Apr 16, 2016 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Relationship Overdrive, Tlingit Culture Accentuated |
Invitational design specifications for the “patchwork quilt” or “Granny Square” Chilkat/Ravenstail Robe Project — Collaborative community design concept by Clarissa Rizal; Canoe Community concept by Suzi Vaara Williams
Dear Northwest Coast Chilkat and Ravenstail Weavers:
We invite you to participate in a very unique project which will provide a Chilkat/Ravenstail ceremonial robe to be worn by a dignitary of a hosting community for NWC Canoe Gatherings and/or also to be worn in ceremony during the maiden launch of a traditional dugout canoe. Imagine this robe will be worn for many generations of canoe gatherings and maiden voyages! When the robe is not traveling, it will be housed in its own private, glass case in the new “Weavers’ Studio” at the Evergreen Longhouse campus in Olympia, Washington State. Longhouse Executive Director Tina Kuckkhan-Miller, and Assistant Director Laura Grabhorn are very excited about this project.
If you are interested in participating and donating your time to weave a 5″ x 5″ square, the above illustration provides you with the visual concept. The information below provides you with clear instructions:
Project: A NWC Weavers’ Invitational to create a collaborative and unique Chilkat/Ravenstail robe for the NWC communities who host Canoe Gatherings and/or are launching the maiden voyage of a traditional dugout canoe in Washington State, British Columbia, Southeast Alaska and Yukon Territory.
Who is Invited: This invitational is open to all Indigenous Chilkat and Ravenstail weavers representing all the distinctive tribes of the Northwest Coast. The invitational is also open to non-Indigenous weavers who are clan members of a NWC tribe via adoption and/or marriage. Weavers of all levels of experience, from beginner to expert, are invited to contribute! There are only 54 sections on this unique, one-of-a-kind, Chilkat/Ravenstail robe; if you want to be a part of this historical event, jump in now while you can and commit via email, text or Facebook to Clarissa Rizal by May 15, 2016! Email address: clarissa@www.clarissarizal.com or text her at: (970)903-8386 or Facebook: Clarissa Rizal
Limited number of weavers: There will be 54 5-inch squares which = 54 separate weavers. 45 of the 54 squares will have 1″ fringe at the bottom. 9 of the 54 squares will have 18″ fringe; these 9 squares will be placed at the very bottom edge of the robe. If you want to be one of the 9 squares with the 18″ fringe, let me know. Please refer to the illustration for visual image. The borders of the entire robe will be woven by Clarissa Rizal after she has laid out the entire 54 squares and sewn them together. Total approximately measurements of the robe will be 68″ wide x 56″ high (includes fringe)
The Warp: You will need approximately 12 yards of Chilkat warp. To keep the thickness and body of the robe consistent, use only Chilkat warp (w/bark), natural color and spun to size 10 e.p.i. Please DO NOT USE Ravenstail warp.
The Heading Cord: Instead of a leather cord (like we use in Chilkat weaving), use two strands of your Chilkat warp, this 2-strands of warp instead of leather cord is a technique used in Ravenstail weaving. The Chilkat warp heading cord will then become a part of your weaving so in this way we avoid any tied knots on the top left and right of your heading cord.
The Weft: merino or mountain goat wool, size 2/6 fingering weight, in any shades of the traditional colors of black, natural, yellow and blue
The Design: Weave anything to do with the canoe world; suggestions are to weave symbols of nature, animals, mankind (i.e. mountains, ocean, rivers, lakes, canoes, paddles, faces, claws (though no human hands: Instead of four fingers, weave three fingers and a thumb)
In addition with your weaving, please provide two things: 1) a brief 100-word max Bio in Word Document and, 2) a photo of yourself with your weaving either finished or in progress (200 d.p.i./5″ x 7″) —- I will be providing this information to the Evergreen Longhouse who will be housing this robe when it is not traveling. I also imagine there may be a small publication (of the robe with all the weavers ) someday printed for each one of us; and why not!? It would be fun!
DEADLINE to commit: Extended to May 15, 2016 Email Clarissa with your commitment (suggestions, etc. are welcome too, especially at this time): clarissa@www.clarissarizal.com or text her: 970-903-8386 (yes, area code is 970)
DEADLINE for completion: Postmarked by July 15, 2016 Remember: Along with your weaving, please include the brief bio and a photo of you and your weaving. (see specs above) If you complete your weaving by the dates of “Celebration” and you are in Juneau, you may hand-deliver your weaving to Clarissa anytime during the month of June, otherwise mail your weaving insured to Clarissa’s address:
Clarissa Rizal, 40 East Cameron St #207, Tulsa, OK 74103
“TOUR” SCHEDULE (for the robe) 2016:
1). Hoonah, Alaska: Master carver of dugout canoes, Wayne Price from Haines, Alaska is carving two dugout canoes for the Hoonah Indian Association. The opening ceremonies will be the maiden voyage of both canoes from Hoonah to Glacier Bay for the dedication of the recently built longhouse on the shores of Glacier Bay on Wednesday, August 24th.
2). Sitka, Alaska: Master carver Steve Brown and the Gallanin Brothers are carving a dugout in Sitka, Alaska.
3). Vancouver, B.C.: Robe will be part of an exhibit for four months at Sho Sho Esquiro and Clarissa Rizal’s exhibit called “Worth Our Wait In Gold” at the Bill Reid Gallery, Vancouver, B.C., opening Tuesday, October 18th
If you have any information on definite dates for canoe gatherings and maiden voyage of a traditional dugout canoe, please contact Clarissa or Evergreen Longhouse in Olympia, Washington.
NAME OF THIS ROBE: “Weavers Across the Water” — Thank you, Catrina Mitchell…!
THE ROBE’S HOME: As I mentioned above, when the robe is not traveling, it will be housed in its own private, glass case in the new “Weavers’ Studio” at the Evergreen Longhouse campus in Olympia, Washington State. Longhouse Executive Director Tina Kuckkhan-Miller, and Assistant Director Laura Grabhorn will be the travel coordinator’s for this special robe.
COMPENSATION: As of May 2nd, nearly 40 weavers have committed to this project. Not one of them asked about compensation. This is remarkable; it shows the purity of our weavers’ intentions and commitment to our identity and cultural heritage. Though, I am looking into finding a benefactor who is willing to help support this project. I’ll keep everyone posted.
SUGGESTIONS, COMMENTS, IDEAS, ETC.: I encourage and solicit your input. Please be brave and just communicate with me; no worries. AND if you want to partake, this is “our” robe!
How did this idea sprout? Well you gotta know about Suzi and Clarissa chats: This project was an idea which stemmed from a chat between Suzi Vaara Williams and I on March 4th. I mentioned that I kept seeing everything in “Chilkat”; and Suzi was talking about all the knitting and weaving projects she has got going and asked if I remembered the crocheted “Granny Square” blankets from the 60’s. Immediately instead of crocheted colors of yarn, I saw a different kind of “Granny Square” blanket — I saw the Chilkat and Ravenstail woven ceremonial blanket! And when I exclaimed to Suzi my vision, right away she added with glee: “Oh, oh, ohhhh! And the robe will be worn during the canoe gatherings up and down the coast!”
We hope you join us in creating this one-of-a-kind ceremonial robe woven by present-day weavers for our present-day canoe gatherings and traditional dugout canoe maiden launches. This robe will travel for many generations. Please represent your community and be a part of this historical project. We appreciate your time, energy and talent! Truly, Gunalcheesh!
Apr 14, 2016 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
“Chilkat Mask” in shades of blue — Clarissa Rizal — 2016
During my “spring break”, for the first time ever, I actually took a real spring break, like an actual, much-needed vacation. During the vacation I hugged and played with my grandchildren, visited my kids, romped around the desert with my friend Rene, and in between when nobody was looking, I wove this Chilkat Mask! Yep, it can be worn as an actual mask. I wove it with the same shades of blue weft yarns I dyed a couple of years ago and I am using the main bulk of the blue yarns for my most recent Chilkat robe called “Egyptian Thunderbird.” This mask will be in an exhibit of Northwest Coast Native masks at the Stonington Gallery in Seattle, Washington opening Thursday, June 2nd. Most of the masks at this show will be in carved wood, or in jewelry, and I doubt very much there will be a mask like this one that is woven; we’ll see. My “Chilkat Mask” may be the first of its kind, I don’t know. Come on down to the Stonington and let’s see! I’ll be there!
cloth-covered wires were inserted, hanging down with the warp, only in the central part of the Chilkat mask …this is to give the mask some structure with flexible capabilities to form to any human face — “Chilkat Mask” by Clarissa Rizal — 2016
Apr 8, 2016 | Class Act, Honoring Others |
The older Chilkat apron, most likely started by Doris Kyber-Gruber in the early 70s is held in front of the new Chilkat apron started by Doris’ friend, Dodie Gannet in the late 80s — The folks have finished the newer apron! They are (LtoR): Sally Ishikawa, Jodi Zimmerman, Margaret Jeppesen, Margaret Woods, Stephany Anderson and their consultant Ravenstail weaver extraordinaire, John Beard — December 2014
The “Apron Apprentices” (as they call themselves) have completed the Chilkat apron! Congratulations! The dedication is commendable! Here is a video clip showing the removal-of-the-apron-from-the-loom today by Ann Carlson – https://youtu.be/AW5sFVWs8_Q
Here’s an earlier blog post from December 2014 when I helped guide these weavers with a few more tricks of the trade in Chilkat weaving and this post also provides a story about how this apron came into the hands of these fiber artists/weavers in Oregon: http://www.clarissarizal.com/blogblog/the-apron-apprentices-oregon/
Thank you to Deana Dartt, Curator of Native American art at the Portland Art Museum for providing financial support in helping these weavers to complete this apron. The apron will become part of their permanent collection, which is befitting because of the lineage of Chilkat weavings that PAM has in its collection. We believe that there is no other institution that has the lineage of teacher/student/teacher/student, etc. as the following:
* Chilkat robe woven by Jennie Thlunaut’s auntie who taught Jennie how to weave
* Chilkat tunic woven by Jennie
* Chilkat robe woven by Clarissa, apprentice to Jennie
* Chilkat aprons: the older unfinished one woven by Doris (a student of Jennie’s in the late 60s/early 70s); the most recently completed apron started by Doris’ friend Dodie Gannett (who was learning from Doris), eventually completed 30 years later by the “Apron Apprentices.”
* Commissioned Chilkat robe woven by Lily Hope, apprentice to Clarissa — this robe will be completed by January 2017
Mar 4, 2016 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
In various shades of hand-dyed blues, Clarissa Rizal weaves her most recent Chilkat robe design called “Egyptian Thunderbird” — copyright March 2016 — photo by fellow Tulsa Artist Resident, Chris Ramsay
Feb 10, 2016 | Honoring Others, Tlingit Culture Accentuated |
Subsistence gatherer Helen Watkins’ – the photos to her right are her relatives including her mother, grandmother and an image of the cabin off of Mud Bay Road in Haines, Alaska where she would spend the Summers gathering the abundant variety of indigenous foods — April 2011
Almost a year ago, I began weaving a Chilkat robe for Tlingit elder Helen Watkins from the Shungukeidi Thunderbird Clan; the robe is called “Egyptian Thunderbird.” She was going to dance the robe this coming June during opening ceremonies of the biennial gathering of clans in Juneau called “Celebration.” Looks like she will be dancing the robe in spirit; Helen “walked into the woods” last night.
The “Egyptian Thunderbird” Chilkat robe by Clarissa Rizal (June 2016) commissioned by Susan Hunter-Joerns in honor of Helen Watkins — modeled by Helen Watkin’s niece, Rhonda Mann
Helen was the happiest when she gathered foods from the land and sea with her big family and friends. Back in 2011, I attended one of her presentations on the Native subsistence foods and posted a blog about it. Check it out at: http://www.clarissarizal.com/blogblog/subsistence-presentation-by-helen-watkins/
Her obituary is at: http://www.legacyalaska.com/obituaries/Helen-Abbott-Watkins/#!/Obituary
You’ve got a lot of family, relatives and friends who are going to miss you greatly, dear Helen!
Oct 22, 2015 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A very similar version of the original robe of the same name minus the #2 of “Northwest By Southwest II” button robe, recently completed by Clarissa Rizal
This is a photo of the original buttonrobe entitled “Northwest by Southwest” made in 1999. This is my most favorite button robe I’ve ever designed and made. This past summer, my son-in-law gave me some of the same background fabric that he found while searching for blankets on eBay. This same fabric I bought nearly 30 years ago in Santa Fe, New Mexico, so I was absolutely thrilled to have enough to make a second “NW x SW” button robe, hence the name “NW x SW II…!”
Catch a close-up of the fabric detail as Clarissa irons “NW x SW II” button robe with her brand new “Rowenta” Steamer Iron
If you are interested in purchasing this robe, just give me a holler! I will have this robe available for sale at the Clan Conference in Juneau next weekend, October 28-November 1st. If a happy buyer does not snatch it up during the conference, I will have it available for viewing and sale at the Haa Shagoon Gallery in Juneau. Remember: Christmas is coming!
Oct 20, 2015 | Latest Art Projects, Tlingit Culture Accentuated |
The catalogue for the “Chilkat Blankets: Artistic Masterpieces” exhibit of antique Chilkat robes held in private collections in the U.S. recently displayed at the Antique Native American Art Show & Sale at El Museo De Santa Fe this past August 2015
I have a limited 10 copies of these books available for sale at my booth during the Clan Conference held Wednesday, October 28th through Sunday, November 1st at Centennial Hall in Juneau, Alaska. They are excellent study reference, especially since we will not see these robes in museums because they are in private collections. They are $25/each
I interpret this design as the “Diving White Raven Amongst the Bullkelp” image woven in this antique Chilkat robe
Oct 3, 2015 | Adventures of Rear-Mirror Rissy, Showing Off, To Market To Market |
Clarissa’s 1st Cherokee Art Market booth will be in the “Sequoyah” room at the Hard Rock Casino in Tulsa, Oklahoma on Saturday and Sunday, October 10 & 11, 10am to 5pm — If you are in the neighborhood, come on and check it out!
Sep 24, 2015 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Miranda Belarde-Lewis, Sho Sho Esquiro and Clarissa Rizal plan the floor layout of their next year’s October 2016 exhibit at the Bill Reid Gallery in Vancouver, B.C.
A year after the initial idea of an exhibit featuring traditional and contemporary Northwest Coast regalia and clothing with Sho Sho Esquiro and Clarissa Rizal, we finally met up at the house of Curator Miranda Belarde-Lewis to review the basics of the exhibit!
The exhibit opens at the Bill Reid Gallery in Vancouver, B.C., Canada next year in October and will run for approximately 5 months. We will be featuring a total of 20 to 30 individual ensembles of which during opening night only will be modeled with the accompaniment of traditional songs set to Preston Singletary’s latest jazz funk band called “Ku’eex.” Directly after opening night, the ensembles will be placed on their respective mannequins.
Stay tuned for updates on the progress of our exhibit!
Curator Miranda Belarde-Lewis, Contemporary clothing designer Sho Sho Esquiro, and Ceremonial regalia-maker, Clarissa Rizal
Sep 21, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
One of the most up-town covered, outdoor fire pit shelter seats approximately 150 people in a cozy, intimate setting
A little over 10 years ago, when Preston and I had been talking about putting together the first gathering of Northwest Coast Artists to be held during Celebration 2006 in Juneau, Alaska, he had mentioned Islandwood retreat learning center on Bainbridge Island, Washington State as a possible location. He felt that the location of this beautiful retreat in a heavily wooded forest would foster a networking of life-long friendships, kindle collaborations, and create a very tight group of artists where we could truly focus on any art and cultural issues in a very real way. 10 years and 2 Northwest Coast Native artists gatherings later, we finally made it a point to visit IslandWood yesterday; it was obvious to me during this site visit why Preston insisted on IslandWood as the place for conducting next year’s gathering of Tlingit artists – the location of this retreat is astounding!
The purpose of this gathering of Tlingit artists is to establish a loose coalition of mentors to consciously create a mentorship “guide” for our younger generations so we continue to endorse our future artists in whatever field they work.
The warmth of solid oak and maple dining room
There are five, dedicated, professional Tlingit artists who are at the helm of helping to organize this retreat. They include: Sue and Israel Shotridge, Donna Beaver Pizzarelli, Preston Singletary and myself.
At this time, Artstream Alaska and the Evergreen Longhouse are two organizations who will help sponsor this gathering.
We will be re-vamping the Artstream Alaska website where we will have information on the gathering. The goal for website completion is by November this year.
In the meantime, although all of us work together on all aspects of organizing this gathering, we each have organically “fallen into our main roles.” Sue and Israel works on cultural values and the administration, Preston works on fundraising, Donna gathers materials to eventually design and create the website, and during my travels, I have been networking and collecting names of Tlingit artists.
Standing at the entry to Islandwood’s main hall, program coordinators L to R: Clarissa Rizal, Preston Singletary, Swil Kanim, Sue Shotridge (missing: Donna Beaver Pizzarelli)
At first we were going to invite any and all Northwest Coast artists from any background and tribe. Then we got to thinking about the differences in some of the values and we thought the gathering will already be challenging enough with the variety of egos, that we would like to keep it simple. We will be inviting only Tlingit artists for this gathering. We envision other tribes will be inspired to create their own mentorship program for their next generations.
The main lobby before the “Great Hall…”
IslandWood’s Story:
IslandWood is a nationally recognized outdoor learning center located across Puget Sound from Seattle’s urban center. IslandWood’s mission is to provide exceptional learning experiences and to inspire lifelong environmental and community stewardship. Each year, more than 25,000 people participate in IslandWood’s programs on the 225-acre campus and in communities throughout the region. In addition to our school programs, IslandWood offers a graduate program in partnership with the University of Washington, summer camps, and community programs for children and adults. Revenue from conferences and retreats and contributions from the community enable IslandWood to underwrite our outdoor education programs for children from low-income communities.
For more information on IslandWood, you may visit their website at: www.islandwood.org
Islandwood Program Director Christine welcomes the four of us to tour the small portion of the 250-acre landscape
As I mentioned earlier, Artstream Alaska will be our main sponsor for this project. When the re-vamped website is launched by November 1st, we will be inviting selected Tlingit artists to check out all the information to see if they would like to participate. We are inviting Tlingit artists based on their artistic merit, their involvement in the arts and culture and their obvious concern for the health and well-being of our people.
Sue Shotridge and Preston Singletary walk one of the many paths through the woods on the Islandwood Retreat
Currently, the dates for this 3-day Tlingit Mentorship Retreat is set for next year, September 16 through the 18th, 2016. This will be a retreat. We ask that each artist make a clear commitment all 3 days and nights. We encourage artists to book any outside activities (i.e. visit family and friends in the Seattle area, shopping, sightseeing, etc.) before or after the 3 days.
Just outside Islandwood’s “Great Room”
Once the Artstream website is re-vamped and we’ve got our ducks in order (goal is November 1st), we will send out our invites to our Tlingit artists pointing them to read about our mission statement, the confirmed dates and times, the agenda of the mentorship project, the cultural leaders who will be helping to guide this 3-day event, and the list of artists who will be committing to attend this historical event.
Islandwood’s Welcome plaque just before the shed of many hand carts
Our space has a capacity limit of up to 50 artists. The room and board is covered for each artist attending all 3 days. At this time, we are seeking funds to help pay up to $250 (or less) for each artist’s travel expenses. This will be invitation only, though we are open right now to receive names and contact info of anyone who you may know who fits the bill for a Tlingit mentor.
Stay tuned!
Swil Kanim and Preston Singletary discuss the meaning of being a mentor
Mentorship project coordinators L to R: Swil Kanim, Sue Shotridge, Preston Singletary, Clarissa Rizal
