Learning to Design Chilkat

Teaching Lily all the do’s, don’ts and options in designing for a Chilkat robe

Many weavers of the Chilkat method of weaving are not designers of the imagery.  They either copy a design that belongs to the clan or family, or they have an artist draft one up for them.  Chilkat weaver, Lily Hope is learning how to design Chilkat; it is not as easy as it looks!  A designer must understand how the weaving is done in order to design a Chilkat robe successfully.  Lily has an advantage that she is both a weaver and knows how to draw!

The pattern transparency  serves as the template

Lily is in the process of designing a child-size Chlkat robe with her clan image, the T’akDeinTaan.  She is doing a take-off on a robe her mother designed for her Auntie Jean.  She continues to reinforce her knowledge by true discipline, making the time to weave even though she runs a household and takes care of 2 children.

Clarissa and Lily calculate to which warp the next row is to be woven

Lily and Clarissa weave Chilkat together

Lily Hope rips back a few rows; no such thing as mistakes, only “learning opportunities”

Thank you to the New England Foundation for the Arts Native Arts Program for their monetary support for  Clarissa’s grant to travel from Colorado to Alaska to help Lily get started in designing and beginning her own robe!

Chilkat Robe on the Move

Last August 2011, on the Alaska ferry heading south from Juneau to Belllingham, Washington, one of my favorite weaving students and elder, Louise Dangeli was on board.   Louise is a dear member of the Nishga’a tribe along the Nass River, British Columbia, Canada. She was on her way to attend the wedding of her grandson.  I invited her to my stateroom where I was finishing up my “Jenny Weaves An Apprentice” Chilkat robe; I was explaining the design meaning of the robe  Here’s a video shot by one of Louise’s neices, Norene Otnes:

http://www.facebook.com/photo.php?v=211616705626297

 

“Chilkat Devil’s Club”

Adding the Devil's Club leaves to the black & white Chilkat robe design - acrylic painting on canvas measures approximately 24" h x 38" w - Clarissa Rizal; March 2012

I was commissioned by the NNAAPC (National Native American AIDS Prevention Center) in Denver, Colorado to create an image for this year’s convention.  Of course the theme is based on the awareness and attendance to health, healing and prevention.  They asked for a traditional image that would reflect their theme.  I couldn’t think of anything better than of course, Chilkat!

Added the traditional colors of yellow and blue along with the green leaves of the Devil's Club

If you’ve studied the older Chilkat robes of the past 200 years, you will notice there are robes that have similar designs, where there are slight changes between each robe, yet distinctly they are related –  like a variation on a particular theme.   I am doing this with my “Chilkat robe within a robe” series.  Although I have designed a couple of robes with this same theme for a couple of my students, my very first one that I designed and wove was called “Jennie Weaves An Apprentice” (which I finally finished weaving last August 20122), which is what this painting is based and of course I changed some of the design elements (i.e. smile faces as opposed to grims, etc.), yet the design description (described below) is very different than that of “Jennie…”

Almost completed - just need to add the Devil's Club berries, give the painting a more "painterly" effect, and a coat of matte medium

Native Americans used Devil’s Club both as food and medicine. The plant was traditionally used by Native Americans to treat adult-onset diabetes and a variety of tumors. Devil’s Club is employed as a blood tonic, used in salves for skin ailments, rheumetoid arthritis, cuts and bruises.  For spiritual protective purposes, the stalks were shaved of their thorns and placed above doorways, made into beads and worn on the person, and shaved stalk were placed in bowls and placed around the house.  Sometimes, Devil’s Club was dried and burned like an incense during certain spiritual ceremonies.  In vitro studies showed that extracts of Devil’s Club inhibit tuberculosis microbes.  Because Devil’s club is related to American Ginseng some think that the plant is an adaptogen. The plant has been harvested for this purpose and marketed widely as “Alaskan ginseng”, which may damage populations of Devil’s Club and its habitat, which is why many Alaska Native peoples are very protective of our Devil’s Club population; we do not want the plant to disappear because of capitalist exploitation.  We consider this plant very precious.

The plant is covered with brittle yellow spines that break off easily if the plants are handled or disturbed, and the entire plant has been described as having a “primordial” appearance. Devil’s Club is very sensitive to human impact and does not reproduce quickly. The plants are slow growing and take many years to reach seed bearing maturity, and predominately exist in dense, moist, old growth conifer forests in the Pacific Northwest, which is why we will harvest only what is needed.  There are times we will harvest the entire stalk if the need calls for this, otherwise, we will take a small cutting at the lower backside (the part that does not face the beach or face of the forest).  We never harvest the entire plant.  To ensure the continuance of the Devil’s Club, we dig a small hole nearby the area we have harvested and we place an “offering” of tobacco, cedar or sage – we are “giving back” and paying our respects.   Many Native American people consider ourselves “stewards of the land and sea.”

Devil’s Club generally grows to 3.5 to 5 feet tall; however, instances exist of it reaching in excess of 16 feet in rainforest gullies.  I have literally walked under “forests” of Devil’s Club.  The spines are found along the upper and lower surfaces of veins of its leaves as well as the stems. The leaves are spirally arranged on the stems, simple, palmately lobed with 5-13 lobes, 8 to 16 inches across. The flowers are produced in dense umbels 4 to 8 inches in diameter, each flower small, with five greenish-white petals. The highly poisonous fruit is a small red drupe 0.16 to 0.28 inches in diameter elongate in clusters.

Devil’s club reproduces by forming colonal colonies through a layering process. What can appear to be several different plants may actually have all been one plant originally, with the clones detaching themselves after becoming established by laying down roots.

This species usually grows in moist, dense forest habitats, and is most abundant in old growth conifer forests. It is found from Southcentral Alaska down throughout Southeastern Alaska to western Oregon and eastward to western Alberta and Montana.  Disjunct native populations also occur over 900 miles away in Lake Superior on Isle Royale and Passage Island, Michigan and Porphyry Island and Slate Island, Ontario.  I personally have seen Devil’s Club here and there in the higher elevations in marshy areas of the San Juan Mountains surrounding Pagosa Springs, Colorado.  The plants are not as large as those in Alaska, but then again, Alaska grows things big.

The completed "Chilkat Devil's Club" painting on canvas for NNAAPC by Clarissa Rizal - March 2012

Design Description of the painting entitled “Chilkat Devil’s Club”

The stylized Chilkat ceremonial robe design depicts a smaller Chilkat robe within a larger Chilkat robe which is part of a series of Chilkat robes portraying “a robe within a robe” image.  This particular theme is one that tells the story of the transference of indigenous knowledge healing methods from one person to another, or from one tribe to another, from one community to another, of from one culture to another; this is shown by way of the main human face (the Creator) who has gifted us the Devil’s Club and is flanked by the human faces on the top and left corner of the main robe who are holding the smaller robe (center lower half outlined in the yellow/black border) showing the recipient (smaller human face) of the healing knowledge and simultaneously the recipient of the healing modality.  In this case, although the Devil’s Club signifies the ancient healing methodology of the indigenous peoples mainly of the Northwest Coast across the Northern part of the U.S. and southern Canada to Ontario, because of small cottage industries in Alaska and Canada who are creating healing salves, teas and tinctures, the healing properties of Devil’s Club is available to anyone in the world.

Journey of a Chilkat Robe and Its Maker

“Jennie Weaves An Apprentice” Chilkat robe was on my weaving loom for 5 years.   I’ve never had a robe take so long in the weaving, however, I’ve never had the kind of journey I’ve experienced in the past 5 years either!  The following is a pictoral journey of the life of this robe reflecting the journey of its maker.

Apprentice Bev Morris from Teslin, Yukon Territory and Clarissa begin weaving their Chilkat robes - Pagosa Springs, Colorado - September 2006

Directly after my apprenticeship in Chilkat weaving with 95-year-old Jennie Thlunaut from Klukwan, Alaska, I began designing a Chilkat robe in honor of the gift she had entrusted me with  and the 6 weeks we had together in 1986.  I had silk-screened a limited edition of the design, painted a “fake” robe for a collector, and the design was also the cover and name of my Chilkat Weaver’s handbook that I printed myself; yet it wasn’t until 20 years later after my apprenticeship with Jennie I had begun weaving the robe in September 2006 upon the arrival of an apprentice from Teslin, Yukon Territory, Bev Morris.  I demonstrated Chilkat weaving techniques on my robe while Bev learned on hers.

Chilkat robe at the Auke Bay condo - September 2010

Chilkat robe in my new room at my mother and father's house - November 2010

Chilkat weaving demonstration during Gallery Walk at the Juneau Arts Center - musician/singer/songwriter Archie Cavanaugh and his grandson stopped by for a visit

Chilkat weaving demonstration during the "Time Warp" exhibit of Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. - March 2011

While visiting my daughter and granddaughter in Pagosa Springs, Colorado - April 2011

Many braids and weavers to keep track - common folk wonder about Chilkat weaver's sanity

 

Rented another apartment for the Summer 2011 - the turquoise couch, the black loveseat and the Chilkat rug (woven in Tibet) were all color-coordinated beautifully - June 2011

Patrice DeAsis and Lily Hope were two of my assistants who helped me complete this robe by its designated delivery date! - June 2011

Close-up of Teacher "Jennie Thlunaut" (in green mask) and "Clarissa" in blue mask

Demonstrating Chilkat weaving at the Teslin Cultural Center's boat building - July 2011

Inside the Teslin Cultural Center's boat building - Chilkat robe is off to the far right - July 2011

Weaving in a perfect room while overnighting at the Skagway Inn - granddaughter Bette Hope enjoys the view! - July 2011

While on return ferry from Skagway to Juneau, Lily Hope and Clarissa weave in the cafeteria - July 31, 2011

In the stateroom on the MV Columbia sail from Juneau to Bellingham - August 2,2011

With fellow Chilkat weaver Nishga'a elder, Louise Dangeli, in th stateroom on board the MV Columbia sail from Juneau to Bellingham - August 4, 2011

 

Nite weave In Colorado studio - August 11, 2011

Almost complete Chilkat robe on display in Clarissa's booth at the 2011 Santa Fe Indian Market - far right is Ravenstail woven ensemble of "Copper Child" woven by Lily Hope and Clarissa - August 20, 2011

Fellow Chilkat weaver Suzi Williams and Clarissa needle up the ends in the back of Chilkat robe - Sunday morning, August 21, 2011

 

Although neither Crystal Worl (wearing cedar bark hat) and Beckie Etukeok have never woven Chilkat, they help put up the ends in the back of this Chilkat robe - Afternoon of Sunday, August 21, 2011

 

"Jennie Weaves An Apprentice" Chilkat robe designed and woven by Clarissa Rizal with help from several of her weaving students - August 22, 2011

 

Clarissa’s First Gallery Show at the Stonington

"Raven Knows Its Light" multi-media collage with faux pas painted frame - Clarissa Rizal

It’s hard to believe I actually got enough material together for a half-way decent show of some of my contemporary paintings and collages!  The show opened on Thursday, September 1, 2011 at the Stonington Gallery in Seattle, Washington.  My works were in good company with a couple of other friends of mine, Chloe French and Preston Singletary.  Yes, all the works are for sale via the Stonington.

Stonington Gallery show opening - September 1, 2011

"Totem Theories Revisited" acrylic painting on canvas by Clarissa Rizal

Stonington Gallery show opening September 1, 2011

Tlingit World Series #092 - Clarissa Rizal - 2011

The above collage is a series based on the original painting “Ravens Prepare for Next Ice Age.”

"Jennie Weaves An Apprentice" Chilkat pattern board (for the Chilkat robe of the same name) - acrylic painting on canvas - Clarissa Rizal

If you are in the Seattle area, check out the show or…

Read about the opening show article in the Seattle Times – Friday, September 23, 2011:  http://seattletimes.nwsource.com/html/thearts/2016289325_ar23tlingit.html?syndication=rss

 

Santa Fe Indian Market 2011

Buyers at Clarissa Rizal's booth during Indian Market 2011

Sealaska Heritage Institute worked with the Santa Fe Indian Market sponsor  Southwest Association of Indian Art (SWAIA), to create the Southeast Alaska venue of artists and performers located at the St. Francis Cathedral Park across the street from the Institute of American Indian Arts Museum in downtown Santa Fe.

An Alaskan presence of Tlingit, Haida and Tsimpshian artists at the Santa Fe Indian Market included Nicholas Galanin, Beckie Etukeok, Celeste Worl, Louise Kandinger, Donald Gregory, Holly Churchill and Clarissa Rizal

Clarissa's booth at the Santa Fe Indian Market 2011

Crystal Worl, Beckie Etukeok and Clarissa putting the ends up in the back of the Chilkat robe at the Santa Fe Indian Market

Alaskan Tlingit storyteller, Ishmael Hope on stage at the Santa Fe Indian Market

Featured Alaskan dancers at the Santa Fe Indian Market were the Mt. St. Elias Dancers from Yakutat

Watch the Mt. St. Elias Dancers – Santa Fe Indian Market 2011 <http://www.youtube.com/watch?v=xDKzpn5Hr04>  
http://www.youtube.com/watch?v=xDKzpn5Hr04

 

“Jennie Weaves An Apprentice” Chilkat Robe Finally Finished

During the Santa Fe Indian Market Sealaska stage, Likoodzi modelled the 4-piece Ravenstail ensemble "Copper Child" (a collaboration of mother and daughter Lily Hope and Clarissa Rizal) and Crystal Rogers modelled "Jennie Weaves An Apprentice" Chilkat robe (hot off the loom) handwoven by Clarissa Rizal

Likoodzi and Crystal smile at a full audience at the Santa Fe Indian Market - August 20-21 - The beaded deerskin dress and hi-top moccasins were made 30 years ago by Kate Waters Boyan for our mother Irene Lampe

Watch the Fashion Show of Northwest Coast Tlingit regalia at Sante Fe Indian Market August 2011 – video courtesy of Lee Cooper

<http://www.youtube.com/watch?v=PVrc0iXy9EE>
http://www.youtube.com/watch?v=PVrc0iXy9EE

The Chilkat robe pattern board designed by Clarissa Rizal painted on canvas applied to wooden frame - Photo by Lee Cooper

Crystal Worl and Beckie Etukeok assist in putting up the ends in the back of the robe

Close-up of the braid ends in the back of the robe

Crystal Worl and Clarissa put up the ends in the back - photo by Lee Cooper

Clarissa's booth at the Santa Fe Indian Market 2011

St. Frances Cathedral Park the morning after Indian Market - photo by Lee Cooper

Here are three more videos taken by Lee Cooper at the Santa Fe Indian Market 2011:

“Jeanie Weaves an Apprentice” Chilkat robe being taken down from the loom (before completion of putting up the ends in the back) for the Sealaska Heritage Institute’s fashion show of Tlingit regalia 1 <http://www.youtube.com/watch?v=8RW6-CPYYIY>
http://www.youtube.com/watch?v=8RW6-CPYYIY

Fashion Show of Northwest Coast Tlingit regalia at Sante Fe Indian Market August 2011 <http://www.youtube.com/watch?v=PVrc0iXy9EE>
http://www.youtube.com/watch?v=PVrc0iXy9EE

The beginning of the flash flood as the completed Chilkat robe is removed from the loom. <http://www.youtube.com/watch?v=KuZT4LOU5bc>
http://www.youtube.com/watch?v=KuZT4LOU5bc

A Surprise Reunion With Louise Dangeli

Clarissa with one of her first Chilkat weaving apprentices, Louise Dangeli, Nisga'a from Kinkolith on the Nass River, British Columbia - Clarissa's Chilkat robe in the stateroom on board the ferry heading to Bellingham, Washington with a stopover in Ketchikan where Louise will be disembarking to attend her grandson, Michael Dangeli's wedding in Metlakatla - August 2011

 

Latest Chilkat Dance Blanket Robe

Clarissa Rizal weaving the tail end of the design field of "Jennie Weaves An Apprentice" Chilkat dance blanket robe - July 2011

After 4+ years, this robe is scheduled to come off the loom on Friday, July 29th at Teslin’s Celebration 2011.  I am hoping to have this robe danced then…we’ll see!  This is my first of a series of robes I have designed of a Chilkat robe within a Chilkat robe.  To distinguish the difference of the two, notice the blue being used in the smaller robe and the green used in the main body of the robe.

Why has it taken me 4+ years to complete this robe?  That very long story, along with the design description of this robe, I will tell when I complete the robe, make another move and settle down for a little while; I will include photographs of the various “landmarks”; stay tuned on that one.