FOOTPRINT OF THE BROWN BEAR Xóots x’us eetée (Tlingit)
The footprint of the brown bear is fairly realistic, considering its expression by means of straight lines and angles. It is usually arranged in one or more horizontal bands encircling the basket, thus representing the trail of the bear. It illustrates the instinctive habit of this sagacious animal in following in the old, deep-worn tracks on its way to and from accustomed feeding-grounds (George Emmons).
This limited-edition Lily Hope collection is only available at Kindred Post.
Photos @sydneyAkagiPhoto
Model: Sophie Lager @magpy3
. . .
Lily Hope (Tlingit) is Raven T’akdeintáan. Her Tlingit name is Wooshkindein Da.aat. She is an artist, teacher, and a community facilitator. Lily intertwines indigenous techniques and spiritual teachings with traditionally sturdy artist communities, supporting and enthusing Chilkat and Ravenstail weavers internationally.
www.lilyhope.com
insta@lilyhopeweaver
. . .
NORTWEST COAST WOOLEN WEAVING
Chilkat and Ravenstail weavings originate on the Northwest coast of Alaska and Canada. These hand twined textiles are sought after by museums, art collectors, and are still used in ceremony by Tlingit, Haida, Tsimshian, Kwakwaka’wak, Gitxsan, and Nisga’a peoples. Similarly constructed on upright frames, these two styles are visually distinctive. Chilkat robes utilize adapted shapes from Northwest Coast Formline art; their designs can depict clan migration, historical events and cultural stories. Artists use caution when weaving Chilkat designs as many of them are still owned by clans. Ravenstail robes are more geometric in design, often utilizing basketry patterns and images from nature. Over 40 new patterns have been developed since 1985 and these are shared among artists/weavers.
