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Buddy Tabor’s Summer Concert 2010

February 6th, 2012 by Clarissa
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Alaskan singer and songwriter, Buddy Tabor

Although this particular blog entry was first posted on August 22, 2010 directly after Buddy’s Juneau concert, I’m posting it here again because it’s one of of the last times I had seen Buddy; he passed away last night, February 5th, 2012, in the comfort of his home in Juneau surrounded by his wife, Jeanette,  family and close friends.

The big wave of Buddy’s passing will move throughout Alaska, Canada and parts of the Lower 48.  His music, life and character touched many lives; we will greatly miss this man!  The following was the original blog entry a year and a half ago:

To tell the truth, I was never a fan of Buddy’s, even with all his CD’s of songs, his practicing in the living room, on the front porch, back porch and garden, with his quirky sense of humor.  I wasn’t a fan until years later in 2006 when he was warming up for the upcoming house concert we were sponsoring;  I walked into my kitchen and he was sitting on a high stool playing this song:  “Box of Pain.”  He had his eyes closed; the lyrics, tune and guitar picking bowled me over.  I was stunned.  I burst into tears.   I’ve been bowled over since.  How is it that it took almost 30 years of hearing his music that I couldn’t really HEAR his music?  I guess I was too close to the guy or something, I dunno.

Buddy is an old family friend – met him way back in 1972 at the Zach Gordon’s Teenage Club where I used to play racketball and developed my black & whites in their darkroom; I was standing next to Buddy whom I had never met or seen before and asked him:  “Well, who are you, buddy?”  He answered nonchalantly:  “Buddy.”  And I said to myself “Yeah, sure…!”  and I walked away.  The next time I saw him was a couple of years later at the underground coffee shop called “Gandolf’s.”  He was playing out of tune to a small crowd.  He became friends with my then boyfriend, Bill, and since then our families grew up with one another and I came to  know him, his wife Jeanette and their two sons Jesse and Joshua.

Under Artstream Cultural Resources, we sponsored the first Whistlepig House Concert in Pagosa Springs, Colorado in 2000; Buddy was our first performer.  Every year when he would make his road trip to the Lower 48, he’d book a concert at my home in Pagosa.  Fall wasn’t Fall without Buddy’s annual visit and music.  In exchange or us producing the house concert and housing him for a week to a month, because he was a house-painter (as his 2nd job; music was his 1st!), he would paint our house every other year.

Because of back problems, Buddy isn’t able to travel long distances anymore and I don’t have my home in Colorado anymore, so I’m not able to sponsor concerts in my home, BUT I have had good timing to attend a few of Buddy’s  local concerts at the Lutheran Church in Juneau.  It was a pleasant sight to see a packed house for Buddy…I know it made him and his fellow musicians feel downright good!

Buddy Tabor sings to a full house in Juneau's Lutheran Church on West 10th

Buddy Tabor was born March 12, 1948 in Roanoke, Virginia. He started playing guitar at age seventeen after he first heard Bob Dylan. His musical and poetical influences are Bob Dylan, Hank Williams, John Prine, Johnny Cash, Leonard Cohen, Hazel Dickens, and Townes Van Zandt.

Buddy hitchhiked to Alaska in 1967. He worked in salmon canneries, on fishing boats, the Alaska Pipeline, and as a house-painting contractor. In 1976, he met his wife, Jeannette Chee, while working on the pipeline. Jeannette is a Navajo from White Water, New Mexico. Her Native and Western culture has greatly influenced his writing.

His song “Get Up Dogs” was used in several documentaries and by ABC’s Wide World of Sports. His work has also appeared on numerous NPR stations. The Undertakin’ Daddies, a Juno Award nominated Canadian roots band, recorded Buddy’s “New Fallen Snow” for their 2001 album, Post Atomic Hillbilly.

Buddy is a veteran of the Alaska Folk Festival, Dawson City Music Festival, and Yukon Frostbite Music Festival.

Vocalist Betsy Sims, bass player Albert McDonald and lead guitarist Jason Caputo accompany Buddy

Dobro player Paul Disdier joins Besty, Albert and Buddy

Back Row: Paul Disdier, Terry and Frederick Hoskinson, Greg McLaughlin, Betsey Sims, Albert McDonald, Lis Saya, John Ingalls, Jason Caputo Front Row: June Hall, Buddy, and Rainee Godwin

The above photo of Buddy Tabor with some of his musician friends and producers who have supported him in his career.  Terry and Frederick Hoskinson have produced many of his local concerts here in Juneau.  Local musicians Lis Saya, John Ingalls an Rainee Godwin have been Buddy’s sidekicks for almost 30 years.

View Buddy’s “Black Crow Night” music video by Riley Woodford and Buddy at:  http://wholewheatradio.org/wiki/index.php/Artists:Buddy_Tabor

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Journey of a Chilkat Robe and Its Maker

January 5th, 2012 by Clarissa
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“Jennie Weaves An Apprentice” Chilkat robe was on my weaving loom for 5 years.   I’ve never had a robe take so long in the weaving, however, I’ve never had the kind of journey I’ve experienced in the past 5 years either!  The following is a pictoral journey of the life of this robe reflecting the journey of its maker.

Apprentice Bev Morris from Teslin, Yukon Territory and Clarissa begin weaving their Chilkat robes - Pagosa Springs, Colorado - September 2006

Directly after my apprenticeship in Chilkat weaving with 95-year-old Jennie Thlunaut from Klukwan, Alaska, I began designing a Chilkat robe in honor of the gift she had entrusted me with  and the 6 weeks we had together in 1986.  I had silk-screened a limited edition of the design, painted a “fake” robe for a collector, and the design was also the cover and name of my Chilkat Weaver’s handbook that I printed myself; yet it wasn’t until 20 years later after my apprenticeship with Jennie I had begun weaving the robe in September 2006 upon the arrival of an apprentice from Teslin, Yukon Territory, Bev Morris.  I demonstrated Chilkat weaving techniques on my robe while Bev learned on hers.

Chilkat robe at the Auke Bay condo - September 2010

Chilkat robe in my new room at my mother and father's house - November 2010

Chilkat weaving demonstration during Gallery Walk at the Juneau Arts Center - musician/singer/songwriter Archie Cavanaugh and his grandson stopped by for a visit

Chilkat weaving demonstration during the "Time Warp" exhibit of Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. - March 2011

While visiting my daughter and granddaughter in Pagosa Springs, Colorado - April 2011

Many braids and weavers to keep track - common folk wonder about Chilkat weaver's sanity

 

Rented another apartment for the Summer 2011 - the turquoise couch, the black loveseat and the Chilkat rug (woven in Tibet) were all color-coordinated beautifully - June 2011

Patrice DeAsis and Lily Hope were two of my assistants who helped me complete this robe by its designated delivery date! - June 2011

Close-up of Teacher "Jennie Thlunaut" (in green mask) and "Clarissa" in blue mask

Demonstrating Chilkat weaving at the Teslin Cultural Center's boat building - July 2011

Inside the Teslin Cultural Center's boat building - Chilkat robe is off to the far right - July 2011

Weaving in a perfect room while overnighting at the Skagway Inn - granddaughter Bette Hope enjoys the view! - July 2011

While on return ferry from Skagway to Juneau, Lily Hope and Clarissa weave in the cafeteria - July 31, 2011

In the stateroom on the MV Columbia sail from Juneau to Bellingham - August 2,2011

With fellow Chilkat weaver Nishga'a elder, Louise Dangeli, in th stateroom on board the MV Columbia sail from Juneau to Bellingham - August 4, 2011

 

Nite weave In Colorado studio - August 11, 2011

Almost complete Chilkat robe on display in Clarissa's booth at the 2011 Santa Fe Indian Market - far right is Ravenstail woven ensemble of "Copper Child" woven by Lily Hope and Clarissa - August 20, 2011

Fellow Chilkat weaver Suzi Williams and Clarissa needle up the ends in the back of Chilkat robe - Sunday morning, August 21, 2011

 

Although neither Crystal Worl (wearing cedar bark hat) and Beckie Etukeok have never woven Chilkat, they help put up the ends in the back of this Chilkat robe - Afternoon of Sunday, August 21, 2011

 

"Jennie Weaves An Apprentice" Chilkat robe designed and woven by Clarissa Rizal with help from several of her weaving students - August 22, 2011

 

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Never Too Old to Live in a Dorm (part-time!)

January 1st, 2012 by Clarissa
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Half of the dorm room; notice the hummel and ukelele on the wall - playing music helps survive the academia and four walls - the other half of the room is occupied by my Italian roommate

24 years ago, after my last child was born, I took a few classes at the Institute of American Indian Arts in Santa Fe – it was my way of “getting out of the house” without taking any responsibilities with me except those that I carried in regards to schooling.   Then I was not interested in achieving a degree so I took fun classes.  However, I’ve raised my family on my art income without a back-up “real” job and I thought it’s time to get my Bachelor of Fine Arts; in this way I have the balance of the Indigenous and Western credentials.  Why is it important to have that balance?  To gain more understanding of the complexities of living in a cross-cultural world.

The Center for Lifelong Learning at the Institute of American Indian Arts

At first, I scoffed at the concept of having to take the requirement classes in Drawing I & II, Geometry, Intro to Indigenous Studies, Contemporary Art, Native Art History I & II, English Composition I & II, etc. — yadda, yaddie, yaddue!  Like golly, Holy Moses, do I have to take stuff I pretty much already know!?  Friends of mine thought that with my status as a full-time artists for three decades, I ought to be a teacher at IAIA, not a student!  Often I had wondered what the heck am I doing wasting my time getting stupid credentials.  Yet, I’ve discovered how much I DON’T KNOW and how much fun it is to go through the assignments and learn additional stuff!  We humans are so doggone arrogant and funny!

Easy walks on IAIA campus

At IAIA, we either gain weight because of the astounding food at the cafeteria, or we lose weight because IAIA is an easy campus to walk.  Up on a mesa, it has 360 degree views of spectacular skies and faraway mountains.  Although a biting cold in Winter, it’s sunny about 395 days of the year.  And for those of us coming from Southeast Alaska, well…although the countryside lacks the dramatics of the big spruce, hemlock, alders and cedars, there is an ancient silence in the high-country deserts of the Southwest.  As any of us Indigenous peoples know, go out onto the land and feel its gifts.  There is the everlasting to appreciate.

Sweatlodge skeleton at IAIA; in use during the late Fall/Winter/Spring - what other 4-year accredited college are you aware of that conducts sweatlodge ceremonies?

There is a footpath for runners and walkers alike on campus.  I don’t remember how many acres belong to IAIA, but it’s enough to continue growing.  Hopefully, as IAIA grows its campus, the designers will always keep in mind our need to be connected to the earth, especially for many of us who are missing our homelands and require being outside — feeling the earth beneath our feet and enjoying the horizon.

Courtyard of the sculputure building at IAIA -- If I am not mistaken, this monumental, marble sculpture is by Craig Dan Goyesun - behind bars, the courtyard gate was locked. I thought this an interesting image.

IAIA is a unique environment.  I hadn’t come to appreciate its qualities until this past Fall Semester.  There is an Indigenous Studies department that was added to the “normal” Western curriculum of IAIA.  Some of the classes from this department are requirements for a BFA.  As  mentioned earlier, I resisted taking the requirements, yet I discovered how much I don’t know and better yet, I discovered how much I want to learn!  I am actually considering achieving a Minor in Indigenous Studies.  We’ll see what transpires within this next year.

The Chama River near Abiqui, New Mexico - October 2011

I commute from my studio home in Colorado to IAIA.  The 3-hour drive is one of the most scenic in North America (2nd best to that drive from Whitehorse, Yukon Territory to Haines, Alaska!).  The drive enables me to relax, listen to Van Morrison’s “Listen to the Lion” and books on tape.

The Chama River with first snow - December 2011

I drive through Geronimo’s Apache homeland and “Georgia O’Keefe” country.  Although the high-country desert is a vast difference from the rainforest of my homeland in Southeast Alaska, I thoroughly enjoy and appreciate the beauty both environments have to offer.  I am privileged to have the option to experience these kinds of freedoms in America.

Looking towards "Ghost Ranch" of Georgia O'Keefe country during first snow - December 2011

Many years ago, my mother and father, Irene and William Lampe, encouraged me to get a degree; they said it’s the way to “get ahead” and understand living in the Western world.  My mother said that back when she was young if she had the grant opportunities we have now, she’d have gone to school and she often wondered what her life would have been like.  On behalf of my parents, I’d like to thank the following Grantors for their support:

*  Chugach Heritage Foundation  *  Sealaska Heritage Institute  *  Tlingit & Haida Central Counil  *  Huna Heritage Foundation  * Alaska Native Brotherhood (ANB) and  *  FAFSA

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Our Class Videos on U-tube

November 11th, 2011 by Clarissa
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nDigiDreams videography class - Institute of American Indian Arts - Santa Fe, NM September 2011

Spearheaded by Jennifer Coots, Business Program Professor, the Institute of American Indian Arts Indigenous Studies Department sponsored a class, for those of us interested in being introduced to creating 5-minute videos.  Each of us told a personal story related to our cross-cultural upbringing and experiences leading to how we were led to attend The Institute of American Indian Arts in Santa Fe.

Our teachers were Carmen and Brenda from nDigiDreams.  nDigiDreams conducts community-based digital storytelling training workshops. “We believe our diverse cultures, identities, histories and stories hold enormous strength and beauty and we seek to train and empower indigenous individuals and communities with new media tools to realize optimal health and wellness.”  Carmen and Brenda have conducted workshops in Indian Country; think about hosting a workshop in your community.  You may check out their website (and view other storytelling videos) at:  http://www.ndigidreams.com/

Brenda Manuelito, Jennifer Coots (IAIA Business Professor) and Carmen Rodriquez

You may view my very first video entitled “Generations of Love Made Visible” along with some of the students’ videos on U-tube.  Cut and past this link onto your browser:   http://www.youtube.com/playlist?list=PLBF1FA84C49C930F7

Thank you very much for visiting!

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Sharing Touchon

October 29th, 2011 by Clarissa
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Cecil Touchon in his studio - February 2007 (photo courtesy CecilTouchon.com)

Interviewers and others have asked how and when I came into creating contemporary paintings and collages with Northwest Coast Native art imagery.  I refer them to my friend and fellow artist Cecil Touchon at www.ceciltouchon.com.   Back in ’93 Cecil and I met in his then gallery he had recently opened in Pagosa Springs, Colorado.  His daughter Brittany was drawing at the drafting table and his wife (and assistant), Rosalia was just running out the door to do an errand.  After a lengthy conversation about art, families and life as an artist, I purchased the first item sold from the gallery:  an antique wooden hat form.  That was the beginning of our life-long friendship.

After visiting me in my studio working on button blankets and a Chilkat robe, Cecil thought it would be cool if I did Northwest Coast imagery in contemporary works in paintings and collages.  I thought I’d give it a go; I spent a few days in his studio where he taught me the essence of cubism without even realizing it.  Finally, about 5 years later in 2000, I got off my duff and created a painting based on one of my button blankets called “Wrestling With Angels” and created my first 10 collages that I immediately sold at the Santa Fe Indian Market.  Since, I’ve been having fun with exploring Northwest Coast Native art in cubist-style paintings and collages.

Cecil's exhibit opening Friday, October 28 in Atlanta, Georgia

Last night Cecil had a show opening in Atlanta, Georgia.  Click the link to view his show:

http://www.flickr.com/photos/terrykearns/sets/72157627876660361/show/

Check out the variety of Cecil’s work and writings on his website’s blog:  http://ceciltouchon.blogspot.com

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Clarissa’s First Gallery Show at the Stonington

September 24th, 2011 by Clarissa
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"Raven Knows Its Light" multi-media collage with faux pas painted frame - Clarissa Rizal

It’s hard to believe I actually got enough material together for a half-way decent show of some of my contemporary paintings and collages!  The show opened on Thursday, September 1, 2011 at the Stonington Gallery in Seattle, Washington.  My works were in good company with a couple of other friends of mine, Chloe French and Preston Singletary.  Yes, all the works are for sale via the Stonington.

Stonington Gallery show opening - September 1, 2011

"Totem Theories Revisited" acrylic painting on canvas by Clarissa Rizal

Stonington Gallery show opening September 1, 2011

Tlingit World Series #092 - Clarissa Rizal - 2011

The above collage is a series based on the original painting “Ravens Prepare for Next Ice Age.”

"Jennie Weaves An Apprentice" Chilkat pattern board (for the Chilkat robe of the same name) - acrylic painting on canvas - Clarissa Rizal

If you are in the Seattle area, check out the show or…

Read about the opening show article in the Seattle Times – Friday, September 23, 2011:  http://seattletimes.nwsource.com/html/thearts/2016289325_ar23tlingit.html?syndication=rss

 

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Santa Fe Indian Market 2011

August 26th, 2011 by Clarissa
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Buyers at Clarissa Rizal's booth during Indian Market 2011

Sealaska Heritage Institute worked with the Santa Fe Indian Market sponsor  Southwest Association of Indian Art (SWAIA), to create the Southeast Alaska venue of artists and performers located at the St. Francis Cathedral Park across the street from the Institute of American Indian Arts Museum in downtown Santa Fe.

An Alaskan presence of Tlingit, Haida and Tsimpshian artists at the Santa Fe Indian Market included Nicholas Galanin, Beckie Etukeok, Celeste Worl, Louise Kandinger, Donald Gregory, Holly Churchill and Clarissa Rizal

Clarissa's booth at the Santa Fe Indian Market 2011

Crystal Worl, Beckie Etukeok and Clarissa putting the ends up in the back of the Chilkat robe at the Santa Fe Indian Market

Alaskan Tlingit storyteller, Ishmael Hope on stage at the Santa Fe Indian Market

Featured Alaskan dancers at the Santa Fe Indian Market were the Mt. St. Elias Dancers from Yakutat

Watch the Mt. St. Elias Dancers – Santa Fe Indian Market 2011 <http://www.youtube.com/watch?v=xDKzpn5Hr04>  
http://www.youtube.com/watch?v=xDKzpn5Hr04

 

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“Jennie Weaves An Apprentice” Chilkat Robe Finally Finished

August 25th, 2011 by Clarissa
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During the Santa Fe Indian Market Sealaska stage, Likoodzi modelled the 4-piece Ravenstail ensemble "Copper Child" (a collaboration of mother and daughter Lily Hope and Clarissa Rizal) and Crystal Rogers modelled "Jennie Weaves An Apprentice" Chilkat robe (hot off the loom) handwoven by Clarissa Rizal

Likoodzi and Crystal smile at a full audience at the Santa Fe Indian Market - August 20-21 - The beaded deerskin dress and hi-top moccasins were made 30 years ago by Kate Waters Boyan for our mother Irene Lampe

Watch the Fashion Show of Northwest Coast Tlingit regalia at Sante Fe Indian Market August 2011 – video courtesy of Lee Cooper

<http://www.youtube.com/watch?v=PVrc0iXy9EE>
http://www.youtube.com/watch?v=PVrc0iXy9EE

The Chilkat robe pattern board designed by Clarissa Rizal painted on canvas applied to wooden frame - Photo by Lee Cooper

Crystal Worl and Beckie Etukeok assist in putting up the ends in the back of the robe

Close-up of the braid ends in the back of the robe

Crystal Worl and Clarissa put up the ends in the back - photo by Lee Cooper

Clarissa's booth at the Santa Fe Indian Market 2011

St. Frances Cathedral Park the morning after Indian Market - photo by Lee Cooper

Here are three more videos taken by Lee Cooper at the Santa Fe Indian Market 2011:

“Jeanie Weaves an Apprentice” Chilkat robe being taken down from the loom (before completion of putting up the ends in the back) for the Sealaska Heritage Institute’s fashion show of Tlingit regalia 1 <http://www.youtube.com/watch?v=8RW6-CPYYIY>
http://www.youtube.com/watch?v=8RW6-CPYYIY

Fashion Show of Northwest Coast Tlingit regalia at Sante Fe Indian Market August 2011 <http://www.youtube.com/watch?v=PVrc0iXy9EE>
http://www.youtube.com/watch?v=PVrc0iXy9EE

The beginning of the flash flood as the completed Chilkat robe is removed from the loom. <http://www.youtube.com/watch?v=KuZT4LOU5bc>
http://www.youtube.com/watch?v=KuZT4LOU5bc

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A Surprise Reunion With Louise Dangeli

August 12th, 2011 by Clarissa
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Clarissa with one of her first Chilkat weaving apprentices, Louise Dangeli, Nisga'a from Kinkolith on the Nass River, British Columbia - Clarissa's Chilkat robe in the stateroom on board the ferry heading to Bellingham, Washington with a stopover in Ketchikan where Louise will be disembarking to attend her grandson, Michael Dangeli's wedding in Metlakatla - August 2011

 

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Leaving Alaska

August 7th, 2011 by Clarissa
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Southeast Alaska patterns of Nature

Sunset a la Suzi

The kind of patterns that inspire weavings in basketry and robes

Clarissa painting "Jennie Weaves An Apprentice" acrylic on canvas - MV Columbia - Juneau to Bellingham

Indigo Waters - (hmmm...sounds like a good name for a girl or boy!)Outside of Salt Lake City Utah

Heading into the light of the Southwest!

Heading into Moonflower Canyon - Moab, Utah

 

Relaxing at Moonflower Canyon waterhole

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