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!
Jun 25, 2012 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
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!
Jun 17, 2012 | Latest Art Projects, Poetry Alaskan, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Pasting pages with matte medium onto old recycled cabinet doors
Back in March I cleaned out the attic; 18 years of accumulated family, personal, business and theatre stuff were set in the driveway. I let go of lots of stuff, however, I hung onto other things I felt I would use later. About 10 years ago, I had saved three, wooden cabinet doors from a remodel. I told myself that I would use them someday whenever I got into doing paintings for a living. Although I began painting about 10 years ago, I never really took it seriously until lately when a number of things accumulated this past year one of them being the return of my friends Cecil and Rosalia Touchon. Undoubtedly my contemporary works in paintings, collage and charcoals are influenced by Touchon. Check out their work at Cecil Touchon.com
Once all three panels were covered with pages and were given a couple coats of matte medium over the entire surface, Clarissa sketches shadows here and there to give a 3-D appearance
Rummaging through my box of collage-making papers, I came across a book of international poetry published in 1961. The pages were weathered; I liked the look – pasted them onto the gesso-ed cabinet doors which I will from now on will refer to as my “canvas.” I then pasted a cut up paper print of my Chilkat robe design pattern called “Jennie Weaves An Apprentice.” I edged each strip with a bit of golden yellow acrylic paint. I am having fun.
I order most of my acrylic paints, canvas, matte medium, brushes, etc. from Artist Supply Warehouse (ASW); as far as I know, they have good quality products at the lowest prices. If you find anything better, would you mind letting the rest of us know? Thank you!
A better view of the 3_D shading example
After a bit of shading with a soft lead drawing pencil, I stood back and liked the effect; like wow, now I am really having fun! – If I am not mistaken, this is my very first mixed-media collage on wooden cabinets done with this type of effect. If you want to see more of this effect, make sure you visit Cecil Touchon’s website. He’s an expert at this!
So far, so good, but not quite finished with this triptych
Each panel measures about 40″ high and about 20″ wide. They are available for sale as a unit at the Alaska Juneau Public Market during Thanksgiving weekend in Juneau.
May 16, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
painted Chilkat jacket made with acrylic paints on woven upholstery fabric, black wool accents in cuffs and collar, closure with abalone buttons
Okay all you weavers out there; I challenge you to weave a jacket like this! Chook!
Mar 29, 2012 | Health and Wellness, Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated |
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.
Jan 5, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
“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
Sep 24, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
"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
Aug 26, 2011 | Adventures of Rear-Mirror Rissy, North Tide, Showing Off, Tlingit Culture Accentuated |
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
