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…”
Jan 7, 2013 | Honoring Others, Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated, Tools-of-the-Trade |
After drafting the pattern in pencil, then I outline with a black Sharpie marker
Have you noticed that even though I may be weaving on a Chilkat robe for a year or two, I do not ever show the process of me weaving on this blog until AFTER the robe is completed? The reason is because I was taught by my teacher Jennie Thlunaut that whenever Chilkat weavers are weaving a robe (as opposed to an apron, headdress, leggings, etc.), that we are not to publicly show the robe to the person(s) who has commissioned the robe. Another Tlingit taboo? I don’t know. While I was weaving with Jennie, I gave up asking her the question “Why” every time she told me certain Chilkat “guidelines.” I remembered that the elderly folk of that time period and before did not explain the “why” of things – you just did what you were told, and that was that.
Using the Sharpie marker, I fill in the form line. I used elements from a couple of robes. This is a Diving Whale with an Eagle in the right side of the body and a Raven in the left side. – The far right design elements are called the “filler.”
I apologize that I cannot show you the process of weaving this robe. My goal is to finish by May 1st this year; then I will post a sequence of photographs.
Nov 6, 2012 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
In honor of my cousin, the late Pat Mills from Hoonah, Alaska, for the upcoming koo.eex (pay-off party), I drew an ink & acrylic sketch of Pat, as if dancing in a Chilkat robe that could have been his – the robe includes his infamous “FV Mary JoAnne” sailing along with salmon and halibut
With my friend Cecil’s assistance, we printed 88 copies of the “Mary Joanne Chilkat Robe” as gifts for Pat’s koo.eex coming up on November 17 in Hoonah, Alaska. Why print an edition of 88? Simply because that’s all the paper I had. This printer is the Epson 7880 24″ model. I’ve had it for about 4 years, however, I find it difficult to make time to print all that I want to print. There is only so much time in 8 days a week!
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.
