiton – they are a food source for many indigenous peoples, harvested from Central Coast of California, up the Northwest Coast of British Columbia and Southeast Alaska to the Aleutian Islands and to Japan.
These chitons have eight armored “butterfly” plates running in a flexible line down their back. Unlike most chitons, the gumboot’s plates are completely hidden by its leather upper skin, which is usually reddish-brown, brown, or occasionally orange in color. They can grow up to 14 inches long, and can live up to 40 years.
The Tlingit people enjoy eating the rubbery-textured gumboots boiled and dipped in seal oil, or pickled just like cucumbers. True to Tlingit tradition, they utilize the entire animal; the shells either adorn regalia or get made into earrings, as you see here and most recently at the Santa Fe Indian Market this past weekend of August 18th and 19th.
Close-up of items for sale at Clarissa’s table: hand-caste paper feathers, cell phone covers (with padding), brochures and the infamous Russian-style Navy hats adorned with buttons and beads – if you look closely at the two ladies in the photo in front of the hats, on the left is Donna – she wears an actually Russian Navy hat from the 1800’s adorned with fringe – Clarissa (right) wears the Tlingit version in felted wool her grandmother Mary Sarabia created in the late 50’s/early60’s.
The Russian-style Navy hats were the big draw to Clarissa’s booth; most people had never seen anything like them and wondered where they came from.
The Russian sailor hats are reminiscent of the hats once bartered (or from battles) assimilated by the Tlingit for use in regalia in the 1800’s. After the purchase of Alaska, the sailor hats from Russia were no longer available in trading and Tlingits subsequently created elaborately styled wool and felt versions of the hat.
I will have these hats available for sale on my website within the next week by September 1st. I will also have my hand-caste paper feathers, greeting cards and cell phone covers available for sale too.
Waldorf School teacher Vicki Vessier and Clarissa wear Tlingit-ized Russian Navy hats handmade by Clarissa – Vicki’s is fringed with abalone shells and beads; Clarissa’s is fringed with red seed beads
For those of you who are self-employed artists/business folk, if you have not done so already, incorporate the smallest visa card contraption on the planet yet: the Square. Half of my sales were done with the Square – as easy as 1, 2, 3! The Square doesn’t cost a thing, you can do a sale anywhere as long as you have your iPhone to plug into, there is no monthly fee, and it’s only .275% off every sale. Check out the Square!
the Santa Fe Indian Market crowd – Saturday afternoon, March 18, 2012
DanDan and I had a great time at the market, although it’s gonna take several days to re-couperate from the intense activity. I am already planning next year’s market. I think the best part about Indian Market is after all the work is done, the booth is all set up like a “little gallery” and I can relax and meet people from all walks of life and from various corners of our Mother Earth! See you next year, same time, same station!
Aug 16, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Chilkat/Ravenstail robe and Ravenstail leggings on the loom late at night – the leggings are not quite finished
My daughters and I collaborated on creating a Chilkat/Ravenstail/Buttonblanket 18″ doll. I sewed the leather body and finished off the leggings and trimmed the fringe of the robe. Lily Hope designed and wove the robe and began the leggings, Ursala Hudson designed, beaded and sewed the button blanket style tunic and the button blanket Russian-style Navy hat. Lots of fun putting the doll together and bringing this little being to life!
Ravenstail Robe for an 18″ doll woven by Lily Hope
Ravenstail leggings woven by Lily Hope modeled on the 18″ leather doll made by Clarissa
Backside of the Chilkat/Ravenstail doll
Front of Chilkat/Ravenstail doll–oops, one strand of the beaded hat is obviously flipped up…!
Aug 8, 2012 | Honoring Others, Latest Art Projects, North Tide, Showing Off |
Vanessa prepares to begin weaving the design field of her child-size Chilkat robe
This blog entry is a continuation of “Vanessa Learns to Chilkat Weave” posted a couple of weeks ago. Vanessa is an apprentice to Clarissa Rizal. She has started on a child-size Chilkat robe and intends to complete it by mid-February 2013 for an annual event in her village on the Nass River.
Clarissa completes design for Vanessa’s Chilkat robe; she translated a button robe image of the design into a Chilkat rendition specifically designed for weaving in the Chilkat style – the design is one of Vanessa’s clan emblem, the Frog Starfish – this is a copyrighted design; it belongs to her clan — we request no one else use this design
A modern “Chilkat template” where the pattern is transferred onto clear transparencies – again, this pattern is copyrighted – it belongs to Vanessa Morgan who clan emblem is the Frog Starfish – we request no one else outside of her clan family use this image
Vanessa begins weaving the top central portion of her design field – notice her “Ravenstail” nails!
To establish her left and right boundaries, Vanessa begins weaving the side faces of her Chilkat robe.
With just a couple of weeks of weaving, Vanessa has completed her robe thus far.
Jul 22, 2012 | Class Act, Honoring Others |
Vanessa begins weaving the eyebrows of her Chilkat leggings
Vanessa Morgan and I have been trying to coordinate a Summer for her return to complete her Chilkat leggings. Finally, our schedules coincided almost 7 years later!
When she needs a break from weaving Vanessa spins warp for the other project she wants to begin weaving during this apprenticeship: a child-size Chilkat robe
Vanessa is Ganada (Frog) Clan from Gitwinksihlkw (Canyon City)/Gingolx (Kincolith) on the Nass River in British Columbia, Canada. She is from the original tribe of the Nass, the Nishga’a (meaning “mighty people of the Nass”). Chilkat weaving originated on the Nass and was retained by the Tlingit in the Chilkat Valley. It is most fitting the two of us work together to help return the Chilkat weaving back to the Nishga’a of the Nass River.
Setting in the braids to begin weaving the bridge of the nose
Vanessa has a retail shop offering clothing and other items adorned with Northwest Coast Native designs. The first day she walked into my studio, she claimed she is going to convert her space into a weaving studio AND a weaver’s supply and equipment outlet. I haven’t met anyone else who is determined to create a physical and online store supplying weavers of the Northwest Coast with necessary equipment and supplies; we are excited about this! We are both working on creating an outlet, hers will be in the “South” (B.C. area down to Washington State) and mine will be in the “North” serving Southeast Alaska and Yukon. Stay tuned for the “openings” of both the North and South wings of the “Northwest Coast Indigenous Weaving Shop.”
The weaving room…Clarissa’s leggings are on her loom to the left; one is on a separate heading bar on the backside of the loom, the other is on the front as shown…Clarissa demonstrates on her leggings to avoid demonstrating on Vanessa’s which means there is no ripping back the demonstration….see? see?
Using the Chilkat weaving warp stick, fashioned after the late master weaver, Jennie Thlunaut, Vanessa measures the last few strands of warp
There is nothing like weaving a Chlkat robe. The ancestral ties are strong. The “veil between the worlds” is thin. For many of us indigenous weavers, the feeling is a spiritual communion with all the weavers of the past, present and even the future as all time seems to meld into one.
The process of hanging the warp on your loom is called “dressing the loom”
Some may wonder why I would start a beginner apprentice on a Chlkat robe? Why not? In my book, this is my thinking: An apprentice is a person who is dedicated to”remembering” that which is already in her; someone who already knows what she wants and is determined to do and be the things that is required of a true weaver; she is willing to carry on this tradition for the well-being of herself, family and community. So what if the beginning of the robe the weaving shows her incompetent, imperfect talent? We have to start somewhere. Vanessa will learn everything there is to learn about weaving a Chilkat robe. And best yet, weaving the width of the top border of the robe enables the beginner weaver to get in the groove and rhythm of the weft yarns flowing through the warp to achieve Jennie’s unique fingering technique – like Jennie said “…you get my fingering, you get 1/2 of your work licked!”
Vanessa spent the first day dressing her loom and weaving the first few rows of white – she spent the entire second day weaving her black border – the definition of a day is about 10-16 hours
Stay tuned for Vanessa’s progress on her leggings and her Chilkat robe.
Jul 21, 2012 | Class Act, Honoring Others, Tlingit Culture Accentuated |
Crystal prepares the wool for spinning
4 days before she arrived, Crystal asked if she could spend a couple of weeks with me learning how to spin Chilkat warp and begin weaving a child-size Chilkat robe – it was spur of the moment – holy moly! Okay, we’ll squeeze in a week before the arrival of Vanessa who is scheduled to arrive a week after Crystal.
The following are photos of Crystal’s process of preparing the cedar bark, the merino wool, spinning the two, acquiring her weaving loom and dressing her loom starting her borders.
Splitting cedar bark while tanning
Sunny work space
Proud of her very first ball of thigh-spun warp
Creating a skein of her warp on the umbrella swift, she counts a 35-yard ball ready to wash
Crystal is happy with her apron-size/child-size Chilkat robe loom, she knows she is blessed
With cotton twine, Crystal anchors down the heading cord
Using a “warp stick” fashioned after master weaver Jennie Thlunaut, Crystal continues to “dress” her loom
Weaving late into the night, Crystal has got the “weaver’s bug!” – weave till ya drop!
Crystal weaves the first anchoring row and first rows of white
The beauty of virgin warp on a virgin weaving loom!
Honing her skills in applying Jennie Thlunaut’s unique fingering technique, Crystal glides through the warp weaving the black border
Turning the corners using Jennie’s fingering technique allows the weaver to turn the corners gracefully
Chilkat weaving instructor Clarissa Rizal with two apprentices, Crystal Rogers from Juneau, Alaska and Vanessa Morgan from Kincolith, British Columba, Canada
Jun 30, 2012 | Adventures of Rear-Mirror Rissy, North Tide, Tlingit Culture Accentuated |
Alaskan Tlingit carver Wayne Price (red shirt) leads the carving of a red cedar totem pole to commemorate the survivors of the missionary schools in Yukon Territory
I video taped various performances including the DahkaKwaan Danders, the canoe ceremony, and an interview with Wayne Price and the totem pole, however, for some reason just my still photos transferred but none of my videos would transfer to my computer. Alas, I was terribly disappointed. But, I have a few photo images here to console me; at least I have these!
The Kwanlin Dun Cultural Center entrance, Whitehorse, Yukon Territory
Out back of the cultural center, a wooden platform graces the banks of the mighty headwaters of the Yukon River
Directly behind the cultural center there's a large firepit circled by concrete seating stepping down to the wooden platform on the Yukon
Chilkat & Ravenstail weaver, Ann Smith stands in front of the painting created by her youngest son, Justin Smith
Ravenstail & Chilkat weaver Charlene Baker demonstrates Chilkat on her portable loom
Approximately 40 artists mainly from Yukon Territory displayed and demonstrated their work during the Artist Market
Tents were erected just in case of rain - there were food booths, demonstrating artists, workshops, etc.
Men in Cool Hats: Copper smith Brian Smith and silversmith/silkscreen artist Alano Edzerza
Artists taking a break - L to R: Brien Smith, William Callahan, Sean Smith, Dustin Johnson, Alano Edzerza, Crystal Rogers, Ann Smith and her grandson, Tyrone
Ann and Brien Smith stand next to their artwork displayed in the cultural center's new gallery space
Cherri & Wayne Price and Ann & Brien Smith stand before an historical display "back to the river" which was the theme of this year's Adarka Festival - the display shows Ann's "Grandmother's Time" Ravenstail robe, her mother drying fish, and her son Justin in the newly-carved red cedar canoe
The New Taku Dancers from Atlin, British Columbia
Button robes of the New Taku Dancers
Wolf Clan member and Chilkat/Ravenstail weaver Debra Carlick - she adorns the carved wolf hat created by her husband Wayne Carlick
Leader of the New Taku Dancers Wayne Carlick is adorned by a Chilkat headdress woven by his wife Debra Michel Carlick
With all the money our Native corporations have generated since 1971 (over 40 years), I am reminded that Juneau does not have a cultural center. Sure we have the ANB Hall, sure we have the Sealaska, Goldbelt, and Huna Totem corporate offices, sure we have the T&HCC offices, sure we have the T&HCC community center at Salmon Creek, however none of these come close to the cultural center organized by a grassroots group of local indigenous peoples in the Whitehorse area, whom 20 years later have a place that is specifically theirs on the homeland’s river bank.
Goes to show you that money does not necessarily do all the talking…takes a group of those who walk their talk, that are earnest, diligent, committed individuals with a strong vision to address and create a modern place to educate and perpetuate the modern culture of the indigenous people – it allows the rest of the world that we still exist and are alive and well!
