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 12, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
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
Jul 18, 2011 | Honoring Others, Latest Art Projects, Relationship Overdrive, Tlingit Culture Accentuated |
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.
Jun 27, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Close-up of yoke of Tunic #1 - synthetic fringe, machine-embroidered trim, bias tape, felt body
I must have been almost 16 when I met him. I think it was 1972. He was part of a team of four Tlingit men who had come together under the organization of Gilbert Lucero. At a time when the Native culture was just beginning to “sprout” back, Gilbert’s vision was to provide the young Native community of Juneau a holistic approach to help revive the Tlingit culture by way of evening classes for an entire month held at the Totem Center. Cy Peck, Sr. came in from Angoon to teach the Native ways of conducting various ceremonies, clan ownership of the sacred objects and the Tlingit language; A.P. Johnson came from Sitka and introduced us to the conflicts of Native law vs. Western laws; and Harry Bremner, Sr. from Yakutat taught us the songs and dances of the Mt. St. Elias people. (There was a fourth elder who was a part of the team and I can see his face so clearly but I cannot remember his name – he had a permanent smile on his face, not much taller than I, with a head of thick, white hair – he was the one who, upon seeing me for the first time, called out to Harry and exclaimed: “Harry, come quickly, come!…Take a look at this nose!”) – Harry came up to me and looked at my face and checked out my nose. (You can imagine how I was embarrassed!) Harry then said: “You!…I want you to be my song leader and drummer…!”). That’s how I officially met Harry K. Bremner, Sr., 40 years ago. Coming to know Harry during those next four years lead me down a path I have yet to stray.
Full view of Tunic #1 - sleevless with ties at the side
These are photographs of my very first Tlingit dance regalia. They are styled after Yakutat’s Mt. St. Elias dancers’ regalia. I had never sewn anything before. I followed Harry’s instructions; he was the designer and knew exactly what he wanted. One day Harry said we were going to the fabric store and making tunics…(for the five, young students who seemed most committed to the songs and dances.) Those students included Deena (Aceveda) LaRue, Doug Patterson, Victoria (Canul) Dunne, Catrina (Camposano) Mitchell, and myself. Harry was preparing us to perform with the Mt. St. Elias Dancers who were going to be touring Southeast Alaska (at a time when Native dance groups did not exist, much less touring dance groups, was unheard of). None of us had any dance regalia; as far as I know, these were our very first regalia pieces. We learned the songs of Yakutat and Mt. St. Elias. Over the years, whenever I see the dancers perform and hear the songs, I feel a sentiment and a peace; I am immediately brought back to a time when these things were new, we were innocent to what lay ahead, and all of what I learned then is still a part of me now, as Harry helped bring me back home to myself.
My first five hand-sewn tunics - yes, indeed there are 6 and I don't remember making that one, but I've included it with the rest of these tunics; it has my clan emblem on it, the T'akDeinTaan, sewn to the front. I didn't know how to do the formline art back then so I KNOW I didn't make that tunic!
A few years ago, during the 2007 Clan Conference, I was talking with Elaine Abraham (Ramos), who is a niece to Harry. She was telling me that Harry was talented at many things – being a tailor was one of those talents. He had learned while he was living in Seattle working at a tailor shop. My very first sewing lesson was a question Harry asked me: “How long do you make the thread for your needle when you are hand-sewing?” I shrugged my shoulders. He replied: “The proper length of your thread is the distance from the object being sewn and your arm outstretched…” He added “…if you have it any longer than that, it will be too long and your thread will always tangle…” I have sewn hundreds of garments, costumes and regalia since then, and I kid you not, every time I have threaded up a needle and measure the length, I have ALWAYS thought of Harry. 40 years, and most likely still going!
Brilliant blue felt tunic trimmed with white felt and a matching pair of cotton work gloves trimmed with yarn pompoms at the finger tips and outer sides of palm - with synthetic gold fringe - Harry used these kind of gloves when he danced; I don't think any of us had ever seen this type of dance regalia accessory before - nowadays, most of us are familiar to these pompommed gloves
Days before I graduated from high school, my mother asked me what I would like as a graduation gift. I replied: a sewing machine. She looked perplexed “Huh? You don’t sew…I’ve had a sewing machine for years and you’ve never used it…” I replied “Well, if I had my own, I would sew…” Graduation Day was on my 18th birthday. My Mamma loves me; I received a brand new Genie Singer sewing machine – I love that machine. I used to travel with my machine all the time! The machine is compact, light-weight and is able to fit under the seat on a jet! Like I mentioned earlier, I’ve sewn hundreds of items. I taught myself how to read patterns and make clothing. I made clothing for my children, family members and friends. I brought it to a Chilkat weaving workshop in Haines in 1985 and after class I sewed two dresses for my Chilkat weaving teacher, Jennie Thlunaut. (In fact, she is wearing a dress I made for her in some of the last photographs of her taken by photographer, Larry McNeil.) Although I have a sophisticated Bernina, and I have a classic 1935 Singer sewing machine in a cabinet, I still use my Genie on occasion. I’ve even bought this same model for each of my daughters. When my mother saw the results of her gift, and witnessed my involvement with the Native songs and dance, she sewed me a button robe with a beaded emblem of our clan crest, the T’akDeinTaan. Funny thing, I had no idea my mother could sew button robes!
Tunic #3 - trimmed with bias tape, cult felt fringe and single strands of beads and sequins at the bodice
Harry was from the Kwaashki’kwaan from the Owl House in Yakutat. He said the T’akDeinTaan branched from Yakutat area by way of a tributary called T’akDein of the Alsek River. He said because we were related, I could call him “Grandpa.” He was a gentleman and had a sophisticated dignity about his appearance. I am not saying vanity in a negative way; I speak of it with respect in reference to this man. He was in his early 80’s and was gently proud of his physique – he made me note his 42″ barrel chest slimming down to a 32″ waist with no potbelly whatsoever. He had a brisk, direct walk. His mind was alert. And there has not been a Native dancer of his age like him; whoa, could this man dance! When I visited him in Yakutat in 1975, I discovered he was still building a house, building a boat and still went fishing! (At the time, me being only just 16, I was unawares of how remarkable he was – but now looking back upon it, I realize this amazing elder was in great shape.) Harry was a hunter, fisherman and he played the mandolin. (Now that I think about it, this guy was my kind of man!)
Tunic #4 - this was the tunic I wore - red felt body with blue synthetic fringe, bias tape and single strands of beads and sequins
I had no idea until a few years ago my mother had kept these tunics in her closet all these years! She asked me if I wanted them; of course! I am thankful to my Mamma that she kept these; she knew the value in them. In the meantime, she watched me designing and making button robes after button robes. She probably knew that although I had “neglected” these tunics, as I was young and going out into the wide blue world, I may want them some day. Of course! They are like little treasures of historical documents with the young sweat of our DNA and they were an introduction to a way of life I had not even imagined. Because Harry and I worked on these tunics, they are part Harry and part me. Can you tell I have deep admiration, respect and love for this man? And I am thankful that my Mamma saved these tunics; I think my Mamma is proud of me. I am fortunate to have these pieces as they are the living proof of where I began as a maker of regalia; it is living proof of how specific people in one’s life can make all the difference of what we be and do.
Full view of Tunic #4 - this was one of two tunics I had sewn that had sleeves - it was the first time I had sewn sleeves on anything - I do not have a photo of the other tunic; it belongs to Catrina (Camposano) Mitchell
Harry told me many stories; his voice would change when he was telling me something of great importance, something he wanted me to take heed. As he was telling the following parable, I could “see” the entire imagery; and, maybe that is why I have remembered this “lesson” well…and maybe I’ve remembered this lesson because I applied it to my life…
“Say you are across the sea on another continent and you will be taking a long return voyage home. The voyage might take a week, it might take a month, but whatever the length of time, you take care of yourself so you can make the long journey. You will not be drinking the pop or the alcohol – you will not eat bad food; if you do, you know what happens, you will get seasick and puke over the side. Depending upon how much you abuse or neglect your self, you may not make the long journey back home…stay away from these things so you may make that long journey and return to your self and know who you are…”
Harry K. Bremner, Sr. and I - Yakutat airport - April 1975
Jun 21, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
I immediately took this shot 2 months ago when I moved in and set up my new temporary space. Nope, I didn't plan on having the black leather loveseat match the Tibetan rug match the turquoise couch match the bench match the yellow metal set of drawers match the Chilkat robe - it "grew" organically!
One of the first things I do when I move into a space is set it up comfortably, make the space “flow” and make it aesthetically pleasing; then, I place my loom where it feels best with the natural light being one of the major determining factors for its location. As a young child, my father always encouraged me to “make it look nice.” He encouraged me to take care of my surroundings, be clean, neat, organized, tidy,…and, make it beautiful. I’m not sure if I was already born with the capacity to design and create an aesthetically pleasing, workable space, or if I learned it. But, I enjoy creating spaces. I’ve even helped some of my friends’ do remakes in their homes. It’s fun. And a funny thing, every time I am designing or re-designing a space, I think of my father’s words.
The Chilkat robe on the loom is called “Jennie Weaves An Apprentice” – it is a tribute the apprenticeship with my weaving teacher, the late Jennie Thlunaut from Klukwan, Alaska – it’s the first of my series of robes I call “A Robe Within A Robe.”
Jun 20, 2011 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A "Catabiense Alba" rhododendrun blooms outside the window overlooking mountains and water. My latest painting: "Jennie Weaves An Apprentice" an acrylic on canvas, is part of a series with this design as its base. It is also the "pattern board" for the Chilkat robe I am presently weaving and intend to complete by mid-July!
I’ve been a privileged girl all my life. My basic needs have been met. I’ve had a roof over my head, decent food to eat, wild water to drink, and nice clothing if I want (but now I’m stuck on black sweatpants over the past 8 years and nobody can get me out of them!). No matter where I have lived in Juneau, there is always a beautiful view because it is just about impossible to not have a view of mountains, meadows, trees, a river, creek and/or the ocean. Although the past two years have been a challenge and I’ve struggled to maintain my basic needs, I am quite blessed with having a wonderful view while I am painting my next 6 original paintings on canvas and new collages. Like what more do we need when we’ve got astounding views to create by, right!?
Painting in the kitchen studio - only for another month, then it's time to move again...("pack it in, pack it out - pack it in, pack it out...")
I am planning on creating a series of 4 to 6 original acrylics on canvas with the same name as above, but numbered in sequence of their creation. Each one will have the foundation of the Chilkat robe pattern board, but a completely different painting. I’m excited about doing this series of paintings. I’ll have one of them for sale during my first show (ever!) at the Stonington Gallery in Seattle, opening September 1st. The others I am hoping I will have completed by the Santa Fe Indian Market August 20-21st.
Jun 19, 2011 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Drafting up a traditional Chilkat robe based on an old one. This one I call the "Lovebirds Diving Whale."
I’m working on a couple of Chilkat robe designs. One I just completed as part of my “robe-within-a-robe” series for a collaborative project with another artist; the other robe design is this one above. This design is a “diving whale” with an Eagle and a Raven, the Lovebirds. This is a draft of the robe I am preparing to weave, yet I am having second thoughts about re-doing the design so that it goes along with my “robe within a robe” series. My Chilkat robe-within-a-robe series are designs where there is a smaller Chilkat robe within the main image of the Chilkat robe. I have almost completed my first Chilkat robe within this series; it is called “Jennie Weaves An Apprentice.” The deadline for the completion of this robe is mid-July – however, I have been predicting the completion of this “Jennie Weaves” robe for the past two years; so what makes me (or others for that matter) believe me when I say it’s gonna be done by mid-July, huh?
Feb 4, 2011 | Class Act, Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Martine Reid introduces Clarissa to an audience enthusiastic about Chilkat weaving in the great hall of the Bill Reid Gallery in downtown Vancouver, B.C.
There are several weavers who are scheduled to do presentations during the Time Warp exhibit on contemporary Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. Canada. Since the exhibit opened in July 2010, 18,000 visitors viewed the beautiful weavings; you have a couple of weeks to visit the show – it closes at the end of this month. Haida weavers Delores Churchill, Evelyn Vanderhoop and Lisa Telford will be doing presentations during the closing weekend. If you are in the Vancouver area within this next month, you still have time to visit this fabulous exhibit.
A few of the beautiful handwoven textiles at the "Time Warp" Northwest Coast Indigenous Weavers Exhibit
Last weekend I demonstrated Chilkat and Ravenstail techniques at the gallery on Saturday and Sunday afternoons. Other than the usual demonstration on the techniques of Chilkat weaving (i.e. two-strand twining, 3-strand braids, interlock and the magical use of the drawstring), I spoke of my perspectives and theories on specific personality traits of the various clans, leading to the specifics on each moiety, the Ravens and the Eagles and how I noticed certain patterns in our clan system, patterns I was once oblivious to and now seem obvious. Like what? Well,… that in a class of 10 students, generally one of them will be an Eagle, all the rest are Ravens. Why is that? I brought up the subject of the Killerwhale women, those who are inquiring about learning Chilkat weaving from me. I know not these women, yet after a few emails and phone calls I have an inkling they are from the Killerwhale clan. How can I decipher that they are from the Killerwhale clan just by a few phone calls? I also answered several political questions, they included:
1). How do I feel about robes being auctioned off (there was a man from a local auction company in the audience who had a Chilkat robe with him inquiring about its age)? How do I feel about robes that are in collections and museums around the world that are not in our presence being used for ceremony?
2). Do I teach non-Natives? If not, why?
3). How do I feel about men weaving Chilkat?
(What were my answers? You’ll have to come to my next presentation! – Check out my calendar on my website to see if I am doing a Chilkat weaving presentation in your area at: Clarissa’s 2011 Calendar) Note: If you are in the Juneau area, I will be doing a two-hour presentation at the University of Alaska Southeast at 10am-noon in the Glacier View Room on Thursday, February 24th).
When I answered each question, I had a story to tell from my own personal experiences as a weaver, a member of my clan, a comrade to fellow weavers, and as a teacher of Chilkat. As you can imagine, these questions are touchy subjects. Yet to my own surprise, I answered each with a level of grace. I bet the audience probably thought I had answered these questions all the time. Not! The presentations that I gave this weekend were nothing like I had done in the past.
The presentations were supposed to be 2-hours; I had no idea I went over another hour to two hours and the audience still wanted more. What more did they want as most of my presentation was storytelling? They wanted more of that!
(Now, bear with me as I tell a story that might sound like I am bragging about myself, but continue, as in our custom, we tell the story full circle before we get to the point.)
Since 1989 I have given public presentations and demonstrations to as few as 25 people up to 2000, in diverse venues including Clan Conferences, the U.S. Forest Service, Holland America Lines tour ships, the Smithsonian, the National Museum of the American Indian, Toadlena Trading Post near Shiprock, N.M., the Anchorage Museum of History and Art, the University of Alaska Southeast, the Alaska State Museum and the Teslin Cultural Center. After that many years, you would think that I’ve got my presentation down pat (i.e. an outline, a power point presentation, handouts, brochures, business cards, and basic answers to the all-time questions). I don’t. I improvise every time. No notes. No nervousness. No worries. I do a presentation depending on the “feel” of the audience, the “feel” of the space, and what the hosts expect (or don’t expect) from me. I hadn’t even realized how “unprofessional” I was until most of the audience flocked about me when our time was up and I just carried on continuing to talk about personal experiences related to my life as a Chilkat weaver as if I had known these people all my life! (Like what is up with that!?)
Luckily, gracious Martine Reid reminded everyone that the Gallery was closing for the day else we probably would have had a slumber party staying up all night talking about art and spirituality, leaving out all business and politics.
In the next couple of days following my presentations, I received several emails from audience members who commented on how moved they were. They mentioned being taken all over the board with humor, contemplation, wonderment, grief, satisfaction and inspiration. The interesting thing was I was moved as well. I hadn’t ever done a presentation where I felt a sense of comraderie with the audience, a sense of peace and excitement all at once, and I carried on as if I were a talk-show host, in fact I even FELT like one – like that host Craig Ferguson! I think I even imitated some of his gestures and stances! I kid you not! – There were also times where I was almost in tears as I spoke about various subject matters including my apprenticeship with Jennie Thlunaut, the stories behind the robes, and just being a full-time, self-employed artist living on the edge where most of us dwell, including recent major life-changing events happening all at once.
On the flight returning to Juneau, I was reflecting back upon all the folks I met over the past weekend. I thought about my gracious hosts, Martine Reid, who is the widow of the famed Haida artist Bill Reid, and her companion, Allan Badger, a retired Chemistry professor. I thought about Megan Smetzer who had come to see my presentation; Megan, who was born and bred in Fairbanks, Alaska had done a presentation on octopus bags of the Northwest Coast at the Sitka Clan Conference back in 2007, which is where we first met. I thought about some of the audience members who introduced themselves and talked a little about their lives. I too wanted to spend more time with these folks. It felt good to see Megan, spend some quality time with Martine and Alan, and meet all these people. I wished that my family were in the audience. I wished all my weaving students were there too. I wished Jennie and all her Wolf Clan relatives were there too. Reflecting back upon these things, I am reminded about how it has been a good experience to be a part of this big picture in the world of Chilkat. When Jenny Thlunaut chose me to be her apprentice in 1986 just two months before she passed, I had no idea the life I would lead because of her choice combined with my choice of having accepted; I’ve had humbling experiences. It’s been an honor.
I also thought about my actual presentations at the gallery; why was I so “on” and full of high energy? I was flying high. Why did I not demonstrate more weaving techniques to the audience; isn’t that what they really came for? And how come I’ve neglected giving thought to presenting myself professionally: the product, the presentation, even my own appearance (generally wearing black sweat pants the past 8 years!).
I’ve been doing this work for over 20 years; why haven’t I “gotten with the program” and been more professional.
Now, I’m getting to the point; it is very simple.
I’m passionate about all the aspects of Chilkat weaving – the spirituality, the design and its meaning, the culture, and the actual finished robe. I’m passionate about sharing the information about this art form. I’m passionate about others who are carrying on this tradition and those who are learning about it. I’m passionate about teaching my students, and in turn they teach me. I’m passionate about my life. Those of us who live an artistic life will most likely understand what I am saying and relate! So of course, my passion would show during my presentations regardless of whether or not I appear “professional!” I’m not really passionate about APPEARING to be professional! OMG, what a revelation!
Martine Reid, Co-curator of "Time Warp" exhibit and widow of the late Haida artist Bill Reid - Photo by Alan Badger
Alan Badger, a retired Chemist, and the woodworker for my Chilkat headboard he made to display my Chilkat robe for my presentation - photo by Martine Reid
Many thanks to Martine and Evelyn for all the work in producing this exhibit and inviting me to do a presentation, as well as including my daughter, Lily Hudson and I be a part of this exhibit with our collaborative piece, “Copper Child.” Many thanks to Anthea Mallinson, a tapestry weaver from the Vancouver area, for loaning the Bill Reid Gallery the frame of her loom to host my Chilkat robe. Many thanks to Alan Badger for making the headboard (strapped to Anthea’s loom) for me to display my Chilkat robe for this presentation, and also for posting some photographs of the presentation on Flickr. Many thanks to the staff and volunteers at the Bill Reid Gallery. And many thanks to all those who came out to this event and exhibit.
To view more images of my demonstration, and the opening of the fabulous Time Warp exhibit, visit the Bill Reid Flickr site at: http://www.flickr.com/photos/billreidgallery
