Jun 10, 2016 | Tlingit Culture Accentuated |
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!
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!
Jul 13, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Latest Art Projects, Tlingit Culture Accentuated, Tools-of-the-Trade |
7-year-old Elizabeth Hope reads the step-by-step instructions out loud on how to make a drum
Sealaska Heritage Institute sponsors the “Baby Raven Reads” program which mainly teaches young children how to read yet also conducts other cultural projects for the young minds and bodies. This past Sunday, Mary Folletti taught the drum making class for children and their families took place for a couple of hours at the Gajaa Hit Building near the ANB Hall in Juneau. Thank you Davina Cole, project coordinator from SHI…!
Prepared raw hide is soaked in water
The drum making kits were purchased from a supply store in Centralia, Washington State at Centralia Fur and Hide Company (their website is of the same name). The kits included the pre-bent wood frame, the pre-cut circle of hide and the raw hide threads.
A few tools and supplies needed for drum making: needle-nose pliers, hammer, scissors, push pins and “Tightbond” wood glue
My grand-daughter Elizabeth and I were one of approximately 20 Juneau families who took this class. Most of the children were around 4 to 7 years of age, though there were a few younger.
After the raw hide has soaked, place on a flat surface smooth side down with pencil markings facing down; pat with a towel to absorb excess moisture
For many years my friend, Becky Etukeok made drums from local hides such as deer, moose, and caribou. After taking this class I have a larger admiration towards her dedication to this art form. I had never seen how drums were made nor had the appreciation of how they were made until doing this simple class where all the hard work was done for us. Although Beckie now is the program director of arts at the Alaska Native Heritage Center in Anchorage, she is still known as “Beckie Drum-maker.”
Soak spiral-cut, 3/8″ “threads
When threading, pull so there’s no slack, but not too tight as that will make your drum too high pitch.
Instructor Mary Folletti demonstrates how to begin threading
How to include your young child in making a drum:
* Let your child explore the materials (sinew, frame, hide) while you name them.
* Talk about how the frame is a circle. Ask what shape the hide is and why it’s bigger than the frame
* Ask what the different materials feel like (smooth, wet)
* Ask or explain where the materials comes from (deer, tree, intestines)
* Count the holes together, name the tools (hammer, pliers, scissors)
* They can help pull the sinew through
* The can help “pull tight”
* They can help hammer tacks with close supervision
Begin threading through one hole and tie a half hitch knot
Thread through the hole directly across the first hole, and repeat
Clarissa helps her grand-daughter Elizabeth how to create a handle
Most everyone in the class has created their “star” pattern
I had a blast making this drum with my grand-daughter Elizabeth. I look forward to doing more cultural things with all of my grandchildren as they grow up.
Some drum makers fold rawhide between the threaded areas over the frame and hammer a tack in each section to hold it down.
When you have completed your drum, make sure you take the thumb tacks out and let your drum dry on a clean, flat surface, face up. Depending on your climate: it takes about 2 days to dry in Alaska, though at 7000 feet where the climate is a bit drier like the 4-corners area of the United States, the drum may not even take a day to dry!
Directly after creating the handle and pushing the raw edges of the leather to the inside of the drum, with her strong fingers, Elizabeth carefully smoothes the frame removing all the big folds and wrinkles – you must do this step as soon as possible before the hide even starts to dry
HOW TO CARE FOR YOUR DRUM:
Your drum was made out of an animal and a tree and some say the drum is a living being so you want to honor its spirit with love and respect
Store it wrapped in cotton, wool, or a custom drum bag face up or on a wall. Keep it from extreme temperatures and direct sunlight as heat may cause it to crack.
Water expands and heat constricts. On sunny days you can mist with a damp cloth or spray bottle. If your drum is cold you can warm it slowly, using your own skin as a gauge.
Clean with a slightly damp cloth. You can condition with Shea butter bought from cedarmountaindrums.com
Careful not to set anything on your drum and remember to play your drum often. It wants to sing!
Mary Folletti teaches some of the kids how to do various beats with their new drums and drumsticks
How to make a drumstick:
You will need a stick, padding (cotton or wool cloth), sinew, and a piece of buckskin.
1) Put glue on one end of stick covering 1″ down around the whole stick.
2) Wrap padding around end of stick that you glued, snuggly not to tight.
3) Use sinew and wrap around padding a dozen times crisscrossing, then tie off on stick behind padding.
4) Center Buckskin on end of padded end, pull down stick and hold snug behind padding then wrap sinew very tightly around buckskin and stick 7 to 9 times; tie off using scissors to trim excess buckskin
Jun 29, 2015 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Tlingit Culture Accentuated, Tools-of-the-Trade |
Artist, Professor, and Instructor of Tlingit form line art, Lance Twitchell introduces the class first with the spiritual and cultural context
Yes, I took an evening of form line instruction. Yes, even though I have been drawing formline for nearly 40 years, I felt like I could use some FORM-al instruction. I learned a bit from the instructor, Lance Twitchell. I learned a few techniques that I had never though of using AND I learned that I am not too bad of a designer, and that I could use some more assistance and inspiration. After all these years, it’s fun taking a class in which you know almost as much as the instructor! Lol.
Approximately 18 students, many of them just beginners, in the form line class sponsored by Sealaska Heritage Institute
A few years ago, Sealaska Heritage Institute took it upon themselves to begin teaching form line classes after Haida Artist Robert Davidson told the audience in attendance at the Sealaska Juried Art Competition that “the Tlingit people didn’t have very good artists who mastered the form line art.” (I had heard complaints from other well-accomplished Tlingit artists about Robert’s statement. I laughed at the absurdity, though at the same time I know that all of us will continually better ourselves at the formline art. Even so, did Robert realize his statement was a slap in the face to several Tlingit artists who have been working as long as he or nearly as long, like Nathan Jackson, Preston Singletary, Israel Shotridge, Rick and Mick Beasley, the Chilton brothers, etc.?)
Students were given the task of choosing a design aspect of the carved bentwood box shown on the screen to replicate as best as they could on their drawing paper
I don’t know if Robert realized how he was saying these things may have caused a ruckus for the locals though nevertheless, SHI decided it was high time they do something about educating the Tlingit artists no matter where they were in their careers as designer/artists.
Lance provided a list of the various form line definitions created by Bill Holm and Bill Reid over 40 years ago
Lance Twitchell added some very good aspects to the one-night instruction plan: the design terms in Tlingit language! I felt Lance did a fine job of leading the students carefully step-by-step. Though the part I enjoyed the best about his presentation was his acknowledgement of all the artists who had gone before and the spiritual representation of the art. — Being self-taught in Tlingit form line design, I appreciate the fact that SHI has taken the initiative to conduct classes throughout Southeast Alaska. If we had these classes 10, 20, 30, 40 years ago, I would have taken them…and that’s why I had the privilege to finally attend one! Thank you Sealaska Heritage Institute!
Tlingit Names in Formline
May 16, 2015 | North Tide, Tlingit Culture Accentuated |
South Seward Street in Juneau, Alaska was blocked off the entire day of Friday, May 15th for the opening festivities of the Walter Soboleff Center
Hands down, many have stated the Walter Soboleff Center is the most beautiful, newly-built building in all of Juneau, Alaska. I must agree. The local architect did an amazingly beautiful job fitting this fineness sandwiched between the early 1900 buildings. Sealaska Heritage Institute’s president, Rosita Worl has worked hard to make what SHI is today; the manifestation of this building had to be her ultimate vision. She had every right to hold her head high during this grand opening occasion. I commend her and her team on a job well done!
The Soboleff Center is directly adjacent to the Sealaska Plaza parking lot – Juneau, Alaska
When SHI was only a year old, I applied for a job. Looking back now, I realize that I was the 4th or 5th employee. David Katzeek was president then, my cousin Lisa Sarabia was the receptionist, Mary McNeil was the scholarship coordinator and my Auntie Katherine Mills was one of the first to be hired temporarily to record and translate Tlingit history, Tlingit language, stories and song. I was hired to take Mary McNeil’s position. Now with more than 30 employees, SHI proves it has come a long way in 34 years!
The children of the late Walter & the late Geneveive Soboleff: Walter, Jr., Ross, Sasha and Janet
Like any non-profit organization, SHI started from ground zero. The scholarship program provided Sealaska shareholders grants to attend vocational training, higher education or apprenticeships in Native arts and culture. Aunt Katherine Mills started the grassroots of the archives of history, song, dance and language. The scholarship program and the archives were basically the two projects of SHI. Celebration did not begin until March 1982. Since then, with the mastermind vision and work of Rosita Worl and her carefully-selected team of employees and the backing of the Sealaska Board of Directors and the formation of the SHI Board of Directors, Rosita has made SHI what it is today.
Dignitaries of Tlingit Raven and Eagle Clans
The Walter Soboleff Center is the largest fruit of Rosita’s vision and labor. This building now houses SHI’s offices, archives, retail shop, exhibit space, carving “shed”, rooms to conduct classes and additional office spaces to rent.
Dinah Hobson carries two cedar saplings during her dance group’s performance
Many of us artists anticipate conducting classes in carving, metal smithing, language, writing/poetry, weaving, drawing, storytelling, etc. We look forward to working/teaching in a space with good ventilation, best lighting, ample accommodations, and “being in our own neighborhood.”
Wayne Price (right front) stands before his crew of young carvers from Haines – they paddled for three days in the dugout canoe in time for this event
Local artists and visiting artists look forward to the encouragement and support Sealaska Heritage Institute has promised. We look forward to SHI truly supporting their shareholder artists in a number of ways such as providing classes to established and up-and-coming artists in Northwest Coast design, marketing and sales, weaving, carving, metal smithing, storytelling, print-making, button-robe making, beadwork, etc. We look forward to gathering and teaching, networking, and making a living doing our passion. SHI could truly support our shareholder artists with additional public art commissions, artist residencies, and class space with no charge to the artist.
Crowd view from Front Street looking towards the Sealaska Plaza
Come to think of it, the “Seattle Tribe” (what many folks call the artists who live in Seattle area), received the monumental positions to create works for the new building. Robert Davidson designed the red motifs and the new SHI logo on the building’s front, Steven Brown’s designs were sandblasted(?) in the glass awnings, David Boxley, Sr.’s large, painted screen in the entry foyer and Preston Singletary’s glass screen is inside the “clan house.”
(It seems that for any Tlingit artists who wants to be acknowledged and with future commissions by SHI, they would have to move to Seattle area?)
Although shareholder artists were not acknowledged by SHI during the grand opening of the Soboleff Center, artists who were present during the event included Reggie Peterson (Sitka), Dahkeen Mehner (Anchorage), Doug Chilton (Juneau), Israel Shotridge (Vashon), Lani Strong-Hotch (Klukwan), Shgen George (Juneau), and myself. (I apologize to those who I may have forgotten or did not know were present at the grand opening.)
Ishmael Hope listens as Lieutenant Governor Byron Mallott speaks on behalf of the State of Alaska.
One of the complaints I have heard already about SHI’s retail outlet is that SHI is not really doing their job of encouraging local artists to sell their wares because their work was not accepted for sale in SHI’s new retail shop. Artists have also complained that nearly half of the retail shop includes too much manufactured stuff from Native Northwest (previously known as Garfinkles, Inc.) or other Canadian-based companies specializing in printed scarves, mugs, pins, wallets, jewelry, books, etc. and that every gallery up and down the coast of Southeast Alaska and British Columbia seems to be carrying the manufactured stuff, why would SHI’s retail shop be doing the same when by the time the tourists reach Juneau they would have already gotten their token souvenirs and would want to see the “real stuff” from locals? — Golly, I had never thought about this until I heard this complaint over and over again. So of course, the way my mind thinks is: well…is there a solution? are there many solutions…what are they?
SHI President Rosita Worl (in Chilkat robe) and elder Bessie Cooley, listen to Lieutenant Governor of Alaska Byron Mallott
Solution #1: I imagine SHI could dwindle their stock of manufactured items to half of what they have now and truly seek out artists who: a) have a unique line of work, b) up to par with SHI’s standards of design/fabrication/presentation, c) are willing to sell their wares with 70/30 split (artist receives 70% of sales price).
I have also heard that artists were turned down because SHI was not interested in the artists’ work or that SHI already had too many of that kind of work, etc.
Solution #2: SHI needs to be truly honest about why they will not carry an artist’s work. If SHI feels that any element of the design/fabrication/presentation of the artist’s work does not meet their standard, then SHI needs to tell the artist just so with positive critique; it is only in this way that the artist will know what to do in order to be accepted in any high-caliber gallery. How are we to know if we are not told the truth?
Solution #3: Shareholder artists who are turned down need to take a brave look at their own style and see if they need some improvement in design, quality, and/or presentation. Have others critique your work. Ask SHI what do they suggest you do to raise the quality of your product, and then go do it!
SHI has a responsibility to our shareholder artists to encourage and support our artists. Isn’t that what one of the main goals of why the Soboleff Center was created? Or was the act and manifestation of this building possibly a political stance to put feathers in the caps of both Sealaska and SHI Board of Directors to build more credibility?
Members of the Alaska Native Sisterhood (ANS) and Alaska Native Brotherhood (ANB) – the first civil rights group in America formed in 1923
Even before the grand opening, I have heard concerns and complaints about “how come there were no female artists commissioned to create a major piece of work for this magnificent building…? Why only male artists? And why only male artists who all live down South…?” Again, I hadn’t thought about this issue until it was brought to my attention.
My response is a personal one that I have answered directly to those who have complained but will not respond here in this public forum because on one hand I respect those who are in charge of making those kinds of decisions though I on the other hand, have been disappointed about being slighted and although I am used to being slighted, I tell myself that some day “my time will come…” (as some other artists have told themselves the same…), and I also remind myself that “my time is always right now”, so therefore, why be concerned?
The elite group of Northwest Coast Artists (L to R): David Boxley, Sr., David Boxley, Jr. Preston Singletary, Robert Davidson, Delores Churchill, Nathan Jackson
Our values are slightly different now. We have grown into the western way of thinking in many more ways than one mainly because most of us live entirely in the western way of doing and being; we cannot help but eventually change the ways in which we were taught, or the ways in which we genetically received the patterning which were in high contrast with western values.
I remember being at the very first Celebration in 1982. The feel of Celebration was extremely different than what it has become 34 years later. Many things were different but because my time is limited, I will bring to mind one: At Celebration 1982, elders from just about every clan spoke to us in our languages, and even though many of us young people did not understand what was said, we could FEEL the importance of what was said. In the old way, people were acknowledged and introduced. All elders were placed before all and were acknowledged; they were all positioned with equal footing. Stories of the songs were told before they were danced. Good feelings of respect, honor and grace filled the room. It was one of the most powerful things.
At Celebration 1982, there were no political entities standing before us on stage whatsoever, telling us about how great things were to come and patting themselves on the back. Politicians forget that they were elected to their position by the people…and they forget to pat their commoners on the back too. They forget to acknowledge everyone who is proud of them and who put them there. They forgot to position our elders on equal footing not just emotionally/spiritually but physically too where they are placed on the same platform as they! Politicians, who generally have more money than any commoner, forget to “feed” the people in many more ways than one. In my mind, it’s a 2-way street when it comes to “nourishment.” Which comes to mind, how come there was no food or drink offered to the general public at this grand opening!?
Preston Singletary and Lani Strong-Hotch (Chilkat robe woven by Clarissa Rizal & Ravenstail robe woven by Lani)
The invitational children’s dance groups led by school teachers Shgen George and Hans Chester
Wayne Price and his 7-member team of paddlers of the dugout canoe come ashore at high tide
Loading the dugout canoe ashore
Dancers in Chilkat: Preston Singletary wears a Clarissa Rizal Chilkat robe, Paul Marks wears a Jennie Thlunaut Chilkat tunic and Nathan Jackson wears a Dorica Jackson Chilkat robe
Young students await the signal to begin their song and dances – Marigold Lindoff, great-great granddaughter to the late Jennie Thlunaut, wears the 5-piece woven ensemble “Chilkat Child” woven by Clarissa Rizal
Writer and Alaskan poet laureate, Nora Dauenhauer
In front of his dugout canoe, Wayne Price accepts the honor from the young dancers
Another view of the welcoming ceremony of the dugout canoe
One of my mother’s best friends, elder Cecilia Kenyon, member of the Wooshkeetaan Shark Clan
I made it a point to attend this grand opening. Even though I would rather be in my studio doing my work in the comfort of my space, lighting and bed, I had several reasons why I had pack up and come back home sooner this Spring, than later.
I felt it was important to be a part of the event because I wanted SHI and all those attending to know that my presence was there to be supportive of what SHI has been doing for many years and that even though I may not agree sometimes with the way they do things, I commend the institute on all that they have done and their resilience no matter what the confusion, conflicts and complaints they may receive.
Elder Edwina Smith, member of the Kaagwaantaan Wolf Clan
I attended this grand opening also because I knew I would see elders I hadn’t seen in a long time; there are a few of my mother’s friends (above) who for many years I have always had a fondness.
I also wanted to see a couple of my button robes and some of my Chilkat weavings danced: my “Chilkat Child” danced by my weaving teacher Jennie Thlunaut’s great-great-great granddaughter, Marigold Lindoff; the Chilkat blanket I wove for Anne Gould-Hauberg 15 years ago now owned and danced for the first time by Preston Singletary; the Chilkat cuffs worn by one of Wayne Price’s young carvers/paddlers; the recently-completed “Egyptian Thunderbird” button blanket robe worn by glassblower Reese, and the button blanket robe “Eagle and Raven” owned and danced by Crystal (Rogers) Nelson.
Wayne’s pride
I also attended because I knew several of my fellow artist buddies of mine would be attending, including Wayne Price and his motley crew, Preston Singletary and Sue/Israel Shotridge.
Check out those Chilkat arm bands by Clarissa Rizal
And to top off the event, Ishmael Hope gave the closing speech; he spoke in the Tlingit language with the passion of any elder who lived long time ago. I was brought to tears as he called out with such reverence and yearning, love and respect, joy and sorrow, it made the entire day worth while of being present and in the moment.
All in all, it was good to gather our people under the same “roof.”
Ishmael Hope gives a compelling closing speech spoken entirely in the Tlingit language
Wayne Price rests against his pride of the dugout in the “carvers’ cave” just outside of the center
Clan crests adorn the heads of young dancers during the outgoing procession
Crystal Rogers dances her Eagle Raven button robe (design by Preston Singletary; sewn by Clarissa Rizal)
Ravenstail octopus bag
Chilkat octopus bag, woven and worn by Shgen George
Ishmael Hope and his newly-adopted daughter (his great great grand niece) Mary Goodwin
Veterans lead the closing ceremonial dance
Jan 30, 2014 | Honoring Others, Relationship Overdrive, Uncategorized |
Lily Lalanya Hudson Hope and her mother, Clarissa – December 2013 – Juneau, Alaskaphoto by Kelly Burnett
The moment Lily was born the morning of January 30, 1980, my condemning, self-judgments began to cease. This thing called “love of self” was felt in every cell of my body; I remember it quite well. I feel this is the gift she gave to her mother and this is the gift she gives to the rest of the world – it is also the gift in and of herself.
Lily is all kinds of things, but first and foremost the past six years, she is a mother of two of my favorite people in the world, Bette (Grandma’s nickname for her is “SikiKwaan”) and Louis (Grandma’s nickname for him is “Ajuju”). She enjoys homeschooling her kids; being a full-time mother right now is her favorite job, though for her sanity, she has her own weaving/sewing/beadworking room!
Lily has done all kinds of jobs, she always went “up the ladder” in no time due to her organizational abilities, her mathematical mind and her love to just be busy making people happy. When she was 18, after only a month, she became the manager of McDonald’s in Pagosa Springs, Colorado; then at 20 she became the Marketing Director for Whole Foods in Santa Fe, New Mexico and a beadwork artist for an internationally-famous mask-maker out of New Orleans. When she returned to her hometown of Juneau, Alaska 10 years ago to help take care of her Grandma Irene, she was led back into her Native roots.
She received her Bachelors Degree from the University of Alaska Southeast in 2005. By way of Perseverance Theatre in Douglas, she became an actress and with the assistance of her Grandpa Bob Hudson attended the San Francisco School of Acting. She also became an award-winning storyteller, winning top awards in the All-Alaska Storytelling competition; she and her husband, Ishmael Hope have performed at the Smithsonian. She got back into Ravenstail and Chilkat weaving and won 1st Place for the 4-piece, child-size woven ensemble in the Traditional Arts category of the Sealaska Juried Art Show. She used to have a website under Lily Hudson, but her name changed when she married Ishmael and she hasn’t gotten her younger sister, Ursala the web-designer to create a new website just yet. Although you can visit Ishmael’s superb website at: www.alaskanativestoryteller.com
Ishmael, Lily and their two children live happily in Douglas, Alaska.
Happy Birthday, my Nina!
