NEA National Fellowship Awardees on You Tube

Here’s the link to watch the nine 2016 NEA Fellowship Awardees perform/present their work on YouTube: https://www.youtube.com/watch?v=kDVckQQ-LtM

It’s about 2 hours long.  With my entourage, Darlene See, Donna Beaver, Irene Lampe and I are on at about 1:40 in the link (though I have watched the entire video clip)!

Weaving in the Midst of Movement

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A birthday gift weaving loom from her daughter Lily, Clarissa weaves a Chilkat/Ravenstail neck “scarf” while fishing with friends; a beautiful partly sunny day on the east side of Shelter Island, Juneau, Alaska — June 2016

No matter what size my weaving loom, be it 7ft. wide, 4ft. wide, 3ft, 2 ft. or 1ft., all my looms are portable.  They have to be.  I am always on the move.

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The gallery and the fishing pole are proof, Clarissa is weaving while friends are fishing…a glorious place to weave as long as we keep the fish separate from the weaving!!!

For the past two years, I have been weaving four ensembles for my very first, and most likely my last, exhibit of weavings.  I’ve had financial support from several funding organizations that have helped pay nearly all of my personal and business expenses; this support has been a luxury.

The following are the organizations that have provided me grants to do this exhibit:

*  2015 Native Arts and Culture Foundation Fellowship Grant, Vancouver, Washington State

*  2015 1st People’s Fund Creative Capital Grant, Rapid City, South Dakota

*  2016 Tulsa Artist Residency, Tulsa, Oklahoma

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Clarissa’s weaving in the hotel room at the Seminole Hard Rock Hotel and Casino, Hollywood, Florida — September 2016

I have been traveling a lot this year; all of it has been business-related where I squeeze in family visits when I can.  Portable weaving looms and financial support have enabled me to continue doing my other business-related work such as doing a presentation of my work during the NACF Board Meeting in Ft. Lauderdale/Hollywood, Florida, and the following week to attend the annual Las Vegas Souvenir and Gift Show.

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With a refreshing treat of a small bowl of cherries, Clarissa gives herself a foot bath while weaving…

I’m teaching myself how to “relax” in the midst of movement, creativity, business and sometimes chaos.  Listen up weavers; if I can do it, so can you!

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One of three completed woven strips to be a part of an ensemble entitled “Girl Gaucho” — the ensemble is part of an exhibit “Layers of Love” opening at the Bill Reid Gallery in Vancouver, B.C. Tuesday, October 18th, 2016

I am living proof that we Chilkat and Ravenstail weavers can get our work done in the midst of movement!

 

Watch Clarissa’s NEA’s Award Performance Livestream

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Clarissa models her latest Chilkat robe “Egyptian Thunderbird” at Eagle River Beach in Juneau, Alaska (Hmmm…Clarissa’s hair is the same color as the beaver fur trim and don’t you  just love her “Raven” ears!) — photo by NEA photographer, Tom Pich

Click on this link to see your open invitation to the general public for the NEA Heritage Fellowship concert:  2016-heritage-ceremony-invitation   

As part of the award ceremonies during the week of September 25-30, 2016, the NEA National Heritage Fellowships Concert will be on Friday, September 30, 2016.  For those who are not in Washington, D.C. area, the event will be streamed live at arts.gov.   If you are in Washington, D.C. area, the Friday night presentations/concert is wide open to the public. Feel free to pass this information along to your family and friends who aren’t able to be in DC that day.

Each of the 9 awardees will be doing an 8-minute presentation of their work.  I will be doing a brief presentation on preparing the cedar bark and wool, then spinning, then weaving.  Then the last 4 or 5 minutes, Irene Jean Lampe, Donna Beaver Pizzarelli and Darlene See will be joining me on stage to present some of my latest robes (and of course, the Weavers Across the Waters robe will be one of those robes, worn by Donna), along with an historical robe care-taken by my sister Irene.  To provide the audience (far and wide) an idea of how the robes are used, the four of us will be singing/dancing a song composed and written many, many years ago by our T’akDeinTaan clan member Kloon’eesh (John K. Smith).

“Egyptian Thunderbird” Chilkat Robe

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Clarissa models the “Egyptian Thunderbird” Chilkat robe she recently completed in June 2016 — photo by NEA Photographer Tom Pich at Eagle Beach, Juneau, Alaska, with the southern end of the Chilkat Range in the far distance

This photograph was not tampered with Photoshop.  Tom Pich, the professional photographer for the National Endowment for the Arts fellows for the past 25 years, used his camera settings to capture the colors.  Tom used no additional lights, no gadgets, nothing.  Just his knowledge, talent and keen eye! — Thank you, Tom, for a beautiful rendition of one of my most favorite robes in a beautiful country; it was a great outing!

Update: “Weavers Across the Waters” Chilkat Ravenstail Robe

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Grand-daughters Simone and Amelie Haas always made a daily check-up on the status of the hanging slip knots; it’s good to allow the little people to come visit and “play” with the yarns (under supervision of course). Clarissa’s Chilkat weaving teacher and mentor, Jennie Thlunaut had told Clarissa the story about how when she was 5 years old, she would “play” with her mother’s warp and weft as it hung on the loom. Whatever children play with and enjoy when they are young is most likely what they will do for a living when they are adults

A month ago, I finally began weaving the borders that will frame the “Weavers Across the Waters” Chilkat/Ravenstail robe.  I did not wait for all the 5×5 squares to arrive, though I had received more than half of the 54 committed donations then.  The following is a photo essay of the process:

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Using the traditional warp stick (fashioned after Jennie Thlunaut’s), Clarissa measures out the length of the strands for the side borders

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Clarissa uses the length of a book that measures (close to the) exact length she needs for the top border of the robe

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Inspired by Teahonna James’ 5×5, here is the first color combo of the top border of the “Weavers Across the Waters” Chilkat and Ravenstail ceremonial robe

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The top border of the ‘Weavers Across the Waters’ Chilkat/Ravenstail robe

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The beginning of the yellow border (Traditionally, a black border was woven and the a yellow border; Clarissa took the liberty of “jazzing up” the black and yellow borders. Notice there are no horizontal braids between the yellow and black borders. Clarissa plans on replacing the horizontal braids with a row of white Mother-of-Pearl buttons instead

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Prepared slip knotted strands hang from the lightly-stablizing cross bar; instead of using your good weaving hours to make slip knots, it’s always best to prepare the strands while visiting with folks, or while taking a bath, and choose a discreet seat when you make slip knots at a funeral

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Notice the laptop close at hand, along with the basket of yarns and of course when you need to remind yourself of certain tasks, or you have an idea of another project or you just remembered your grocery list, keep your notebooks (daily planner, sketch book, pocket notebook, etc.) at hand at all times near your weaving loom

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Three generations of weavers begin weaving the side borders of the “Weavers Across the Waters” Chilkat and Ravenstail robe: Ursala demonstrates her innovative fingering techniques to her daughter, Amelie and her mother, Clarissa.

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The borders of the “Weavers Across the Waters” Chilkat and Ravenstail robe; the small white diamonds were a suggestion by my daughter, weaver Lily Hope

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Clarissa and Ursala weave the side borders of the “Weavers Across the Waters” Chilkat/Ravenstail robe

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Teahonna James weaves the last couple of inches of the side borders

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The side borders required hours of commitment. Clarissa measured her length of time to the inch; it takes her 1 hour to weave 1 inch. This translates to an estimate of 1-1/2” hours per inch for Ursala and/or Teahonna to achieve. In the foreground are all the squares being sewn together by Clarissa

For the initial project launch, invite, purpose, design specs and who are the ‘weavers across the waters’ who have volunteered to be a part of this project, please visit previous blog posts on my website, at:

 Click here for Recent update before this current blog post

Click here for the launch, invite, design specs 

 

 

“Weavers Across the Waters” Chilkat/Ravenstail Robe Update

Version 2

As of June 9th, 2016, these are the very first 5×5 contributions from the following weavers:  Stephany Anderson, Kay Parker, Willy White, Alfreda Lang, Sandy Gagnon, and Dolly Garza

Being the creator (or “mastermind as my Mother would have put it) of this community-based project, would I had known that when I have receive each of these priceless 5×5 woven Chilkat and Ravenstail weavings, I would feel such honor and a privilege to hold each one in the palm of my hands!?  Would I have known that I would feel such pure and raw power in each simple image!?  And would I have known that I would feel such intense protectiveness as I hand-carried these in my carry-on luggage; like worse than when I am transporting a robe that I have designed and made!?!? — In the purity of this power, I feel immense grace and lovingness; I feel such excitement and peace; I feel strength and healing; I feel the connectedness of all beings through the anticipation of connecting all of these weavers’ weavings together.  This is already a powerful robe.  My goodness, we share in the excitement and most likely all of what I feel too in the completion of this robe!

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As of today, July 13, 2016, we have 23 total contributions received from (top to bottom, L to R): Della Cheney, Margaret Woods, Douglas Gray, Lily Hope, Nila Rinehart, Kay Parker, Stephanie Andersen, William White, Karen Taug, Courtney Jensen, Alfreda Lang, Chloe French, Dolly Garza, Georgia Bennett, Rainy Kasko, John Beard, Michelle Gray, Marilee Peterson, Annie Ross, Sandy Gagnon, Pearl Innes, Veronica Ryan and Crystal Nelson

The past couple of nights since my return to Tulsa, which is where I will be working day and night on putting this robe together for the next month, I put a cloth cover over all the little weavings who lay side by side with one another, like the way we cover our weavings for the night.  Already these little ones have become dear.  —-  Thank you to all our present-day weavers who have contributed their talent through a piece of their spirit to become unified as one in this special, ceremonial robe.  We look forward to receiving the other 31 pieces due by the extended deadline of July 19th!

Remember to mail your contribution insured to me at:  Clarissa Rizal, 40 East Cameron Street #207, Tulsa, OK   74103

For more information on the mission and purpose of this robe, please visit the initial “invitational” blog post by clicking this link:  http://www.clarissarizal.com/blogblog/calling-all-chilkat-and-ravenstail-weavers/  

Video Clip of Clarissa’s Chilkat Mask Dancing Celebration 2016

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Clarissa Rizal’s Chilkat mask in the making; no eyeballs were woven for the allowance of the black warp to be cut so the wearer of the mask can see out — April 2016

Initially I wove this Chilkat mask with the intention of putting it in the Stonington Gallery’s show of Northwest Coast masks which opened on June 2nd; however, due to attending to immediate health issues this past Spring and other significant deadlines, I did not complete the mask in time.  Yet, I was determined to have the mask at least dance during Celebration, so during my few hours manning our booth at the Art Market, I finished the second part of the mask which was the headdress.

Click on the video clip (below) showing the dancing of the mask/headdress during David Boxley, Sr.’s dance group singing a great song and beat of their Exit song during Celebration 2016, June 11th.  Thank you, Stephanie Maddock for the video clip!

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An Award Winner at SHI’s Juried Art Show 2016

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Clarissa Rizal’s 5-piece dance ensemble “Chilkat Child” wins Best of Weavings category at the Sealaska Heritage Institute’s Juried Art Show — Below the ensemble is Clarissa’s daughter, Lily Hope’s Chilkat dance apron — June 2016

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Surrounded by a painting by Alison Bremner, a carved and painted dance stafff by Archie Cavanaugh, Clarissa Rizal’s button robe “Northwest by Southwest II” wins Best of Sewing category at the Sealaska Heritage Institute’s Juried Art Show — June 2016

 

Tlingit Clothing Designers Take Off on SHI Runway

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L to R:  Models Ursala Hudson, Miah Lager with designers Deanna Lampe and Lily Hope; Sealaska Heritage Institute’s 1st Annual Native Fashion Show — June 2016

Surprisingly, yet not surprisingly enough, my youngest sister Deanna Lampe and daughter Lily Hope created 3 ensembles for the 1st Annual Native Fashion Show sponsored by Sealaska Heritage Institute at the Walter Soboleff Center in downtown Juneau, Alaska last night.  Deanna has been a beadwork and needle-point designer and artist for nearly 30 years; Lily has been a Ravenstail and Chilkat weaver for the past 10 years.  Both decided they wanted to try their hand at clothing design.  Deanna and Lily were two of the nearly 15 clothing designers in this first-of-its-kind fashion show in Juneau.

Costume design and fashion has always been an interest of nearly all my life.  My earliest memory of “dress-up” was when I was 6 years old; if the sun was shining first thing in the morning, I’d slip on a pair of my mother’s high heels and put on one of her dresses and I’d stand in the middle of the street saluting the sun!  I learned to sew when I was 15, with the guidance from Harry K. Bremner, Sr.  I made my first Tlingit dance tunics.  I sewed all my own clothing and then eventually sewed most of the clothing for my young family.  I was costume designer for two theatre companies in Juneau:  Perseverance Theatre and Tricycle Theatre and then in Colorado for the Pagosa Pretenders Family Theatre.  When attending the Institute of American Indian Arts in Santa Fe, my work was selected for several fashion shows.  In the past 30 years I have also been a designer and maker of Tlingit ceremonial regalia, which in its own way, is also “fashion design” though none of us would admit to it!

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The back sides: My daughters Ursala Hudson, Lily Hope and their childhood friend, Miah Lager; Ursala wears a wolf fur collar above a black/white  geometric summer dress trimmed with Ravenstail warp tipped with cones; Lily wears a brilliant blue satin dress trimmed with mother-of-pearl buttons and a cedar bark obi; Miah wears a jeans jacket with 2 large, beaded daisies at each lapel and a beaded Chilkat face back center, with a red wool skirt trimmed at the bottom with M.O.P. buttons  — Sealaska Heritage Institute 1st Annual Native Fashion Show, Juneau, Alaska — June 2016

Due to health issues that required my immediate attention this past Spring, along with other major pressing deadlines, I had to bow out of this show.  I intended on having three contemporary ensembles and was almost done with them, but all is not lost; I shall complete them for my exhibit with Sho Sho Esquiro this coming mid-October at the Bill Reid Gallery in Vancouver!