Jun 27, 2011 | Health and Wellness, Honoring Others, Tlingit Culture Accentuated |
Close-up of yoke of Tunic #1 - synthetic fringe, machine-embroidered trim, bias tape, felt body
I must have been almost 16 when I met him. I think it was 1972. He was part of a team of four Tlingit men who had come together under the organization of Gilbert Lucero. At a time when the Native culture was just beginning to “sprout” back, Gilbert’s vision was to provide the young Native community of Juneau a holistic approach to help revive the Tlingit culture by way of evening classes for an entire month held at the Totem Center. Cy Peck, Sr. came in from Angoon to teach the Native ways of conducting various ceremonies, clan ownership of the sacred objects and the Tlingit language; A.P. Johnson came from Sitka and introduced us to the conflicts of Native law vs. Western laws; and Harry Bremner, Sr. from Yakutat taught us the songs and dances of the Mt. St. Elias people. (There was a fourth elder who was a part of the team and I can see his face so clearly but I cannot remember his name – he had a permanent smile on his face, not much taller than I, with a head of thick, white hair – he was the one who, upon seeing me for the first time, called out to Harry and exclaimed: “Harry, come quickly, come!…Take a look at this nose!”) – Harry came up to me and looked at my face and checked out my nose. (You can imagine how I was embarrassed!) Harry then said: “You!…I want you to be my song leader and drummer…!”). That’s how I officially met Harry K. Bremner, Sr., 40 years ago. Coming to know Harry during those next four years lead me down a path I have yet to stray.
Full view of Tunic #1 - sleevless with ties at the side
These are photographs of my very first Tlingit dance regalia. They are styled after Yakutat’s Mt. St. Elias dancers’ regalia. I had never sewn anything before. I followed Harry’s instructions; he was the designer and knew exactly what he wanted. One day Harry said we were going to the fabric store and making tunics…(for the five, young students who seemed most committed to the songs and dances.) Those students included Deena (Aceveda) LaRue, Doug Patterson, Victoria (Canul) Dunne, Catrina (Camposano) Mitchell, and myself. Harry was preparing us to perform with the Mt. St. Elias Dancers who were going to be touring Southeast Alaska (at a time when Native dance groups did not exist, much less touring dance groups, was unheard of). None of us had any dance regalia; as far as I know, these were our very first regalia pieces. We learned the songs of Yakutat and Mt. St. Elias. Over the years, whenever I see the dancers perform and hear the songs, I feel a sentiment and a peace; I am immediately brought back to a time when these things were new, we were innocent to what lay ahead, and all of what I learned then is still a part of me now, as Harry helped bring me back home to myself.
My first five hand-sewn tunics - yes, indeed there are 6 and I don't remember making that one, but I've included it with the rest of these tunics; it has my clan emblem on it, the T'akDeinTaan, sewn to the front. I didn't know how to do the formline art back then so I KNOW I didn't make that tunic!
A few years ago, during the 2007 Clan Conference, I was talking with Elaine Abraham (Ramos), who is a niece to Harry. She was telling me that Harry was talented at many things – being a tailor was one of those talents. He had learned while he was living in Seattle working at a tailor shop. My very first sewing lesson was a question Harry asked me: “How long do you make the thread for your needle when you are hand-sewing?” I shrugged my shoulders. He replied: “The proper length of your thread is the distance from the object being sewn and your arm outstretched…” He added “…if you have it any longer than that, it will be too long and your thread will always tangle…” I have sewn hundreds of garments, costumes and regalia since then, and I kid you not, every time I have threaded up a needle and measure the length, I have ALWAYS thought of Harry. 40 years, and most likely still going!
Brilliant blue felt tunic trimmed with white felt and a matching pair of cotton work gloves trimmed with yarn pompoms at the finger tips and outer sides of palm - with synthetic gold fringe - Harry used these kind of gloves when he danced; I don't think any of us had ever seen this type of dance regalia accessory before - nowadays, most of us are familiar to these pompommed gloves
Days before I graduated from high school, my mother asked me what I would like as a graduation gift. I replied: a sewing machine. She looked perplexed “Huh? You don’t sew…I’ve had a sewing machine for years and you’ve never used it…” I replied “Well, if I had my own, I would sew…” Graduation Day was on my 18th birthday. My Mamma loves me; I received a brand new Genie Singer sewing machine – I love that machine. I used to travel with my machine all the time! The machine is compact, light-weight and is able to fit under the seat on a jet! Like I mentioned earlier, I’ve sewn hundreds of items. I taught myself how to read patterns and make clothing. I made clothing for my children, family members and friends. I brought it to a Chilkat weaving workshop in Haines in 1985 and after class I sewed two dresses for my Chilkat weaving teacher, Jennie Thlunaut. (In fact, she is wearing a dress I made for her in some of the last photographs of her taken by photographer, Larry McNeil.) Although I have a sophisticated Bernina, and I have a classic 1935 Singer sewing machine in a cabinet, I still use my Genie on occasion. I’ve even bought this same model for each of my daughters. When my mother saw the results of her gift, and witnessed my involvement with the Native songs and dance, she sewed me a button robe with a beaded emblem of our clan crest, the T’akDeinTaan. Funny thing, I had no idea my mother could sew button robes!
Tunic #3 - trimmed with bias tape, cult felt fringe and single strands of beads and sequins at the bodice
Harry was from the Kwaashki’kwaan from the Owl House in Yakutat. He said the T’akDeinTaan branched from Yakutat area by way of a tributary called T’akDein of the Alsek River. He said because we were related, I could call him “Grandpa.” He was a gentleman and had a sophisticated dignity about his appearance. I am not saying vanity in a negative way; I speak of it with respect in reference to this man. He was in his early 80’s and was gently proud of his physique – he made me note his 42″ barrel chest slimming down to a 32″ waist with no potbelly whatsoever. He had a brisk, direct walk. His mind was alert. And there has not been a Native dancer of his age like him; whoa, could this man dance! When I visited him in Yakutat in 1975, I discovered he was still building a house, building a boat and still went fishing! (At the time, me being only just 16, I was unawares of how remarkable he was – but now looking back upon it, I realize this amazing elder was in great shape.) Harry was a hunter, fisherman and he played the mandolin. (Now that I think about it, this guy was my kind of man!)
Tunic #4 - this was the tunic I wore - red felt body with blue synthetic fringe, bias tape and single strands of beads and sequins
I had no idea until a few years ago my mother had kept these tunics in her closet all these years! She asked me if I wanted them; of course! I am thankful to my Mamma that she kept these; she knew the value in them. In the meantime, she watched me designing and making button robes after button robes. She probably knew that although I had “neglected” these tunics, as I was young and going out into the wide blue world, I may want them some day. Of course! They are like little treasures of historical documents with the young sweat of our DNA and they were an introduction to a way of life I had not even imagined. Because Harry and I worked on these tunics, they are part Harry and part me. Can you tell I have deep admiration, respect and love for this man? And I am thankful that my Mamma saved these tunics; I think my Mamma is proud of me. I am fortunate to have these pieces as they are the living proof of where I began as a maker of regalia; it is living proof of how specific people in one’s life can make all the difference of what we be and do.
Full view of Tunic #4 - this was one of two tunics I had sewn that had sleeves - it was the first time I had sewn sleeves on anything - I do not have a photo of the other tunic; it belongs to Catrina (Camposano) Mitchell
Harry told me many stories; his voice would change when he was telling me something of great importance, something he wanted me to take heed. As he was telling the following parable, I could “see” the entire imagery; and, maybe that is why I have remembered this “lesson” well…and maybe I’ve remembered this lesson because I applied it to my life…
“Say you are across the sea on another continent and you will be taking a long return voyage home. The voyage might take a week, it might take a month, but whatever the length of time, you take care of yourself so you can make the long journey. You will not be drinking the pop or the alcohol – you will not eat bad food; if you do, you know what happens, you will get seasick and puke over the side. Depending upon how much you abuse or neglect your self, you may not make the long journey back home…stay away from these things so you may make that long journey and return to your self and know who you are…”
Harry K. Bremner, Sr. and I - Yakutat airport - April 1975
Jun 22, 2011 | Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
With left over Ravenstail warp and yarns, I wove a flexible container that straddles the headboard of my weaving loom, to help organize and keep at hand my weft yarns, scissors, straight pins, tapestry needles, measure tape, etc. - all the important tools to have handy while weaving Chilkat or Ravenstail. If you look closely, you will see the individual containers are cedar bark baskets; one woven by my mother, one woven by my daughter, one woven by a friend and one woven by me.
One of the things that I encourage my weaving students to create in their lives is organization. If we want to be an active Chilkat weaver, and we want to keep our sanity while weaving, we must be organized! If we are not born organized, Chilkat weaving will change that part of ourselves to become organized. And if we fight the requirement of becoming organized, then while weaving, we will spend quite a bit of your time sorting through things, trying to find something that was misplaced or lost, etc. When I am in the flow of creativity, the last thing I want to reach for is a tool that has been misplaced and I have to go searching for it, or untangle something or accidentally break something. This kind of act is quite disrupting to the flow of creativity; I work hard at avoiding distractions when I know I’m going into a creative groove; so I have a clean, organized surrounding. For those of you who are Chilkat weavers, for those who have recently learned Chilkat weaving and for those of you who have seen the actual weaving process, y’all understand what I am talking about!
A view from above the Chilkat weaving loom headboard container - notice most of the yarns are in front, while miscellaneous and extra tools are in the back half of the pouch
Why a “flexible” woven container instead of a rigid, wooden one? So that I can travel with it across town, across the inlet or across the continent. It is light-weight and easily packable – a valuable resource for a weaver in motion.
Stay tuned for future blog entries of additional Chilkat weaving equipment and tools.
Thank you for visiting!
Jun 21, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
I immediately took this shot 2 months ago when I moved in and set up my new temporary space. Nope, I didn't plan on having the black leather loveseat match the Tibetan rug match the turquoise couch match the bench match the yellow metal set of drawers match the Chilkat robe - it "grew" organically!
One of the first things I do when I move into a space is set it up comfortably, make the space “flow” and make it aesthetically pleasing; then, I place my loom where it feels best with the natural light being one of the major determining factors for its location. As a young child, my father always encouraged me to “make it look nice.” He encouraged me to take care of my surroundings, be clean, neat, organized, tidy,…and, make it beautiful. I’m not sure if I was already born with the capacity to design and create an aesthetically pleasing, workable space, or if I learned it. But, I enjoy creating spaces. I’ve even helped some of my friends’ do remakes in their homes. It’s fun. And a funny thing, every time I am designing or re-designing a space, I think of my father’s words.
The Chilkat robe on the loom is called “Jennie Weaves An Apprentice” – it is a tribute the apprenticeship with my weaving teacher, the late Jennie Thlunaut from Klukwan, Alaska – it’s the first of my series of robes I call “A Robe Within A Robe.”
Jun 20, 2011 | Latest Art Projects, Tlingit Culture Accentuated, To Market To Market |
A "Catabiense Alba" rhododendrun blooms outside the window overlooking mountains and water. My latest painting: "Jennie Weaves An Apprentice" an acrylic on canvas, is part of a series with this design as its base. It is also the "pattern board" for the Chilkat robe I am presently weaving and intend to complete by mid-July!
I’ve been a privileged girl all my life. My basic needs have been met. I’ve had a roof over my head, decent food to eat, wild water to drink, and nice clothing if I want (but now I’m stuck on black sweatpants over the past 8 years and nobody can get me out of them!). No matter where I have lived in Juneau, there is always a beautiful view because it is just about impossible to not have a view of mountains, meadows, trees, a river, creek and/or the ocean. Although the past two years have been a challenge and I’ve struggled to maintain my basic needs, I am quite blessed with having a wonderful view while I am painting my next 6 original paintings on canvas and new collages. Like what more do we need when we’ve got astounding views to create by, right!?
Painting in the kitchen studio - only for another month, then it's time to move again...("pack it in, pack it out - pack it in, pack it out...")
I am planning on creating a series of 4 to 6 original acrylics on canvas with the same name as above, but numbered in sequence of their creation. Each one will have the foundation of the Chilkat robe pattern board, but a completely different painting. I’m excited about doing this series of paintings. I’ll have one of them for sale during my first show (ever!) at the Stonington Gallery in Seattle, opening September 1st. The others I am hoping I will have completed by the Santa Fe Indian Market August 20-21st.
Jun 19, 2011 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Drafting up a traditional Chilkat robe based on an old one. This one I call the "Lovebirds Diving Whale."
I’m working on a couple of Chilkat robe designs. One I just completed as part of my “robe-within-a-robe” series for a collaborative project with another artist; the other robe design is this one above. This design is a “diving whale” with an Eagle and a Raven, the Lovebirds. This is a draft of the robe I am preparing to weave, yet I am having second thoughts about re-doing the design so that it goes along with my “robe within a robe” series. My Chilkat robe-within-a-robe series are designs where there is a smaller Chilkat robe within the main image of the Chilkat robe. I have almost completed my first Chilkat robe within this series; it is called “Jennie Weaves An Apprentice.” The deadline for the completion of this robe is mid-July – however, I have been predicting the completion of this “Jennie Weaves” robe for the past two years; so what makes me (or others for that matter) believe me when I say it’s gonna be done by mid-July, huh?
Jun 11, 2011 | Honoring Others, To Market To Market |
Three robes grace the work space of Silver Cloud Art Center in Haines, Alaska run by Cherri and Wayne Price who hosted a Chilkat Weavers' Retreat in April 2009 - Darlene See (Hoonah, AK) quietly works on her Chilkat robe
How many of you know about Evergreen Longhouse? I do not remember how I found out about them, but two years ago, I received a couple of grants from them that helped support my travel to two projects that I spearheaded: 1). the Chilkat Weavers’ Presentation and Demonstration at the 2009 Clan Conference in Juneau in March, and directly following the demonstration was the Chilkat Weavers’ Retreat in April in Haines, Alaska; and 2). the purchase of warp yarns to begin my 6th robe, a combination robe of Chilkat and Ravenstail.
Chilkat Weavers' Retreat participants included (L to R): Clarissa Rizal, Darlene See, Bev Morris, Patrice DeAsis, Alice (obscured), Debra Michel, Isabelle, Lily Hudson and Ann Smith - the men in the background are Wayne Price (project host) and Brian Walker (Ann Smith's husband)
“The “House of Welcome” Longhouse Education and Cultural Center is a public service center at the Evergreen State College. Built in collaboration with Northwest tribes, it is the first building of its kind on a public campus in the United States. The Longhouse is a multi-purpose facility, able to serve a variety of educational, cultural and community functions. Founded upon a vision of hospitality and service, it is a gathering place for people of all cultural backgrounds to teach and learn with each other.
The Longhouse’s public service mission is to promote indigenous arts and cultures through education, cultural preservation, creative expression and economic development.”
Chilkat Weavers' Demonstration at the 2009 Clan Conference in the lobby of Centennial Hall in Juneau, Alaska
The Longhouse is mainly run by a team of three women, Tina Kuckkahn-Miller, the Executive Director; Laura Grabhorn, Assistant Director and Coordinator Bonnie Graft. I met Laura during our 2008 Northwest Coast Artist Gathering during Power Point Presentation of Artists and Arts Organizations (see sponsoring organization Artstream Cultural Resources). I am totally impressed with the staff of this organization and what this organization has done for the Native artist, and their communties. Over the past two years, I’ve encouraged many Native artists to visit the Evergreen Longhouse’s website and apply for the two types of Native Artist grants they have to offer. Click here to visit their website.
Weavers Kay Parker (Juneau), Lorene Hanlon (Seattle), and Debra Michel (Atlin, B.C.) during the Chilkat Weavers' Demonstration and Presentation at the 2009 Clan Conference, April, Juneau, Alaska
Jun 10, 2011 | Class Act, Tlingit Culture Accentuated |
Strips of sap-free cedar bark in the foreground - students braving an adventure of spinning Chilkat warp!
Sunday night, a few hours after the tail end of the 1st Annual Yakutat Tern Festival, 18 women began to learn the art of spinning Chilkat warp of yellow cedar bark and merino wool. Traditionally, we use mountain goat wool, however, mountain goat wool is a rare find these days and merino wool is the closest fiber to match that of the mountain goat. The class began at 6pm and was only supposed to be 2 hours, but we didn’t get out of the classroom until 11:30pm that night when Evelyn finally broke the spell and said: “Gee, I’ve got to go home now…” Suddenly, all of us realized it was way past our bedtime! That’s what happens when we’re having too much fun!
A class of 18 students making their first attempts at spinning Chilkat warp - L to R: Carol Pate, MaryAnn Porter, Angel Harry, Evelyn Dierick, Carolyn Donohue, Eva Sensmeier, Victoria Demmert, Lois Dworshak, Yvonne Baker, ,Anne Pollnow, Shirley Cain, Joy Klushkan, (Maka Monture & Alison Bremner obscured), Judy Ramos, Penney James, and Gloria Benson
Some of the students are weavers of Ravenstail learned from Cheryl Samuels who revived the art of Ravenstail weaving back in the late 80’s. Ravenstail warp is not spun with cedar bark; Chilkat warp is. Someday, these students want to learn the art of Chilkat weaving, and with the eagerness of learning how to spin their own warp, I can tell these women will be persistent about learning Chilkat weaving.
Thin strips of yellow cedar bark ready to spin with the wool - silky when wet, rough when dry
L to R: Joy Klushkan, Maka Monture, Alison Bremner, Judy Ramos
The youngest student in the class, Angel Harry, organizes her strips of cedar bark and her wool roving to prepare for the next step - the actual spinning on her thigh!
Many thanks to MaryAnn Porter who helped organize this event and brought the class members together, to Carol Pate for the use of her Home Economics classroom and to all the students who braved the adventure of spinning Chilkat warp!
Jun 9, 2011 | Adventures of Rear-Mirror Rissy, Health and Wellness, Honoring Others, North Tide |
Harry K. Bremner, Sr. and Clarissa - Yakutat airport - April 1975
For the first time in 1975 upon an invite to see what Native elders called “the land of milk and honey”; I went to Yakutat to visit “Grandpa” Harry K. Bremner, Sr. (In an upcoming blog entry, I will write about the influence of Grandpa Harry in my life). Take note of the above photograph; the airport road is newly-paved and the trees are so much shorter than what they are today! — for those of you who are wondering where the heck is Yakutat, Alaska, look at a map of Alaska, find Anchorage, then locate Juneau and look about half way in between the two and you will find Yakutat on the coast, right up there with the big Malaspina Glacier. Pretty awesome! As most of you know, Alaska is Alyeska, the Great Land! And we Alaskans are proud of our country!
June 2011 – It’s been 36 years since I set foot in Yakutat. Upon an invite by my friend Jan the traveling accupuncturist, and a reminder from my friend Preston who was guest speaker at the 1st Annual Yakutat Tern Festival this past weekend and, since my children and grand-children all flew south to attend their other grandparent’s family reunion, and I’ve gone through some heavy-duty, non-stop, life-changing events over the past three years, (golly!) I decided it was high time to take some R&R and visit Yakutat again! Yet, as usual I had to do something to offset my travel costs, so with the support and assistance of Walter and MaryAnn Porter, I taught a class in spinning Chilkat warp. (For those interested in the cedar bark class, look for the blog entry recently posted “Spinning Chilkat In Yakutat).
The following photographs are the day trip to the biggest beach I’ve ever seen that runs North/South called Canon Beach:
As we approach Canon Beach, we pass over a waterway of lily pads
As we came across this bridge and saw this view of the pond, I remembered the swans we saw here in 1975 – it was the first time in my life I had ever seen swans. And since then, every time I see swans, I have thought of this place here in Yakutat.
36 years ago, we had lunch with Grandpa Harry in this spot - it was a good feeling to be here again!
I have a few more photos taken back in 1975 during my visit in Yakutat; I’m not sure where they are, but I’ll have to do some investigating! I want to include them sometime sooner than later.
Boogie Boarders skim the shore's wild surface of icy cold Yakutat waters - I tell ya, if I were 16 again, I'd be out there boarding - so much fun!
The very first time I had ever seen big waves like these were in Yakutat at this beach in ’75. Then a few years ago, I had heard that surfers came from around the world to surf this beach. We’ll yeah, man!
Although there were none today, surfers from around the world ride Yakutat waves
Sand Texture - I remember the beach sands being whiter, hmmm...I'm going to have to find those photos from 36 years ago and compare!
I swear - in Yakutat, there are more eagles riding the rip tides of the wind than there are seagulls!
Laying on the beach and admiring the textures of the sky while a lone comber goes to that place of meditation where water meets shore
Had to go find out what that thing was over there...(?)--Obviously something that didn't make it back afloat!
A rotting barge adds rustic color as tides ebb and flow
"Windows" of the sea
A lone pebble
When the tide goes out, there are thousands of small, polished pebbles on this beach. It was odd to find one all by its lonesome.
Like I did 36 years ago, I will be taking memories of the land and sea, yet this time, with little pebbles for little grand-daughter hands in Colorado
You are probably wondering where are the photos of the actual village of Yakutat? Well, when I post the blog entry about Harry K. Bremner, Sr., I will include a few shots of the village. Stay tuned.
Jun 8, 2011 | Latest Art Projects, Tlingit Culture Accentuated |
Nice heavy-duty pressure cooker
Cedar bark basket weavers need not cook the sap out of the bark as part of their preparation of their materials. Those who are Chilkat weavers need to cook the sap out of the cedar bark before spinning the bark and wool to make their Chilkat warp. In the olden days, a large pot full of water filled with cedar bark strips was placed on a fire outside. The water boiled for an hour or two, then dumped and clean water added and brought to a boil. This procedure continued for a week until there was not a whole lot of sap mixed with the water. This is a long procedure; I did it this way for several years until (the late) Agnes Bellinger, daughter to my weaving teacher (the late) Jennie Thlunaut, taught me how to do it the modern method:
1) With a paper towel, rub the interior and the lid of a large pressure cooker with vegetable oil; 2) Fill the pressure cooker with 2/3 water; 3) Add just enough cedar bark strips to fit into the pot comfortably – do not stuff the pot full; 4) Cover, bring pot to a boil – let boil at 10 pounds pressure for at least one hour, at the most two hours; 5) Release steam; 6) Open lid, let cool down up to an hour; 7) Find a place outdoors where you do not mind sap water being dumped. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet. Follow these procedures…
Strips of cedar bark awaiting to be lifted out of their sappy water
With a stick, lift out cedar bark strips from the sap water and place on news paper. (Note: if you use paper towels, there will be a tendency for the paper towel to stick to the bark).
Rule of Thumb: Always take the bark out of the water before dumping the sap water.
Lifting cedar bark out of the sap water
Find a place to dump the sap water. Do Not dump sap water on your lawn, in a flower bed or where trees (other than cedar) are growing. NEVER dump sap water down your drains or in the toilet.
Dumping sap water
8) With a paper towel or rag, immediately wipe all the sap residue from the interior of your pressure cooker including the lid – then wash with pressure cooker with soap and water
Your cedar bark should be free of most of its sap, ready to be split into fine silky strips for spinning with wool to create Chilkat warp.
9) Store your bark in paper bags; never plastic bags nor plastic containers unless you know for sure that your bark is completely dry.
Happy sappy-free bark!
