"Copper Woman"

photo by Chris Ahrens

Coillection of the Anchorage Museum of History and Art, Alaska
W ool, cedar bark, copper thread, copper cones, abalone shell, ermine skins. copper chain
Contact Clarissa for permission to use image for educational purposes only
©2002 Clarissa Hudson

This dance regalia, a combination of Chilkat and Ravenstail weavings, was inspired by a range of international influences: the Hawaiian dancers (long "hula" fringe on the dance apron), the Seminole Indian women's capelets, and the "dreadlocks" worn by the Jamaican people. I drew up the initial sketch for this dance regalia in 1992. In between all my other commitments, family and projects, this entire Chilkat and Ravenstail ensemble was 10 years in the making, finally completed in 2002.

In 1989, I was a student in Cheryl Samuel's first Ravenstail weaving class and figured out how to begin a Chilkat tunic, but I thought that weaving a  small Ravenstail cape (what I call a "capelet") would be fun and different to weave.

I began the Chilkat and Ravenstail apron while on tour with Naa Kahidi Theatre while in Rome.  I started the headdress during one of the Chilkat Weavers' Circle gatherings in 2000.

The completion of my first Chilkat robe — the Sea Grizzly — inspired me to finish weaving the  headdress, capelet and apron.  I completed all four pieces within a couple of weeks of each other; it was quite a sense of accomplishment!

I then made a small Chilkat "ghost face" bag to go with the outfit, and added my first Ravenstail robe I completed in 1996. The name of this Ravenstail robe is "Mirroring the Discovered Angles of An Electrified Heart." Copper cones were added to all the fringes as a final touch.

The completed Chilkat and Ravenstail regalia ensemble won the Best of Show award at the 2001Indian Market at the Heard Museum in Phoenix Arizona and won Best of Show at the first Sealaska Juried Art Show in 2002. In 2003,the Chilkat and Ravenstail "Copper Woman" became the collection of the Anchorage Museum of History and Art. This is the first and only time a museum purchased one of my works, although I take pride knowing most of my ceremonial regalia are with our Native people using them for their intended purpose.

Read Native People's Magazine Review on "Copper Woman" January/February 2002