Discover Top Posts Tagged with #tlingit

Cedar woven hats with metallic overlay. Nicole Carle (Tlingit). Kenai, Alaska. via Nicole Carle Creations on Facebook

#her work is super inspiring to me #i want to try and incorporate some metallic overlay into my weaving #ndn #native #indigenous #tlingit #haida #native american #native art #art #artwork #weaving #textiles

Costumes from The Pacific Northwest Ballet's Sleeping Beauty,

Preston Singletary and Paul Tazewell

Luther DeMyer and @audreymalek as King and Queen Papillon. 📷: @angelasterlingphoto

#Preston Singletary #Tlingit #https://www.facebook.com/PrestonSingletaryGlass #https://www.facebook.com/photo/?fbid=1148016836682210&set=pcb.1148021513348409

New Miku trend?? Sign me UP

People are drawing Hatsune Miku in some of their culture's most iconic looks and I couldn't resist drawing Tlingit miku!!

#hatsune miku #tlingit #i like being able to draw stuff like this #it makes me feel closer to my mom and grandma #(im alaskan native on their side of the family! scholarships from the ciri foundation helped pay for my animation degree :D)

We Are The Ocean

Ursala Hudson (Tlingit/Filipino/German)

collar: merino wool, silk, steel cones, leather. ravenstail patterns, crochet, basketry twining technique. Woman as a Wave shawl: merino wool, silk, cedar bark. chilkat and ravenstail patterns, crochet, basketry twining technique. Tidal apron: merino wool, silk, leather, steel cones. chilkat and ravenstail patterns.

“We Are the Ocean is an ensemble comprised of a collar, apron (entitled Tidal), and shawl (entitled Woman as a Wave). The collar and bottom edge of the shawl are twined using a basketry technique to bring delicacy to the regalia, made specifically to emphasize the wearer’s feminine essence. In place of the sea otter fur that traditionally lines the top of Chilkat and Ravenstail weavings, the merino weft yarns were used to crochet the collar and shawl’s neck lines, bringing forward and incorporating a European craft practiced by both my maternal (Tlingit/Filipino) and paternal (German) grandmothers. The high neck of the collar gives tribute to the Western aesthetics that have forever influenced the Indigenous cultures of our lands; with grace, we embrace that which cannot be undone, and use our new form to be better. The apron’s pattern was studied and graphed from an old Tlingit cedar bark basket, and represents the tides of our lives, as our lessons continue to arise in a revolving cycle, yet made of new debris. The repetitive pattern of the shawl represents the infinite connectedness of our sisters, mothers, aunties, and daughters. Blue lines break up inverted rows, representing the “past,” “present,” and “future,” acknowledging these concepts as irrelevant constructs that fall away when we commune with the Divine. The entire ensemble is worn to evoke the innate spirit of the Woman as an ethereal deity, that resides within us all.”