Apr 1, 2013 | Class Act, Tlingit Culture Accentuated, Tools-of-the-Trade |
Above shows the texture of a “Fast-black” weave over three warp ends instead of two or four
Jennie Thlunaut would often use 4-ply yarn to weave just the yellow and black borders of her Chilkat robes. This enabled the weaving of the borders to be completed in half the amount of time when using the standard 2-ply yarn. However, I do not like the thickness of the weave, yet I wanted the weaving of the borders to go a bit quicker. So I “invented” (or at least thought that I invented) what I came to find out is called the “fast-black” weavers.
In the black border of the Chilkat robe, nstead of weaving over every two warp ends, I weave over 3 warp ends.
Years ago when I completed my first Chilkat robe for her uncle, my friend (and weaving student), Donna C., noticed that my black border had a different-looking texture to it. So being the inquisitive and fine weaver that she is, she carefully took a look at my weave and exclaimed “Hey, you are one of those fast-black weavers…I’ve seen this kind of technique in some of the old robes from our area and other places…!”
Really? I thought to myself,…and chucks, I thought I was doing something unique! Ha, I am reminded once again “there is nothing new under the sun” — if it has been thought of, it has been done!
Mar 29, 2013 | Honoring Others, Relationship Overdrive, Tlingit Culture Accentuated |
Clarissa and Ann Smith enjoy one anothers’ company at the Grand Opening of the Kwaanlin Dun Cultural Center during the annual Adaka Festival, Whitehorse, Yukon Territory – 2012
Whenever I begin weaving a Chilkat robe, I give thanks to Ann Smith, Kwaanlin Dun Wolf Clan from Whitehorse, Yukon Territory. I am remembering a life-turning conversation and experience I had with her. While it is true Jennie Thlunaut taught me how to weave Chilkat, and I will forever be thankful for the gift Jennie entrusted to me; it was Ann who inspired me to weave Chilkat robes.
In 1992, during a month-long Chilkat Weavers’ Gathering hosted by Darlene See, Ann was beginning the weaving of her first robe; she had the top 6 inches or so of the border completed. I hadn’t woven a Chilkat robe yet. At the time, I had no desire to weave Chilkat robes; I imagined myself on the path of weaving smaller pieces that accentuated modern-day clothing – yokes, cuffs, collars, lapels, etc.
I asked Ann why she wanted to weave robes at a time when it seemed like people didn’t appreciate them, much less even know how much time and dedication this type of weaving takes. She replied calmly and quietly “…Clarissa…it’s like this…we have to re-educate our people of not just the design and technique of weaving,…we have to educate them of the value…we have lost our knowledge of this art form and we have to gain back so much more than just that…” I added with a big sigh: “…well, Ann, that is a big task for us to tackle, don’t you think…?” To which she replied: “…well, that’s a choice we make. We are at a place in our lives where we can make that difference. What better choice to make than to be of service to our people who need this kind of strength in our lives…”
I asked her about working on a weaving that takes at least a year to make; like why would anyone want to work on something that took so long to make? Ann added: “…it’s the spirit of the thing…it’s the feeling that comes over me as I weave…it’s like this time-less connection of time immemorial that is happening at the same time…it feels as though all my relations are here with me, as though every Chilkat weaver that ever lived is standing behind me as I weave, watching, guiding and supporting me…” Ann motioned for me to sit down and weave on her robe. (Now that I have woven several Chilkat and Ravenstail robes, when a weaver invites you to weave on her robe, THAT is an honor!) I wove a few stitches on the border of her robe, maybe a total of 10 inches…when suddenly, I felt a power come over me, I felt a presence of many but I could not place my finger on it…I experienced the essence of what Ann spoke of!
Ann apprenticed with me in Chilkat weaving from 1992 to 1996. She is one of the most finest weavers I’ve ever known. Her finery too is woven in the manner in which she lives her life and guides her family and people. Over the years, I have sought her counsel in matters of relationships, art and business. She lead me to weave Chilkat robes; it changed my life in many more ways than one. Gunalcheesh, Ann!
Mar 18, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Yellow cedar (approximately) 1/8″ strips – the color darkens to the like of red cedar because the sap is cooked out of the cedar in order to spin with the wool
A new student of Chilkat asked me a very good question: does it matter if we spin our Chilkat warp with yellow or red cedar bark strips? Is there a significant difference?
Yes, it does matter if we use yellow or red. However, the option is up to the weaver. And sometimes a spinner/weaver does not have a choice because of availability.
Yellow cedar is more pliable and supple than red. The yellow cedar and wool spin up smoothly for Chilkat warp. Some of us will use the red IF we do not have yellow available. The red does not split as evenly or smoothly as yellow. Warp with red cedar is a bit more stiff than warp with yellow (of course too this depends on the wool/bark ratio).
Split cedar strands hang alongside prepared wool roving on an antique drying rack – ready for spinning Chilkat warp!
You will notice red cedar used in the old Chilkat robes. These robes have a bit more “body” than those robes woven with yellow cedar warp. Like I mentioned, the preference is up to the spinner/weaver, and the whether or not the spinner/weaver has a choice in the availability of red or yellow cedar.
Mar 15, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Bundles of yellow and red cedar
Hang cedar to dry THOROUGHLY. Do not attempt to store until the bundles are completely dry. Depending on your climate, time of year and moisture in the air, drying time may take a couple of days to a couple of weeks. If you must place in a bag, use a paper bag at first. Always store in paper bag and not in plastic bag. You can use a plastic bag AFTER the cedar is completely dry!
Why am I stressing using the words THOROUGHLY and AFTER?
AVOID MOLD!
IF mold has set in to your cedar, check to see the depth of the mold. IF the mold has completely invaded the cedar through and through, then I would not use it for anything! IF the mold has only marred the surface of the cedar, then immediately soak the cedar bundles in vinegar water! Add approximately 1 tablespoon of vinegar to 2 gallons of water, immerse the cedar completely weighted down by a heavy bowl, and let it sit for an entire day before rinsing with warm water several times. Then let cedar bundles air dry THOROUGHLY!!!
If you’ve allowed your cedar to get moldy once, you will NOT ALLOW the next harvest of cedar to mold again!
Mar 13, 2013 | Tlingit Culture Accentuated, Tools-of-the-Trade |
Stained cedar bentwood box carved and painted by Clarissa when she was 16 years old under the tutelage of Peter Bibb, the woodshop teacher at Juneau-Douglas High School. The box was a Mother’s Day gift for her mother, Irene. After Irene retired, she began doing bead work; within a 15-year period, she had filled the box with beaded floral and clan emblem pieces. In celebration of her 50th wedding anniversary, Irene’s beaded pieces were applied to button robes, vests and octopus bags for her children and grandchildren. – A smaller cedar bentwood box sits to the right with a beaded “sailor hat” on top a glass head – Clarissa inherited both hat and box when her grandmother passed in 1976.
In the olden days, cedar bentwood boxes stored our clan regalia. Cedar boxes are/were the perfect natural insecticide against moths who have appetites for the woolen regalia in the Chilkat, Ravenstail and Button blanket robes and accessories. Nowadays, many of us use the Rubbermaid plastic tubs for storage, unless of course, you can afford your own work and grace one’s self with carved cedar boxes, or you trade with an artist friend to carve one for you!
When I carved the bentwood box, it was my very first introduction to Northwest Coast Art. Peter Bibb encouraged a number of us Native students to take up our own art because there were very, very few people still carrying on the traditions. He provided us Bill Holm’s “Looking at Northwest Coast Art” book, and if I am not mistaken, the design of this box comes from that particular book. ( I don’t know for sure because I eventually gave that book to my son after my mother passed so I don’t have it on hand to confirm design origin.) Peter kept close watch on my carving; at one time he grinned “…young lady, it looks like you’ve got a natural skill at this…(he chuckled)…who woulda known a little thing like you could do this!?”
When I carved this box for my Mamma, I did not imagine 40 years later I would have it sitting on one of my work tables; it stores woolen yarns as I have begun to learn how to knit.
Feb 23, 2013 | Class Act, Tlingit Culture Accentuated |
Skeins of Ravenstail warp
Depending on the size of your robe, apron, leggings, etc., the following are the AVERAGE amounts needed for projects in either Ravenstail or Chilkat weavings:
Pouch …………………… 30 yards
Leggings ………………. 60 yards (both leggings)
Apron ………………….. 150 yards
Blanket ………………… 800 to 1000 yards
(and for Chilkat robe, add 200 yards for the side braids)
To determine the amount of warp needed for any project:
To work out the amount of warp you need for a project, use the following equation. First decide what size of piece you want to weave (Remember to give yourself a little extra length so you have enough to trim the ends straight. On a weaving without fringe, add at least 3” to the finished length so that you can work the bottom rows easily.
The Equation:
– Width of piece x number of warp ends per inch = total number of warp ends
– Length of piece x number of warp ends = number of inches needed
– Divide total number of inches needed by 36 (# of inches in a yard) and the resulting amount is the number of yards you will need for your piece.
Example:
Width of piece = 30”
You will use 10 (epi) ends-per-inch warp
Length of piece = 18”
So 30” x 10” warp ends-to-the-inch = 300 warp ends
300 warp ends x 18” long = 5400 inches of warp
5400 inches divided by 36” (in a yard) = 150 yards
You will need 150 yards for the project.
Need warp but you don’t want to spin your own? Just a reminder, I’ve got a couple of friends who are spinning both Chilkat and Ravenstail warp for us! You may place your order any time…!
Feb 10, 2013 | Class Act, Tlingit Culture Accentuated, Uncategorized |
Hans Chester (in the background) brought out a Chilkat robe in a protected container to show to the 2003 Chilkat Weavers’ Gathering of 2003 including, L to R: Shgen George, Catrina Mitchell, Pat Walker, the late Elaine Etukeok, elder Bessie Coolie, Yarrow Vaara, Darlene See and Liana Wallace – July 2003
I am happy to announce a Chilkat/Ravenstail Weavers’ Gathering in Whitehorse, Yukon Territory held during the fabulous Adaka Festival at the new Kwaan Lin Dun Cultural Center on the Yukon River June 21-26, 2013. The Festival program includes: a gallery exhibition, artist demonstration tent, traditional and contemporary Indigenous music and dance, fashion, workshops, cultural presentations and more. Festival coordinators are currently working on this year’s line-up however you may check out last year’s information on the week-long Adaka Festival on their website at: http://www.adakafestival.ca/
Clarissa Rizal and Darlene See – the best part about the Weavers’ Gatherings is the sharing of laughter…it’s real good Chilkat medicine!
The Chilkat/Ravenstail Weavers’ Gathering is a wonderful venue where weavers from all levels of skill congregate to share in techniques, tricks-of-the-trade, establish life-long friends and gain spiritual and emotional support just by being together! Past Gatherings have been held in Hoonah, Juneau, Sitka, Haines, Alert Bay, Prince Rupert, and Pagosa Springs. We are excited to be hosted in Whitehorse. Chilkat and Ravenstail weaver, Ann Smith, Wolf Clan of the Kwaan Lin Dun people in Whitehorse, will be our local weaver “ambassador.”
Ann Smith begins weaving a Ravenstail robe while a Navajo weaver looks on – she is demonstrating weaving at the Heard Museum’s Indian Art Fair & Market – March 2003
The Gathering will be held in the Cultural Center’s Elder’s Room kitty-corner on the left from the main hall where all the festival performances will be held. The room is all glass allowing an ample amount of natural light.
The Adaka Festival Co-Executive Producer, Charlene Alexander is very excited about hosting the Weavers’ Gathering as part of their festival activities this year. Currently, Charlene is working on finding a large house where all of us may stay, and/or depending on number of participants, she will find locals who are willing to host us. However, if you need your space and privacy, there are several hotels and motels available, and I would suggest you book sooner rather than later.
As in the past, each weaver is responsible for their transportation to and from the Gathering. If you want grant assistance, applications for Alaskan residents may be obtained at the Alaska State Council on the Arts and the Rasmuson Foundation are due in just three weeks this coming March 1st. Also the New England Foundation for the Arts’ Native Arts Program has a travel grant with the stipulation that they must receive your application 2 months before travel date. It’s a fairly simple application and these people are helpful and generous. (In the past four years, I have applied and received this travel grant twice.) Because I am not Canadian, I am not familiar with the Canadian grants available, but I KNOW they are out there! Please do whatever it takes to help one another out in attending this wonderful Festival and Gathering!
If you are traveling by car, think about coordinating your travel plans with other weavers, just in case several of you want to car pool a drive from Haines or Skagway up to Whitehorse or a carpool from British Columbia. Spread the word about this Gathering!
You may take part for the entire week, or just for a few days or weekend – it’s up to your time and dime.
Bring whatever project you have on your loom, however, if you do not have a project and would like to begin one, gather your materials together to begin one. At past Gatherings, there is always someone who will assist you.
I will be conducting a weaving workshop during the Adaka Festival; I will mainly focus on teaching beginner students, however, if you want to brush up on your skills or obtain tricks-of-the-trade, you are welcome to attend.
If you need warp to begin your new project, you may place your order with me; I formed the Warped Bank, a team of people who spend part of their time spinning Chilkat and Ravenstail warp!!
If you have any questions about the Adaka Festival, please contact Charlene Alexander – her email address is: calexander@northwestel.net
If you have any questions, suggestions, concerns, etc. about the Weavers’ Gathering, please contact me via email at: clarissa@www.clarissarizal.com
I know many of us have time constraints due to jobs, family, fishing, etc. Just remember, you are not required to attend the Gathering during the entire week of the Festival; you may attend for a day or two if that is all your schedule allows.
We look forward to seeing you at the Gathering and Festival!
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!
Aug 16, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Chilkat/Ravenstail robe and Ravenstail leggings on the loom late at night – the leggings are not quite finished
My daughters and I collaborated on creating a Chilkat/Ravenstail/Buttonblanket 18″ doll. I sewed the leather body and finished off the leggings and trimmed the fringe of the robe. Lily Hope designed and wove the robe and began the leggings, Ursala Hudson designed, beaded and sewed the button blanket style tunic and the button blanket Russian-style Navy hat. Lots of fun putting the doll together and bringing this little being to life!
Ravenstail Robe for an 18″ doll woven by Lily Hope
Ravenstail leggings woven by Lily Hope modeled on the 18″ leather doll made by Clarissa
Backside of the Chilkat/Ravenstail doll
Front of Chilkat/Ravenstail doll–oops, one strand of the beaded hat is obviously flipped up…!
Jun 21, 2012 | Adventures of Rear-Mirror Rissy, Tlingit Culture Accentuated |
Dorsal fin of a Killerwhale during the sail from Juneau to Haines, Alaska
Crystal invited me to come with her to Whitehorse, Yukon Territory to meet up with a friend of hers. I knew about the grand opening of the new Cultural Center in Whitehorse, so I took her up on her offer. I had four days to prepare for the trip with lots of deadlines to meet before leaving – it was good incentive to get the stuff done to take a much needed “working vacation” from Juneau’s consistent rainy weather of 45 degrees!
Bow of the MV Matanuska
I anticipated good weather as soon as we would come into Haines’ territory, about three hours north of Juneau. Sure enough, I could see blue skies up ahead!
Crystal Rogers weaves Ravenstail in the cafeteria of the MV Matanuska
Like many Chilkat and Ravenstail weavers of the past 30 years, Crystal Rogers packed up her loom to weave aboard the ferry. Four hours to Haines is ample time to weave a couple of inches!
deck of the MV Matanuska as we pass the lighthouse in Upper Lynn Canal
Pouring rain in Juneau, even just an hour out of Juneau the weather improves! Cloudy but not raining! whooohooo!
Crystal enjoys the cedar bark weaving talents of Heather Callahan's cape
Yukon artist Heather Callahan is a regalia-maker who was on board completing her woven cedar bark cape embellished with dentallium shells, abalone buttons, leather and Hawaiian grasses woven in as well! — you just never know who will be traveling with you on board the Alaskan ferries!
Heather models her cape trimmed with beaver fur
Davidson Glacier in the Chilkat Mountain Range
"Shanks and Rizal" (alias)peaks of the Chilkat Mountain Range
Approaching Haines, Alaska - see the tourship docked in front of Ft. Seward?
Always blue skies in Haines' wake
Crystal catches wild water
Mouth of the Chilkat Valley River
View of the Chilkat River and mountains from a house I would love to buy, or at least rent!
Driivng the highway from Haines, Alaska to Whitehorse, Yukon Territory
Brown Bear on the side of the highway
Black bear on side of highway just a half hour from the brown bear we first saw
