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.
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!
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 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 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.
Jun 15, 2012 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
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
