Oct 22, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Completed the black top border of the robe – 41 hours later!
Here’s a close-up photo of the black top border of my Chilkat “Resilience” robe that I am weaving for the Portland Art Museum…notice the subtle texture of the weave. I weave over three warp ends instead of two when weaving the black and yellow borders of a Chilkat robe. I learned this from my teacher/mentor Jennie Thlunaut, last of the traditional Chilkat weavers who passed away in 1986. She suggested that I use size 3/6 weft yarns (equivalent to 3-ply commercial yarns) and weave over three warp ends – ONLY IN THE BORDERS! These techniques create a subtle texture and a larger “frame” for the design field of the robe.
I will be posting more updates while weaving this robe over the next few months; stay tuned and thanks for visiting!
Oct 15, 2013 | Ravens & Eagles, Tlingit Culture Accentuated |
Left to Right: bundle of Chilkat template transparency pattern sit atop 800 yards of Chilkat warp; the warp stick (to measure the warp lengths efficiently – fashioned after the late Chilkat weaver, Jennie Thlunaut’s stick); dyed yellow weft and black weft yarns accompanied by stack of baby socks (for keeping warp ends clean); deep turquoise blue weft yarns; backdrop is a partial view of the Chilkat robe pattern board
After 3 months of preparing my materials and pattern for my next Chilkat robe, I am about to begin warping the loom (aka “dressing” the loom),…maybe by tonight! I am on schedule. My goal was to begin weaving the robe on October 15th! Today is the day! And I celebrate here with you today with a photo of my materials!
This robe is commissioned by the Portland Art Museum; check out the complete image and story on this robe at this former blog entry. And read Portland Art Museum’s Curator of Native American Art, Deana Dartt-Newton’s narrative of this robe.
Sep 14, 2013 | Adventures of Rear-Mirror Rissy, Class Act, Tlingit Culture Accentuated |
Balls of Chilkat warp and bundles of split cedar enjoy a great view from the upper deck of the KVI Beach House in Vashon Island, Washington State
While standing inside the dining room window, I shot this image of Melissa and Sue – two strong-willed, organized, power-packed women who are still busy doing business while we make an effort to relax at this wonderful beach house retreat!
Sue Shotridge insisted that she, Mellisa Rinehart and I take a two-day retreat to this wonderful beach house on Vashon. She INSISTED and she was PATIENT with my initial responses of “what for…?” She had to explain that I was an extreme “Type A” personality who after taking a three-month weaving tour at my age, needed a break. She also needed a break and she wanted to talk with Melissa and I about the logistics of hosting a week-long weaving retreat next year in September at this beach house. We relaxed while doing business. What a wonderful concept! I intend on conducting business this way more often!
Melissa and Sue take photos while heading down the hillside to the beach (just a couple of stones throw away from the house)…
KVI Beach House – from the beach
close up of KVI Beach House – from the beach…
Clarissa demonstrates to Melissa how to split and prepare the wool roving for spinning with cedar bark to create Chilkat warp
I taught Melissa how to spin her own warp so that a year from now when we do the weaving retreat, she will have enough warp to do a large project or several small ones. We spun while Sue took notes planning the weaving retreat.
Clarissa demonstrates how to groom balls of warp to Melissa, an attentive student indeed!
- A perfect stage for relaxing while spinning warp for our next weavings…!
Check out more photos and information of the KVI Beach House at: http://www.vrbo.com/408415
Stay tuned for an announcement about the Northwest Coast Weavers Retreat. Space is limited; first come first serve. We are gonna have a blast!
Sep 13, 2013 | Latest Art Projects, Ravens & Eagles, Showing Off, Tlingit Culture Accentuated |
Chilkat/Ravenstail headdress, double-sided Ravenstail vest, and Chilkat/Ravenstail handbag woven by Clarissa Rizal – 1989
My very first Chilkat piece was a small ghost face pouch woven in a week in 1983. A lousy weaver, I dare say that when I threw the thing against the window it just about cracked it! Nope I never show that one to nobody! Other than the one side of a pair of leggings that I wove with Jennie during our apprenticeship, and the Chilkat woven flap to a leather backpack, the three pieces above and the wall pouch below are my very first weavings before I wove my first Chilkat robe (Sea Grizzly 1999) and my first Ravenstail robe (Copper Woman’s robe woven in 1994).
“Father Cyril Bulashevich & St. Nicholas Russian Orthodox Church” Chilkat wall pocket woven by Clarissa Rizal – 1990 – private collection, Denver, Colorado
Though I have woven several small pieces not pictured here (or anywhere else for that matter), and I am a multi-tasker who has created other major pieces of art in a variety of mediums, the photos in this blog are all of my major weavings. This blog post is to honor my children and grand-children to whom I leave my legacy and especially today to my youngest child whose birthday is today; she is the one who created this website, who created and encouraged me to blog, and who still continues to be a level-headed side-kick.
“Sea Grizzly” Chilkat robe woven by Clarissa Rizal – 1999 – private collection, Vancouver, B.C.
“The Diamonds Robe” woven by Clarissa Rizal – 1997 – private collection, Juneau, Alaska
“Hauberg Raven” Chilkat robe woven by Clarissa Rizal – 2001 – private collection – Seattle, WA
“Copper Woman” 5-piece Ravenstail and Chilkat ensemble woven by Clarissa Rizal – 2001 – Collection of Anchorage Museum of History and Art, Anchorage, Alaska
“Copper Man” 6-piece Ravenstail and Chilkat ensemble woven by Clarissa Rizal – 2006 – private collection, Mercer Island, WA
“Copper Child” 4-piece Ravenstail ensemble woven by Lily Hope and Clarissa Rizal – 2009 – Collection of Sealaska Heritage Institute
“Jennie Weaves An Apprentice” Chilkat robe woven by Clarissa Rizal – 2011 – Private Collection, Los Angeles, CA
7-foot Ravenstail border for a button robe – 2013 – private collection, Vashon Island, WA
“Diving Whale Lovebirds” Chilkat robe woven by Clarissa Rizal – 2013 – private collection, New York, NY
Dancing of “Diving Whale Lovebirds” Chilkat robe by Clarissa Rizal – 2013
Pattern Board of “Resilience” Chilkat/Ravenstail robe designed by Clarissa Rizal – in the process of being woven; completion by June 2014 – commissioned by Portland Art Museum
Aug 26, 2013 | Latest Art Projects, Tlingit Culture Accentuated |
A Chilkat face: when we finish the eyebrows, the weaving can “express” how it feels…
Besides the clan emblem or the story a Chilkat robe image has to convey, I experience the emotional/spiritual aspect of the robe itself. Every robe I’ve woven gifts me with a different experience that transcends just the technical aspects of weaving.
Two years ago I finished the “Jennie Weaves and Apprentice” Chilkat robe. During the four years the robe was on my loom, the weaving of this robe “held me up” and “saved my life” during a very rough length of time; I was actually able to weather some big “storms.” This year I completed the “Diving Whale Lovebirds” Chilkat robe; after nearly 30 years of weaving, I finally felt like I actually KNEW what I was doing. I didn’t really have to think about weaving (and as some of you know how to weave, this type of weaving requires a lot of thinking!). My total time on the robe was 6 months! I remember Jennie saying that she could weave a full-size, full-design Chilkat robe in 6 months and that was hard for me to believe. Over the years, I have come to believe many of the things she said. She gave me many gifts.
A Chilkat Face: When we finish the eyes, the robe can see into our world…
This child-size Chilkat robe that I am presently weaving is my robe of gratitude; a time of giving thanks for this gift of learning Chilkat and sharing Chilkat, a time of appreciation for all the folks who, especially during this weavers’ tour and especially the past 5 years of my life, have been there in whatever time and shape. I hold this robe with affection as if it is a grandchild; very close as as I know the very thing that provides me the happiness also has the other side of the coin, and some day it shall “fly away” and not be in the same position I had become accustomed to know. This Chilkat robe is my time of experimentation, a time of expanding into things I have not normally done, whether it be reflected in the weaving, reflected in a thought pattern or behavior. I look forward to my internal world expanding, ever eternal as we all are…
Stay tuned to see the progress of this robe. Thank you for making the time to be a part of my life via visiting my blog! Gunal’cheesh!
A Chilkat Face: when we complete the nose, the weaving can smell everything about you and your world – and when the mouth is completed the weaving can communicate with you…
A Chilkat Face: …and when Clarissa starts re-drawing her Chilkat robe design, uh oh, watch out…she might take another 10 years before she is happy with the image…!
Aug 19, 2013 | Class Act, Honoring Others, Tlingit Culture Accentuated |
Catrina Mitchell from Juneau, Alaska winds the skein of weft onto the ball winder to create a ball of weft – working from a ball of weft is much easier to draw the yarn from than the skein…
A student of Ravenstail and Chilkat, Catrina Mitchell knows what she wants to do in the evenings and on the weekends this Fall and Winter into Spring: Ravenstail weaving! We’re excited! Am I going to reveal WHAT she is weaving, for WHO and WHEN she wants it done? NO. Hello…That’s a secret! It’s enough to know she is one of several women on a mission to complete her weaving(s) by Celebration 2014 next year. — For those of you who haven’t gotten started on your weaving; what are you waiting for? Winter is coming! Let’s get on the ball and have fun! And let’s join for a Weavers’ dance and song next year!
Catrina has warped up her loom (or “dressed” her loom) – She wove her first row (called the “anchoring row”) and before she weaves her first 5 rows of white, she is now double-checking the length of each warp end making sure they are all the same length
Catrina is happy to remember how to do Jennie Thlunaut’s fingering for speed, accuracy, tension and most of all: GRACE!
A perfect Weaver’s Tote! Each compartment has a purpose of its own – four distinct places for the four colors: black, white, yellow, blue – compartments for pen and small spiral-bound notebook – compartment for scissors, large-eye tapestry needles, cotton twine/sinew, and then some!
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 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
