Dec 20, 2014 | Class Act, Tlingit Culture Accentuated |
A Chilkat apron started by Dodie Gannett in the 1980s
Two months ago, I received an email from a weaver who wanted my mailing address so she could pay me for copying my “Jennie Weaves An Apprentice — Chilkat Weavers’ Handbook.” Then she emailed me a couple of photographs of the above apron that was gifted to her and her 4 weaving buddies by John Beard. Of course, in the weaving world, everyone knows the infamous Ravenstail weaver John Beard, so I was intrigued by the story of this apron and John’s connection! Even though I do not normally teach non-Native women Chilkat weaving unless they are part of the Native community (i.e. married to a Native man OR adopted into a Clan), because they had already started to learn how to Chilkat weave, I felt right telling them that if they wanted my help, I would be willing to assist in teaching them things they would not learn from any other teacher nor any other book on the subject, and also since I would be up in their neck of the woods in December when I do my public presentation on Chilkat weaving at the Portland Art Museum. I put my line out there and they bit!
The following is a follow-up report from the five “Apron Apprentices” to their sponsor, the Portland Art Museum, Portland, Oregon:
“December 15-19, 2014, the Apron Apprentices spent five fun and informative days with Clarissa Rizal, a powerful Tlingit woman. These days were made possible in part due to the generous grant from the Native American Art Council to pay for Clarissa’s teaching fees and Sally Ishikawa’s kindness in providing space in her home for us to meet. Words alone cannot express our gratitude for these generous gifts.
The Apron Apprentices: Stephany Anderson, Sally Ishikawa, Margaret Woods, Joni Zimmerman, and Margaret Emborg Jeppesen Each with their “Apron Apprentices” bags gifted to each of us by Joni
The Apron Apprentices were first given the opportunity by John Beard to finish a Chilkat Apron started by Dodie Gannett in the 1980s. After two or three sessions of reading the weaving and slowly beginning to put in the first few twining stitches of our own, we began wishing for a teacher. Each of us in our own way began talking to our “left hand corner” looking for guidance in our journey with the apron. Our requests were answered when Clarissa offered to teach us the finger that Jennie Thlunaut taught her and share her weaving journey. She encouraged us to study and understand the spiritual journey of Chilkat weaving. With this special Apron, we have the opportunity to bring an important ceremonial object full circle back to life.
The weavers at their looms
One mystery associated with our Apron is that when it was brought to John Beard, it was accompanied by an older, also unfinished apron, of the same pattern. Some of the weavers at Damascus Fiber Arts School had vague memories of this apron, but no one could remember where it came from. We showed it to Clarissa, and as she held it in her hands she said, “Doris Kyber-Gruber.” Doris was a weaver who learned Chilkat weaving before she even went to Alaska, and was associated with Chief Lelooska in the 1950’s. In the 1960’s she went to the Haines area in Alaska, and she knew Jennie Thlunaut. (Clarissa notes: “I remember Agnes Bellinger telling me about Doris who learned Chilkat weaving from her mother Jennie. She said that Doris had written a manuscript on Chilkat weaving, but she decided to never publish it because she realized the sacredness the Tlingit held of this style of weaving. About 15 years ago, a friend gave me color slides of Doris sitting next to Jennie learning how to weave with a couple of Native women in the late 1960’s I have to find these slides!)
Stephany shoots a selfie of the 6 of us!
Doris later moved to Portland, and John Beard has been able to confirm with Dodie Gannett’s family that Dodie and Doris knew each other and that they actually went to Kasaan Village in SE Alaska together in 1971 to teach a Chilkat Weaving Class. l We did a little bit of research on Doris, and learned that she passed away just last summer. This is a link to her obituary: http://obits.oregonlive.com/obituaries/oregon/obituary.aspx?pid+171863740
Margaret Woods models John Beard’s latest Ravenstail robe: equisite!
Our group is in awe over these amazing connections through these aprons. During our week with Clarissa, besides the cultural and spiritual aspects of the weaving, we learned a lot of technical information. Clarissa understood and explained notations Dodie had made on her “pattern board” that will enable us to move accurately finish the Apron as Dodie intended. Also of interest is information on the pattern we are weaving.
Joni Zimmerman
The Field Museum in Chicago, in possession of a very old apron after which our Apron is patterned, has notes that the pattern is “Hoorts, the Bear.” Internet research of old legends says Hoorts is the grizzly bear. Clarissa noted, however, that there are flukes on our patter, which would make it the “sea grizzly,” associated with a clan on North Vancouver Island (area). As part of our weaving journey with this Apron, we will continue to research information on the history and legends associated with the pattern. Our week with Clarissa brought us closer together as a group and has given us knowledge needed to move forward with this project. We will not take this privilege lightly.” — The Apron Apprentices (Sally Ishikawa, Joni Zimmerman, Stephany Anderson, Margaret Woods and Margaret Emborg Jeppessen)
In the weaving room, the two aprons “meet” – In the foreground, we see the back side of the apron started by Dodie Gannett in 1980’s and facing us, we see the child-size Chilkat robe (also be worn as apron) started by Clarissa Rizal
Margaret Jeppesen
Margaret Woods
Sally Ishikawa
Stephany Anderson
I feel the “Apron Apprentices” need to partake in a ceremony where they experience the apron(s) being danced amongst our people. I would like them to experience Haines, the culture and it’s people in full context to Chilkat weaving. I encourage the Portland Art Museum that they assist all five of these women (and maybe John Beard too!) to attend a two-week weaving class in Haines and then attend Celebration 2016 in Juneau, Alaska.— The story of these aprons is not yet complete; they may be an on-going tale like any human life…!
The older Chilkat apron possibly started by Doris Kyber-Gruber in the early 70s is held before the new Chilkat apron started by Dodie Gannett – Left to Right: Sally Ishikawa, Jodi Zimmerman, Margaret Jeppesen, Margaret Woods, Stephany Anderson and John Beard
Dec 9, 2014 | Adventures of Rear-Mirror Rissy, Showing Off |
Clarissa begins her presentation on the design and weaving of her latest Chilkat robe “Resilience” to the members of the Native American Arts Council at the Portland Art Museum
Many, many years ago, if you asked me to get in front of other people and talk about whatever, no matter what size the audience, and no matter if the speech would be in front of my family and relatives, I would freak out. No one nowadays, believes me when I tell them of my once-upon-a-time fear and shyness; — especially not those who were at any of my four presentations at the Portland Art Museum this past weekend of December 5th through the 8th, in Portland, Oregon.
Clarissa explains the meaning of every design element in the robe
Audience feedback tells me that I am a fantastic storyteller at heart, a natural-born comedian, an up-and-coming philanthropist, a content and yet passionate, visual artist. Interesting feedback…things I don’t really define as me though obviously those outside of me experience me on the contrary of what me believes about me. I guess I APPEAR to others to be those things I have yet to add to my list of how I define myself. My personal experience of myself is passion and inspiration. I feel passionate about my work; in fact I am inspired by my own work. My latest Chilkat robe which is now in the permanent collection of the Portland Art Museum was, and continues to be, an inspiration.
Clarissa tells another tale about the making of “Resilience”
With every art piece I design and create, no matter what medium, I strive to “out-do” the last piece of that particular medium. I compete with myself; I have experienced this is where true, fulfilling competition lay.
Thank you to all of you I met during my 4-day stay in Portland, especially the members of the Native American Arts Council at P.A.M. Thank you to Deana Dartt who worked hard on acquiring this robe for PAM’s permanent collection. And thank you to Beverly Terry who sponsored the making of the “Resilience” Chilkat robe!
You may see photos and read about the design description of my latest Chilkat robe “Resilience” at these blog entries:
http://www.clarissarizal.com/blogblog/resilience-has-new-home/
Dec 9, 2014 | Ravens & Eagles, Tlingit Culture Accentuated |
The Curator of Native American Art at the Portland Art Museum, Deana Dartt with her unique staff Mike Murawski, Alex Mar, Todd Clark – They stand next to Clarissa’s recently completed Chilkat robe “Resilience” now part of the permanent collection of Portland Art Museum – December 2014
Surprises come in all sizes and shapes, some pleasant and unpleasant. Learning how to keep the emotions in check is, I have discovered during my mid-life “learning curve”, the best way to stay off the emotional roller coaster. I used to respond fully at everything, whether positive or negative; I have come to realize that was a lot of energy to expend especially now as I am getting older, it is best for me to conserve that energy for myself, to myself, as I am needing to keep any energy I have if I want to continue doing what I do and all the things yet that I intend to do before I go. So,…the surprise of seeing the Chilkat weavings collection at the Portland Art Museum was indeed pleasant that will last the rest of my lifetime. Why?
The double-headed Raven “Two Door” Chilkat dance tunic and its wooden pattern board – the tunic was woven by my weaver teacher/mentor Jennie Thlunaut
Though there were a couple of other weavings and button blankets etc., I focused on these two tunics I show herein: one is a “Grizzly Bear” tunic woven by Mrs. Benson, the paternal aunt and weaving teacher to my teacher/mentor Jennie Thlunaut, and the other tunic, the double-headed Raven “Two Door” tunic was woven by Jennie Thlunaut. Mrs. Benson was born in the mid-1800s and died in the early 1900’s; Jennie was born in 1895 and died in 1986. Jennie’s mother died when Jennie was 12; her mother had just started weaving another robe. With the help of Jennie’s 4 paternal aunts, Jennie completed the Chilkat robe her mother started. Mrs. Benson was one of those aunties.
Full view of the double-headed Raven “Two Door” Chilkat dance tunic by Jennie Thlunaut
The Portland Art Museum has in its collection a “weavers lineage” most likely, unlike any other museum anywhere else in the world. How is that possible? The “Grizzly Bear” tunic was woven my Mrs. Benson, the “Two Door” tunic woven by Jennie Thlunaut, and now the “Resilience” Chilkat robe woven by me! There is no other museum or cultural institution that owns a Chilkat weaving by me, so in this case, P.A.M. owns a weaving lineage of three generations! — Now how cool is THAT!?
Jennie wove two of the double raven “Two Door” tunics. Long time ago, I was told the story of why she ended up weaving two identical tunics, but now I don’t remember. And like anything, if I don’t TELL the story enough times, either verbally or at least written down, the story gets lost, so let this be a lesson to us! However, the Pennsylvania Museum in Philadelphia owns the other identical tunic and I KNOW they have the story!
Full view of the double headed Raven “Two Door” tunic pattern board
This hand-painted pattern board hosts two designs; on one side is the “Two Door” double raven, on the other side is the “Grizzly Bear”. Of course, It be sensible that this large piece of wood, which is cut the width of the tree, be used efficiently!
Close up of a Chilkat tunic neckline and sleeve woven by Jennie Thlunaut’s auntie “Mrs. Benson”
This particular Chilkat weaving tunic woven by Mrs. Benson is my ALL TIME FAVORITE woven piece since I first laid eyes on Chilkat weavings nearly 40 years ago! The design, the workmanship, and the colors which have yet to fade terribly are all fabulous – such an inspiration. In fact, back in 2000 I did a limited edition of only 40 silkscreened prints using a photograph of this tunic as my inspiration to portray Jennie Thlunaut’s lineage of weavers titled “ShaaxSaaniKeek Weavers Circle.”
“Bear” wooden pattern board for the Chilkat tunic woven by “Mrs. Benson”
Traditionally, because men were the artists who carved and painted the form line art of the Northwest Coast, they were the ones who designed the Chilkat. The form line of Chilkat is “translated” from the traditional form line so that the weaver can more easily weave the shapes. So in order to create a successful Chilkat pattern, the designer must understand how the weaving process is done. Very few artists know how the weaving process is done; in fact, there are many of our people who have never seen the weaving process, and when they do, they are shocked at the intricate amount of work and the numerous hours to create even a small weaving. They then understand why the Chilkat weavings are “expensive.”
The “Bear” Chilkat tunic woven by Jennie Thlunaut’s auntie, Mrs. Benson – trimmed with sea otter fur on neckline, cuffs and the sides
Nov 14, 2014 | Adventures of Rear-Mirror Rissy, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Charcoal by Clarissa Rizal
Here’s my Winter Schedule for upcoming Art Markets, presentations, classes and demonstrations. If you are in any of these locations, come by and visit; I’d love to see you!
1) One-day Chilkat/Ravenstail Weaving Class, Juneau, Alaska, Sunday November 23rd, 10am-4pm with potluck lunch — this class is for experienced weavers who have a project on their loom and need assistance, comraderie, support and a feast! Class is limited to just 10. The Northwest Coast Weavers’ Supply will have weaving/spinning items available for sale BEFORE the Public Market sales; so you will have the privilege to be the first to purchase your supplies for your next weaving project — Interested? Give me a call at 970-903-8386 or email me at: clarissa@www.clarissarizal.com
2) Alaska-Juneau Public Market, Thanksgiving weekend Friday, Saturday, & Sunday, November 28-30th, Booth #P-15 in the main room of Centennial Hall on Willoughby Avenue in Juneau, Alaska – Click here to see the list of some of the items I will have available for sale
3) Portland Art Museum, Portland, Oregon Presentation of “The Making of Resilience Chilkat Robe”, Friday, December 5th; I will also have Chilkat-related items available for sale AND I will have two woven ensembles on display only during this presentation
4) Evergreen Longhouse, Olympia, WA, — The Holiday Market is open Friday and Saturday, December 12 & 13; I will only be selling on Saturday! — Click here to see a list of some of the items I will have for sale.
5) “Raven’s Nest” Gallery (owned by Sue and Israel Shotridge), Vashon Island, WA — I will be demonstrating Chilkat weaving on a child-size robe; I will also have on display two child-size woven ensembles, “Little Watchman” a 4-piece Ravenstail outfit woven by my daughter Lily Hope, and my 6-pience ensemble “Chilkat Child.” I will also have items for sale as well; click list here to see list of some items.
6) Chilkat Weaving Class, Corvallis, OR – December 15-19th; for experienced weavers with a project on their loom. — This class is currently full.
7) Heard Museum Juried Indian Art Market & Fair, Phoenix, AZ – March 7-9, 2015
Nov 10, 2014 | Adventures of Rear-Mirror Rissy, Showing Off, Tlingit Culture Accentuated, To Market To Market |
Many, many braids in weaving “Resilience” Chilkat robe by Clarissa Rizal – 2014
HEADS UP! For those of you living in the Portland, Oregon area: I will be doing a public presentation on Chilkat weaving and a Power Point Presentation of weaving my latest Chilkat robe “Resilience” at the Portland Art Museum on Friday evening, December 5, 2014 at 5:30pm. Guitarist extraordinaire Dan Shanks, will be performing the live soundtrack. — If you are in the area, come on by! Two woven Child-size ensembles, one in Ravenstail and the other in Chilkat, be on display only during this presentation. Also, I will have a few things available for sale: my Chilkat Weaving Handbook, greeting cards, Chilkat prints, etc. See you soon!
May 9, 2014 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Clarissa Rizal finishes weaving the ANB (Alaska Native Brotherhood) and ANS (Alaska Native Sisterhood) logos.
Weaving an average of 9 hours per day for the past 5 months, Clarissa must deliver this robe to Portland Art Museum staff members in Juneau during SHI’s biennial “Celebration” this mid-June.
Clarissa begins weaving the (SHI) Sealaska Heritage Institute’s logo (bottom center)
Read about Clarissa’s design description of this robe is in a previous blog entry: http://www.clarissarizal.com/blogblog/?p=2914
Clarissa’s progression of the Sealaska Heritage Institute’s logo in the “tail” of the overall design of the robe.
Mar 17, 2014 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
A 1/4 slice of the “Resilience” Chilkat robe as of Friday, March 14, 2014 – woven by Clarissa Rizal
One of the most important challenges a Chilkat weaver encounters on a daily basis is creating the balancing act of the following: taking care of other business (personal & business), making time with family, main relationship and friends, and making time for our health and well-being. The past week has been challenging. I just want to make sure I get the next section of weaving done (the Sealaska Corporation logo) by next weekend. However, I’ve spent a day preparing for and partaking in a birthday for a grand-daughter, spent a day supporting a friend in a medical challenge, spent a day recouperating from both events, and spent another day dealing with the insurance/registration/wheels of a car, insurance/mortgage on the house, figuring out how to replace the washer machine when we don’t have the finances for another, attending a conference call and placing orders online for supplements. That’s four days of no weaving; that is most frustrating when I am pressed with a deadline to complete this robe on time!
In the world of Chilkat weaving we just have to take a deep breath knowing fully well the robe will get done in time and say to ourselves: C’est la vie!
Feb 21, 2014 | Latest Art Projects, Ravens & Eagles, Tlingit Culture Accentuated |
Clarissa Rizal finishes weaving the left “ship” – Valentine’s Day 2014
After 6 weeks of illness, weaving while singing voice lessons is heavenly! Golly, what a life! It feels so good to get back to “Resilience.” I designed and am now weaving this Chilkat robe called “Resilience.” You may see the full pattern with the design description by visiting the blog entry here. And you may see previous photos of the process of weaving this robe up until today by clicking on these blog entries here.
I am 6 weeks behind schedule because of my long winter illness. I am not even a third completed with this robe and it is due by June 15th – that’s only 3.5 months! I wove the “Diving Whale Lovebirds” robe in 5 months; looks like I am on for another marathon!
“Resilience” Chilkat Robe – close up of the eyebrow, the beginning of the Raven’s head – designed and being woven by Clarissa Rizal
Oct 27, 2013 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
The right corner of the Chilkat robe – the top border of yellow is completed – 26 hours later…! So far so good, I am on track…!
26 hours to complete the yellow border and the 5 strands of braids at the bottom of the border – those hours are in between the hours of this particular Fall, winterizing the house/studio, nor coordinating the Weavers’ Gathering demonstration at the Clan Conference, nor babysitting grand-children, nor painting a donation piece, nor spinning warp for a Chilkat/Ravenstail pouch for another donation, nor cleaning and organizing the studio for another round of intense work until June, nor the daily routine of eating, sleeping, and taking care of my body.
I am far from lazy, from from being bored, far from being a “kept woman” and far from taking a vacation any time soon! All I do though, I LOVE to do; I have a lot of love in my life – all the things I do I love, all the things I be, I love. I realize I spend most of my day “in love.” There isn’t much time in the day spent on things I do not love. I’ve been this way a long time. Even though I may not act like it sometimes, I give thanks every morning no matter what my mood, and I give thanks every night as I put my “home” to bed. It’s been my unspoken way of appreciation and gratitude.
Nobody needs to know any of this though I share it here with you, the reader. Why? Because some day some time long past me posting this blog entry, I may read this again years later, because in a way this blog is like my work diary. I used to keep track of all my work via hard-copy photographs placed in a plastic sleeve with pages of notes on the current project at hand…I’ve got shelves of my work all categorized in big 3-ring binders on shelves I had built to take the weight of it all. Now my recordings have gone virtual with the blog site. I may read this entry years later and it is a reminder of who I have been, where I was at, and I get to compare it with who I am on that future date!
My work lives in the future. My system, my entire way of thinking is mainly in the future. So this blog serves as a vehicle to contain the present-day work and adventures for eventual past reflection. When I am real old and I look upon my past, I intend to enjoy myself and others all over again!
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!
