Aug 18, 2013 | Honoring Others, North Tide, Poetry Alaskan, Relationship Overdrive, Tlingit Culture Accentuated |
Jennie Thlunaut’s hands weaving closing up the black braids to the eye – May 1986
As we weave the fabric of our lives, working hard through all the days
Mixing colors into twine, cedar too for warp that’s mine
Our hands do hurt but I won’t complain; my students here I’m going to train
To be a weaver of the robe, that people know over all the globe
Our work we do for time will stand, side by side from my ancestor’s land
Their hands I see when I close my eyes; heads of grey, hands wrinkled and wise
Their training I feel all through these days, now I pass it on in so many ways
What I teach I hope and pray, they will learn and weave will stay
Long past my last earth day
My Grandchildren’s Grandchildren I hope will say
This robe I weave is from my land, taught to me by someone Grand
Our story goes on and we prevail; I’m here to tell you a weaver’s tale.
Written by Wayne Price in honor of our weaving tour visit in Haines, Alaska three weeks prior and in memory of our weaving mentor, the late Jennie Thlunaut – written 18 August 2013
Wayne Price wears the “Diving Whale Lovebirds” Chilkat robe recently woven by Clarissa Rizal – June 2013 – weavers Cherish Clarke, Sherri Atlin, and Georgianna Low are standing behind Clarissa and Wayne at the Adaka Festival photo shoot – photo by Ken Kaunshansky
Aug 6, 2013 | Class Act, Tlingit Culture Accentuated |
The four of us took over the crew members’ table in the cafeteria of the MV Malespina; it was the only table long enough to fit all of us!
Carver Allie High looks over the shoulder of Jackie Johnson Pata watching Crystal Rogers weave. Jackie is also a Chilkat weaver and Allie says she ought to take up weaving since there seems to be such comraderie amongst the weavers and she feels left out! (Hmmm…I think she has good point there!)
Weaver Marsha Hotch sews on a pair of moccasins while Jackie Johnson Pata visits
Weaver Ricky Tagaban spins his warp; he is preparing to start weaving his first Chilkat robe too.
Clarissa weaves on her child-size Chilkat robe (notice the Alano Edzerza hand-silkscreened cotton knit tunic she is wearing).
Teahonna James is shaping her second Chilkat circle!
The crew member’s table in the cafeteria is truly the perfect spot on the entire ship; good views, good lighting, good company and half way decent food just a step away – what could we have asked for!?
The end of our weaving tour was in sight. We all parted a couple of days after we reached Juneau; we all went our separate ways until we meet again! Maybe in a month, maybe next Summer…we’ll see what happens – but whatever happens, I will make sure I keep you posted!
Aug 4, 2013 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, North Tide, Tlingit Culture Accentuated |
Flanked by Crystal and Clarissa’s Chilkat weaving looms, Teahonna James weaves on her Chilkat headdress in the upstairs room of the Sheldon Museum in Haines, Alaska
The Sheldon Museum, though small and cozy in comparison to many museums about the country, has quite the collection and display on Chilkat weaving. In fact, for the first time ever, the weaving exhibit included Tlingit language weaving terms! I have posted them on a separate blog entry; click here to the link.
Teahonna quietly weaves in the room surrounded by “artifacts” – yet to us, they are “relatives” – they are “related” to us in some form or another, whether it be a tool used by our ancestors, or a map carried by a visitor, or a robe woven by our teacher – there is relativity to us
For several years, I thought it a good thing to learn to speak the weaving terms in our Tlingit language. I wished I had asked Jennie to teach me the weaving terms but I was too young to even know what to ask. I watched a documentary on a dugout canoe carved on an island in Lake LaBarge in the Whitehorse area; at one point during the completion ceremony of the canoe, Lance Twitchell a young speaker of Tlingit who taught himself the language not even 10 years ago, who is now an assistant professor at the University of Alaska Southeast, spoke so eloquently in our Native tongue that even though I didn’t know what he was saying, hearing the language in that moment immediately brought tears to my eyes – he spoke as if he were an elder who has returned to us only to find remnants of a language almost obliterated and he alone with a couple of others are working hard to bring it back. Lance looked as if he carried this “weight” upon his shoulders. In that moment, I told myself that when I return to Haines and live there, I will learn my language, and I will begin with the weaving terms so that I may teach it to my students.
Do all Chilkat weavers have long hair? Many do. Clarissa and Crystal have kept their long hair – a trademark of many Tlingit women before the Westerners arrival.
The two Chilkat robes in the background were woven by the last of the traditional Chilkat weavers, the late Jennie Thlunaut; and to the left of the robes, the Ravenstail robe was woven by Lani Strong Hotch from Klukwan
In the left behind Crystal and Clarissa, the small child-size Chilkat robe was woven by Jennie Thlunaut – come to think of it, this may have been her very last Chilkat robe before she passed in July 1986
Because of such beautiful, warm weather, we agreed to demonstrate weaving nearby the totem pole carvers on the last day outside the front entrance to the Sheldon Museum
Nathan Jackson (r) visits Jim Heaton, the master carver of this particular pole (who isn’t pictured but standing to the left), and sculpture artist Matthew Hincman – in the background are singer/composer William Wasden from Alert Bay, B.C. and leader/singer/drummer of the Dahka Kwaan Dancers from Whitehorse, Y.T., Marilyn Jensen
Except for the Swiss-made chisel, these are hand-made carver’s tools
Teahonna spinning warp – She is trying to meet her goal of 300 yards of Chilkat warp so she too can begin weaving a child-size Chilkat robe.
L to R: William Wasden, Marilyn Jensen, William’s nephew Mark, Clarissa Rizal, Crystal Rogers, Matthew Hincman, Megan Jensen,Jim Heaton, Jim’s carving apprentice Joe (?), Nathan Jackson, and Jim Simard
On the last day of our demonstration, there suddenly was a congregation of familiar visitors and friends who “happened to be in town” – at our request, William Wasden sang a couple of compositions in honor of weaving and in honor of the carvers, especially in honor of local master carver, Nathan Jackson.
After a wonderful last day, we wished we had been demonstrating our weaving outside the other two previous days; we wondered how many other folks we would have reached had we been more exposed.
We wove outside way past the Museum’s closing hours until the sun went behind Mt. Ripinsky
Chilkat weaving has become a way of life. I see how it has shaped my world views, my connections to people, places and things; it has even made me philosophize more so than ever! haha! I see all the relativity of things via Chilkat. It is something that I want to share with our people. As with all of us, our time here is limited. I am a busy woman, constantly. I am one of a few who makes the time and energy to teach our women. I want to help bring up the standard of internal living within the minds and hearts of our women. I have experienced the gift it has brought me and how it has changed me internally. Chilkat weaving provides an internal strength I had no idea existed. I want our women to experience this internal strength. When we strengthen our women, we strengthen the bond of our relationships. If during her status as a Chilkat weaver that her relationship with her partner goes awry, possibly the integrity of her partner did not match with the strength of Chilkat weaving. When we strengthen the woman, it is like a rippling effect; the power moves out like a water dropping into the ocean…the weaving strengthens the relationship which in turns strengthen the family unit which in turns strengthens the community, which then strengthens the nation…and the world!
Thank you to my apprentices, Crystal Rogers, Teahonna James, Vanessa Morgan, and the new “groupie” Stefanie Sidney, for coming along for the “ride” – it’s been quite the experience and treat! Let’s do this again! Truly, what would a teacher be without her students?
Jul 29, 2013 | Adventures of Rear-Mirror Rissy, Class Act, North Tide, Tlingit Culture Accentuated |
The “weavers’ cabin” during “Kus Te Yea” Celebration 2013 in Teslin, Yukon Territory
I had told the weavers about the Kus Te Yea Celebration 2013 in Teslin. This biennial event is held in the odd-numbered years from “Celebration” sponsored by the Sealaska Heritage Institute held in Juneau, Alaska in the even-numbered years. This is 2013; the odd year we’ve been waiting for; time to head to Teslin!
We knew that we wanted to attend the event, we just didn’t know where we were going to stay since none of us brought complete camping equipment, although we were ready to get additional equipment and camp out if we had to just like everyone else! However, a week before Celebration 2013, we were invited to come out and demonstrate; – they had a space all ready for us as if they were expecting us to come! We checked out of our comfy apartment in Whitehorse closing up that part of our Weavers’ Tour (click here if you missed the Whitehorse story) and were up for another adventure!
Looking through the screen windows at a lovely weaving scene!
The cabin designated for the weavers to demonstrate is an uninsulated wooden shell with screened windows without glass. We removed the wooden shutters for added light, air, view and ambiance! There are “skylights” and all of us just jumped with joy – what a perfect place to weave! And all our very own for three whole days!? Wow! Thank you Kus Te Yea organizers for our very own space!
Jackie Kookesh and Ricky Tagaban share spinning techniques while Teahonna James sets up her table-top weaving loom
Immediately the very first day just as we were setting up, Ricky Tagaban and Jackie Kookesh surprised us – we didn’t know they were coming! Also others from a couple of years ago returned: Dan Shorty and Tatiana (?), and two others whose names have slipped me. Pretty soon we had four people spinning and four people weaving. Fun!
Vanessa Morgan explains to her audience how she first got involved in Chilkat weaving and the design story of her child-size Chilkat robe
Crowds of visitors, far and near, visited us. One of the most rewarding things about demonstrating Chilkat weaving is to provide the visual, tactile information about the amount of work involved in just preparing the materials BEFORE you begin to weave. Demonstrating educates the general public (and even our own people) about the spinning process as well as the actual weaving. I am delighted when visitors are amazed at how we spin the warp on our thigh. No matter what age, they are always shocked. So much fun.
Crystal Rogers listens to Chief Dan (from Carcross, Y.T.) tell a story pertaining to weaving in his family
Also, it is an educational experience for us as various individuals who come to see what we are doing; more often than not they have a story to tell in regards to a relative or friend who was (or currently is or wants to be) a weaver. Or they tell us a story regarding an old robe and how it was sold, or how it disappeared or how much it cost when it sold. We hear many, many stories from our audience. Storytelling is a big aspect of weaving. We discover that when we demonstrate the art of weaving, we also learn to listen to the stories involved with weaving – our active listening skills are improved. In so doing, we are learning while we teach and demonstrate. The act of listening to our visitor’s stories is a large part of our “oral history.”
Clarissa’s child-size Chilkat robe now has eyes – to be able to see out into her world…as she now is able to “see” into her child-size robe. Although Clarissa has designed her robe, as she weaves along, she understands that the design of the robe is subject to change – during the course of a woven garment, things are felt, heard and “seen”, and sometimes it changes the course of history, and subsequently the design…
There is nothing quite like watching a weaving take its course. The texture of the weave does depend on the weaver’s skill, however, there are always other factors like the fineness of the warp (the yarns that hang down), as well as your particular mood that moment, that hour, that day.
Packed up, doing last-minute clean-up, and Celebration is over; and while it is true that the Teslin Celebration organizers invited us to come demonstrate Chilkat and Ravenstail weaving at this sweet cabin where great memories and connections were laid, already we lay claim to weave, spin and teach during the next Celebration 2015!–look out, we are returning!
Weaving also creates a certain kind of tension whether it be within us or without us – tension is an aspect of weaving; there are at least two,…tactile tension and psychological tension. Tension keeps us on our toes, it helps build up and it can also help let down. Living in close proximity with other weavers always causes a bit of tension; it’s natural. We learn to adjust to the various personality traits. We learn to tolerate. We learn to support. We learn to take care of one another and watch out for one another. We learn respect. We are always learning as we weave our webs.
Jul 4, 2013 | Class Act, North Tide, Tlingit Culture Accentuated |
Yukon and Alaskan Weavers in Whitehorse, Yukon Territory – June 2013 – on the Yukon River — L to R front row: Stefanie Sidney, Crystal Rogers, Nita Clark, Clarissa Rizal, Charlene Baker, Sherri Atlin, Ann Smith — L to R 2nd row: Heather Callahan, Cherish Clarke, Ricky Tagaban, Pamela Adamson, Teahonna James, Diane Knopp
In the Yukon a dedicated group of people is working to preserve an ancient cultural tradition. To teach the art of Chilkat and Ravenstail weaving the past is becoming alive again and becoming a force that is weaving itself into dance, song and other cultural aspects of the people of our Northwest coast Alaska, B-C and the Yukon.
Enjoy the interview with Clarissa and visit the new robes of today….
http://www.cbc.ca/north/features/weaving-and-words/
First day of weaving class in the Elder’s Room of the Kwaanlin Dun Cultural Center on the banks of the Yukon River, Whitehorse, Yukon Territory
Over 20 years ago, after a gathering of Chilkat weavers, Ann Smith said she wanted to host a Gathering in her hometown of Whitehorse, Yukon — Finally, after attending Weavers’ Gatherings in Prince Rupert, Alert Bay, Sitka, Juneau, Hoonah, and Haines, with the assistance of Charlene Alexander, festival coordinator for the Adaka Festival, we made this happen in Whitehorse!
Ann demonstrates to Teahonna one of several methods on how to measure your warp for your project
Ann and I had a total of 12 new students; she taught 6 weavers interested in Ravenstail weaving and I taught 6 weavers interested in Chikat weaving.
The white board listing all the weavers in the class…
While Ricky continues to spin warp, Ann demonstrates to Georgianna and Heather how to warp the loom
Clarissa explains to Georgianna the importance of perfection in the first row of weaving, the anchor row.
Crystal assists Pamela on her fingering technique
It’s a wonderful thing when an experienced apprentice helps her fellow beginner student learn the basics of weaving.
Ricky weaves below the full moon window designed by Kwaanlin Dun artist, Justin Smith
The Elder’s Room has great ambiance for a weaving class – perfect in size of room with very good natural lighting, the glass walls dividing us from the cultural center’s hallway that provided us privacy yet the general public could watch what we were doing, AND it was the only room in the cultural center that had perfect air-conditioning during hot, muggy sunshine!
Ann demonstrates to Pamela while Diane looks on
Nita is happy that the fingering is coming so naturally for her!
12-year-old Amber Baker re-visits the weaving she began when she was 9 years old. Even though she was reluctant to do it, she agreed to take out the weaving (cuz it showed too many “teeth”) and start all over again.
Wayne Price and Dan Shorty pay a visit during our “visiting hours”
9am to 1pm was reserved for the Weaving Class where there were no visitors allowed so we were not interrupted during instruction time – 1pm to 8pm were hours reserved for the Weavers’ Gathering open to any and all visitors and any weavers who wanted to join us during those hours
Ravenstail weaver Dan Shorty and Charlene Baker check out Sherri Atlin’s work
Teahonna James, whose family is from Klawock, Alaska is weaving her very first ever weaving in Ravenstail, making a double-sided pouch
Dan tries to help Ricky weave the side braids, while Teahonna learns what Heather just learned
Stefanie Sidney joined the class a few days after everyone else and wove like the dickens to catch up!
Crystal Rogers begins weaving her Ravenstail leggings
Vancouver artist Alano Edzerza visits Charlene Baker weaving a commissioned Ravenstail headband
Amber prepares her slipknots
Pamela and Ann inspects and congratulates Diane’s completed weaving
Happy weavers create happy weavings which when worn help create happy dancers creating happy families and communities!
Heather, Ricky and Cherish enjoy one anothers’ cozy company
Jun 25, 2013 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Clarissa’s latest Chilkat robe “Diving Whale Lovebirds” danced by Wayne Price during the “Weavers’ Dance” at the Adaka Festival in Whitehorse, Yukon Territory – photograph by Ken Kaushansky
Well…I finished this robe on Summer Solstice 2013 in Whitehorse, Yukon just before it was hung as part of the Northwest Coast art exhibit at the Kwaanlin Dun Cultural Center. The owners of the robe rendevous-ed with me at the Festival to attend the ceremony, meet carver Wayne Price and have the robe placed in their arms. Again, it was not easy parting from another “child.”
The following photographs show the weaving progression from end to start – yes, sounds backwards don’t it, but just wanted to give you an artistic experience of “thinking backwards!”
In the professional photographer’s studio! (and no I’m not THAT big; the shirt is just big on me…hello!
According to my weaving teacher, the late Jennie Thlunaut, who passed at the age of 96 in 1986, she said that I must NEVER show my weaving-in-progress to the owners if the robe is commissioned. They are not to see the robe until it is completed. I never asked “why” because it was futile, I’d be wasting my words. To the best of my abilities, I did not, and have not, shown the progression of my robes as I have honored Jennie’s request.
Completed weaving the robe June 15th – then there were the side braids to be done – yum, yum, the side braids are the best part of weaving a Chilkat robe!
So now that I have completed the robe, and have delivered it to the rightful owners, I can show you the progression of the robe…
On the Alaska ferry from Juneau to Skagway…
Ursala weaves the side braids; Amelie “helps” too!
Close-up of how I finished the bottom yellow border
Whooooheee – finished the design field of the robe, just need to weave the borders, weave the side braids, weave the signature tie-offs, block the weaving, etc. – (a foreign language?)
One last portion to complete!
Started the form line of the last pair of eyes to weave
Close-up of weaving the borders down to match the left corner of the design field
Three-quarters complete!
A vivacious Chilkat face!
Beginning to weave the bottom of the top and bottom of the beaks – the left one is Eagle and the right one is Raven…of course!
The robe is a bit more than half-way woven….
A few weaving details….now, I have never considered myself a very good weaver, although there are many who say otherwise. In so doing and being, I can say that I am progressing at it…every time I weave I get slightly better…in ways, i get better, my dear,…in ways!
yep, the colors of this robe are brilliant…(unlike the weaver who has lost her brilliancy as she has aged…)
more details…the circles are pretty good…not too bad….not too bad! Always pay attention to the braids…the braids are what shape the shapes…!
I can say that this Chilkat robe is one-third complete!
No we do not weave straight across; this photo just makes it LOOK like we weave straight across…!
It is still winter time…had to wear my fleece topped by my Japanese quilted jacket with my hand-sewn Ainu headband…weaving, weaving, weaving…
The loom is in the guest room where I am borrowing the space cuz my studio is way too cold to work – it’s gotten down to zero degrees out there! — The plastic transparency “templates” are clipped to the warp…
Well, if you aren’t a friend of mine on Facebook, then you haven’t seen this photo take by my son, the film-maker…
Not a good idea to weave day and night like I can. Else you get to be a boring person; like I can be. And then you just want to stare at everything else except the weaving…and the grand-children! I don’t mind staring at the grandchildren! heeeheee!
…come to think of it, my eyes rest easy and well on my grandchildren!…so nice to have this one around while weaving…a real treat!
The ravenstail border is completed – yeah!
Bright and white day today…that’s because the spirits know there’s a new robe, a new “skin” that has been “born” most recently. good medicine.
Here’s a sketch of the proposed robe. It’s a ‘Diving Whale Lovebirds”
The preliminary sketch of the Chilkat robe I’m about to start some day soon – I drafted this design just three weeks before my mother passed away…June 2011 – it took me two years to complete this weaving; of course, though I was doing all kinds of other major things as well in that time period (i.e. burying my mother, moving to Santa Fe to attend IAIA for BFA degree, commuting to Colorado to spend time with my daughter and family, an exhibit, taught a couple of classes and three different apprenticeships, not to mention travel, etc. etc. You know, it’s called an “artist’s life.” I would not recommend this lifestyle for the weak of heart…!
Jun 10, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Using two shades of blue weft, this Ravenstail zig-zag pattern is a nice inspiration for weaving “water” in Clarissa’s next Chilkat robe called ‘Resilience”
In each Chilkat robe I’ve woven, I have always played around with trying something new, like weaving “electric eyes” or “making waves” – in the robe I am presently weaving, I wove the above in a “split-u” shape. I’ve woven this before, but in a different color combination and in a different shape – this particular color combination is an inspiration for future weavings. I really like the colors.
May 31, 2013 | Class Act, Latest Art Projects, Showing Off |
Sitting on my weaving bench I include important tools of the trade: laptop with remote, plate of scissors, needles, measure stick, and a notebook with pen
While I am weaving, I always have the necessary tools next to me to avoid having to get up from my bench; no one likes to be interrupted while in full concentration and when “on a roll.” I make sure my laptop is open to my email page, my necessary tools for tending to my weaving process are easily accessed and I have a small spiral-bound notebook and pen always at hand. This notebook allows me to immediately write down thoughts while weaving. Those thoughts can be about household and garden duties I must perform within the next day, week or month, or they could include another task to complete another project I am weaving or painting, or a reminder to contact another weaver to be included in a Weavers’ Gathering, or call the kids to remind them to send a birthday wish to their sibling. In fact, I carry one of this notebook on my person, in my purse and I place one by my bedside each night. Okay, call me a “type A” personality; am I offended? Only if I cannot make note of it!
May 15, 2013 | Honoring Others, Showing Off, Tlingit Culture Accentuated |
5 Tlingits each received a Rasmuson artist award including (L to R): Ricky Tagaban, Nahaan, Teri Rofkar, Clarissa Rizal and Norman Jackson
Today, 36 Alaskan artists received a Rasmuson Foundation award; check out the award ceremony at: http://new.livestream.com/rasmusonfoundation/iaa2013
I will be using the funds to help support me while I do several projects this year all having to do with Chilkat weaving, including the following: teaching an introductory Chilkat weaving workshop and spearheading the Indigenous Weavers’ Gathering and my art exhibit all at the Kwaanlin Dun Cultural Center in Whitehorse, Yukon; teaching apprenticeship in artist-in-residence in Haines, Alaska; helping weavers in Juneau, Alaska to begin weaving a Chilkat or Ravenstail robe in time for Celebration 2014; begin weaving my “Resilience” Chilkat robe, begin weaving my child-size Chilkat robe; and making the Chilkat weaving tour of Southeast Alaska and British Columbia down to Seattle, Washington this coming Fall.
The monetary support from this Rasmuson grant is invaluable for a (more than) full-time artist like myself. I have come to admit, my entire life is about creating art. And any and all monetary support is such a plus! Thank you, Rasmuson!
Apr 26, 2013 | Latest Art Projects, Tlingit Culture Accentuated |
The completed Ravenstail border for Israel Shotridge’s button blanket robe
Sue Shotridge is sewing a button robe for her husband, Tlingit artist Israel Shotridge, in time for the opening ceremonies of the Chief Shakes’ Clan House Renovation project in Wrangell, Alaska the weekend of May 3rd, 2013. They wanted something special for his button robe; this is it!
The preliminary drawing of the pattern for the border incorporating “Shaman’s Eyes” and “Bear Tracks”
The “bear tracks” pattern is an old traditional pattern; the ‘shaman’s eyes’ pattern was designed by my daughter, Lily Hope, which is a take-off on an old traditional pattern as well.
“Bear Tracks” pattern woven two ways – courtesy of the Ravenstail Weavers Guild booklet entitled “Ravenstail Weaving Patterns and Projects – Ancient and Contemporary” – can be purchased at Hearthside Books in Juneau, Alaska
Close-up of the “bear tracks” on top with “shaman’s eyes” below
Clarissa’s completed Ravenstail border on the weaving loom in front of the Chilkat robe she is presently weaving
The completed border will be attached to the button robe that Sue Shotridge is finishing for her husband, Israel – in time for the dedication ceremony of the Chief Shakes’ clan house renovation next weekend of May 3rd in Wrangell, Alaska
