Tag: Koyukon Athabascan

Alaska Native culture

Steps to Tanning a Moose Skin

Angela Gonzalez

During a recent event in my hometown of Huslia, I got a chance to chat with my relative Tom Daton Huntington. Daton was his maternal grandfather’s name. They only had Denaakk’e in that time. Like me, he is originally from the Koyukuk River country. Tom was born at camp below the mouth of the Hogatza river and grew up at Huslia and Galena. He lives in Fairbanks and works in the petroleum industry – instrumentation technician of all things automated and process control. His hobbies include cooking, small engine repair, wood working, and hide and fur tanning.

In our conversation, Tom talked about tanning moose skins and shared some photos and videos of the process. It was very interesting learning a little bit about his process and he graciously agreed to share it on the Athabascan Woman blog! He shared his written story below.

Smoke and Brain Tanning a Moose Skin by Tom Daton Huntington

A moose skin dries in Tom Huntington’s back yard. Courtesy photo

Like a lot of things, there are as many ways to tan a moose skin as there are people doing it. There are some things that don’t change though. The hide still needs to be fleshed. The hide still needs to be dehaired. The hide still needs to be scrapped. Those are constants. After that, the ways of tanning differ slightly in the ways that one is taught.

When I discuss tanning a moose skin with people, the first thing I always hear is “lots of hard work”. Yes, there is nothing easy about tanning a moose skin. Historically, it has been mostly our grandmas who have tanned moose skin. My thought is always, “I’m sure glad that our grandmas were such kind and loving souls.” They all had to be so strong to have been able to have tanned a moose skin. But they were smart too. I’m sure working at a pace that they could sustain. And showing patience too. Most of them would do a little at a time, when time allowed. As they were always busy with the lives of their families.

Mostly it was early winter or winter harvested moose that were prepared for tanning. It made sense as it was during that time of year when the moose skin could freeze and be easier scrapped for tanning preparation. The skin after being scraped would then be hung up outside and let the weather and mother nature help prepare it further. Then, during the longer days of spring, the moose skin would be tanned. The braining, soaking, wringing, stretching, working, smoking.

Here’s how I tan moose skins. It includes smoking in preparation for tanning. It is believed that smoking it helps prep the skin to absorb the tanning solution more readily. However, you choose to tan the moose skin, you want to end up with a moose skin that passes the skin sewing test the first time (avoid step 14 😊). My first attempt failed that test.

I added up the actual hours that I spent tanning my moose skin. I came up with 106 hours of work, spread over a period of months. I figure, not too bad, for something that has a value of 2,500 to 3,000 if it were for sale. Our grandmas tanned their moose skin so that their families could have good clothes or to honor the memory of their loved ones during the potlatch. I think I will do the same.

Moose skin tanning by our Native people is becoming done less and less. It is a small but big part of the subsistence harvest that I believe is needlessly becoming history. In the old days of our people, survival depended on the tanning of all skins.

Not if, but when hard times come again, it is something that will help ensure the survival of those who know this subsistence knowledge. I truly hope there is a revival of this important part of who we are as Native people.

  1. Tools for tanning moose skin. Photo by Tom Huntington

    Flesh the hide, either on a beam, pole or while stretched on the frame.

  2. Dehair the hide, either soak for 6 days, then flesh the hair, while it’s over a post, or while its stretched on the frame.
  3. Once the hide is fleshed, dehaired and stretched on the frame, let it dry or freeze depending upon the season.
  4. Scrape the hair side until the epidermis is gone. Scrape the flesh side a lot to thin the hide to an even thickness. Buff it.
  5. Remove the hide and smoke the hair side for a half day.
  6. Brain tanning mix solution. Photo by Tom Huntington

    Apply the brain tanning mix solution (brains, soap, lecithin and oil) to the hair side and let sit for half a day. Then fold it up and store it for 2 days.

  7. Soak the hide in the brain tanning solution (brains, soap, lecithin, oil and water) for 3 days.
  8. The repeat for 2 days, then wring cycle to break the hide. Wring cycle is 4 directions (right, left, and from different sides) hold each wrung position for about 45 minutes, soak for 1 hr., wring it again in 4 directions. After each wringing, attach the holes on one side of the skin to a vertical pole or peg and pull on the remaining holes one at a time all the way around. This stretches the skin.
  9. Lightly wring the hide. Then, stretch it on the frame again, let it dry, scrape it and buff both sides.
  10. Smoke the hide for about half a day on each side.
  11. Soak the hide in a washing/tanning solution (downy, soap, lecithin, oil and water) for 2 days.
  12. The repeat for 2 days, then work cycle to tan the skin. Work the hide over a horizontal pole on both sides and different directions. Then, stretch the skin by hand by hooking the holes along one side of the skin on a vertical pole or peg and pulling the skin (total of 4 pulls), soak for 1 hour. Repeat 3 more times, soak it each night.
  13. Wring it lightly, stretch it on the frame, work it until its dry, and then cut it off the frame.
  14. Work and inspect the skin over the horizontal pole for quality. Repeat part of step 12 if necessary.
  15. Sew the hide into a bag for the final smoke on the hair side for color and waterproofing
Clinton and Malachi twist the moose skin. Photo by Tom Huntington

Note: To stretch the hide onto the stretching frame, cut holes along the edge every 6 inches. Then, use rope to lace it onto the frame. Either let it dry or freeze, depending upon the season. I prefer to freeze it as it seems to be easier to shave it like ice instead of scraping it while it’s dry.

Malachi scrapes a moose skin. Photo by Tom Huntington

**

Enaa baasee’ Tom for sharing your technique of tanning moose skins!

Alaska Native/Indigenous People, Athabascan in the Spotlight

Blanche Sam – Athabascan & Iñupiaq Beader

Angela Gonzalez
Blanche Sam and her daughter, Harper. Photo by Nadine Carroll

My niece, Blanche Sam (Athabascan/Iñupiaq) of Hughes, has really come into her own in the past couple of years with her beadwork, and I hadto interview her. I love her colorful earrings and creativity with using materials, like dentalium shells and hide. Enaa baasee’ Blanche for agreeing to share your beading journey on the Athabascan Woman Blog!

Blanche Sam and her family. Photo by Nadine Carroll

Blanche’s parents are Lester and Ella Sam of Hughes. Her paternal grandparents were the late Frank Sam, Elma (Nictune) Sam and biological (Blanche Henry); and maternal grandparents are the late Arthur Ambrose and Alice (Simon) Ambrose. Blanche now lives in Fairbanks with her own family, including Zeb Cadzow, and children Dakota and Harper Cadzow. She earned an associate degree in accounting from at the University of Alaska Fairbanks and currently works for her village corporation, K’oyitl’ots’ina, Limited.

“My mom and grandmothers did it and were so good at it and it is a big part of our culture as Alaska Natives.” – Blanche Sam (Koyukon Athabascan/Iñupiaq)

Blanche Sam sewed calf skin boots and a martin hat for her daughter. Photo by Blanche Sam

Blanche learned to bead in elementary school from her grandmothers and aunt. Some of her first memories of beading and sewing were in school. Blanche remembers her grandmothers and aunt receiving a grant to get furs, hide, beads and other supplies. She learned to sew calf skin boots with help from her grandmothers, Alice and Rita. Her aunt, Hazel, was the first one to teach her how to bead earrings with a basic pattern with bugle beads.

Beaded earrings by Blanche Sam

After buying several pairs of earrings in 2016, she thought, ‘I should just make my own.’ She began making her own jewelry and connected with it. Now when she’s not busy with her kids, you can find her at her beading table. She invested in supplies and challenged herself with some ambitions first projects. She has learned a lot and improved since the beginning. I’ve loved watching the progression of her styles and themes as she has shared them on social media.

Brilliant Beads by Blanche booth. Photo by Blanche Sam

Blanche stared sharing pictures of her earrings on social media and people were interested and started ordering from her. She found a higher demand once she started an online presence as Brilliant Beads by Blanche. After creating a small business, she started selling more, created a logo, ordered business cards, and learned to take better photos of her work. Although making extra money is nice, she appreciates the therapeutic nature of beading and how it connects her to her culture giving her a sense of purpose. Blanche says, “It allowed me to relax, escape and filled me with purpose.”

Blanche’s Advice for Beaders Who Want to Create a Small Business

  • Find and perfect a niche.
  • Having booths at bazaars is a great way to get known and get the word out about your product.
  • Create an online presence. Her online presence has especially helped increase her sales at bazaars.
  • Learn to take good photographs of your work in natural light.
  • Search for ideas on Pinterest for inspiration and help with your creations. It is also a great place to get ideas for creating an eye catching and inviting booth.

Overall, Blanche says, “Do not give up if you make mistakes. I made a lot and learned from each one of them.” She sells about 60-80 pairs for each bazaar she attends. It is impressive to see how she has grown in her beading journey and how she has come close to selling out at her last bazaars. Way to go, Blanche!

You can find Blanche Sam of Brilliant Beads by Blanche on Twitter, Instagram and Facebook.

Angniq Woods-Orrison her fiancé, Mitchell, visited the White Sands National Park. Courtesy photo
Alaska Native/Indigenous People

Angniq Woods-Orrison – Athabascan Wrestler

Angela Gonzalez
Angniq Woods-Orrison and her teammate Cheynell Kawaihai. Courtesy photo
Angniq Woods-Orrison and her teammate Cheynell Kawaihai. Courtesy photo

It is amazing how social media and a web presence can bring people together. I befriended Angniq Woods-Orrison (Koyukon Athabascan) on Instagram this summer. She posts inspirational stories touching on topics including identity, body confidence, personal goals and wrestling. I just had to find out more about Angniq, so was happy when she agreed to be interviewed for the Athabascan Woman Blog.

Angniq is from Rampart, Alaska. Her mother is Brooke Wright. Angniq was raised by her maternal grandparents, Arthur Joseph, Jr. and Janet Woods. Brooke was a teenage mother, and her parents became Angniq’s guardians as she finished school. Angniq said, “I was blessed to have met most of my great grandparents. My elders laid a great foundation for my identity as a child from a village along the Yukon, and as a Koyukon Athabascan.”

Angniq is the granddaughter of Elizabeth Wiehl, Jenny Joseph, Walter Woods and Judy (Starr) Woods. She has family ties to Tanana, Manley Hot Springs, and Angoon. Angniq grew up as one of the only babies-at the time-in Rampart, and felt an enormous amount of love and care. As a result, it gave her confidence, along with the ability to be bold and proud of who she was and where she came from.

“I went to a boarding school in the Southeast part of Alaska. I’m from the interior, I was 800 miles away from home. I’m a frequent traveler because of my distance from home, and also for competitions. I competed in #mehsxc #mehswrestling basketball #mehsNYO ❤💛 this was surprising for a #koyukonathabascan who is from the village of #rampartak which has less than 100 people. The Rampart school shutdown when I was a child, so I grew up between there and Fairbanks. I learned my cultural history, my songs, my dances, my subsistence lifestyle. I don’t know my language. The boarding school I went to was originally run by the BIA before being taken over by the state. During that time, it was a hospital for the tb epidemic, and a place native students where forced to go starting at the age of 4. This was an attempt at complete assimilation: often being abused mentally, physically, and sexually. This happened across the U.S, and this generation is still alive. I don’t know exactly what happened to my great grandmother, but she didn’t teach her children their language. My childhood is shaped around growing into, and unknowingly, healing from my family’s trauma by keeping my culture alive in myself, the next goal being to learn my language. Going to college in California for wrestling is a new part of my identity, and it’s important for me to further my education for my community, but at times it hurts to be away from home. This is my open book.” – Angniq Woods-Orrison (Koyukon Athabascan), posted on Instagram (@Angniq)

Angniq Woods-Orrison and her grandmother, Judy Woods. Courtesy photo
Angniq Woods-Orrison and her grandmother, Judy Woods. Courtesy photo

Many small Alaskan towns struggle with the minimum number of students to keep a school open. With less than 10 students, Rampart’s school shutdown before Angniq entered elementary school, so her family split time between the Rampart and Fairbanks. She struggled in a predominantly white elementary school, but found comfort when she attended Effie Kokrine Charter School. Angniq says, “This Native-staffed, -inspired, and -centered education opened up a new perspective to my Indigenous identity.”

Angniq had strong politically-active role models growing up, including her aunt, Georgianna Lincoln, and uncle, Albert Kookesh. She attended countless Native gatherings for her tribe, corporations, potlatches and festivals with her grandmother, Janet. This exposed her to the power, beauty, and love in Native communities.

Angniq attended Mt. Edgecumbe High School (MEHS) in Sitka, a boarding school which is 800 miles away from her hometown. She was encouraged to grow, accept challenges, and develop herself in every way. Angniq took extra classes, joined sports (cross country, wrestling, basketball, Native Youth Olympics), and joined battle of the books. She was inducted into a campus volunteer group (L.E.A.D.S), and was a member of the National Honor Society. Angniq graduated winning multiple regional and state championships, along with earning the Lillian Lane Award and the national Tricia Saunders award.

Angniq decided she wanted to wrestle in college, which meant she would have to find a school out of state. She attends Menlo College, and is a scholarship recipient and is working toward a degree in psychology. It has not been easy having to pay tuition to private school on top of her participation on the wrestling team, which like having a full-time job. At one point, she took more classes than she was comfortable and it hurt her grades. She was burnt out, but was thankful when countless people came to her aid from home and within my new Californian family. Angniq is currently a junior, has earned more scholarships to ease the financial burden. Her wrestling team has placed 7th and 5th in the nation. Despite having a full schedule and a part-time job, she has made it onto the Dean’s list and currently sit at a 3.4 GPA.

Angniq Woods Orrison enjoys spending time with her family. Courtesy photo
Angniq Woods Orrison enjoys spending time with her family. Courtesy photo

Hundreds of people have given Angniq support to help her achieve her goals, including her community along the Yukon River, a growing Indigenous community of friends, MEHS alumni/family, and her new international family.

The journey to success has not been a fast process for Angniq. She points out she did not start wrestling until she was a freshman in high school, and didn’t win a match until she was a senior. In 2015, Alaska sanctioned a girl’s state championships for the first time, and she became one of the first state champions. When she decided to wrestle in college, the process repeated.

Angniq also attributes her success to her family, friends, classmates, teachers, coaches and teammates. She says, “I’ve been financially supported, encouraged, tutored, pushed, yelled at, consoled, and guided in every way possible. To be alive is a testimony to our ancestor’s resilience in surviving genocide, assimilation and racism.”

Angniq was exposed to alcoholism or drugs and saw the impacts it had on people and knew at a young age she didn’t want to drink. She was inspired from Geraldine Charlie of Minto who told her story of family and sobriety at a Doyon meeting. Angniq draws strength from living her traditional lifestyle and practicing her culture. She loves fishing on the Yukon River and participating in cultural arts. One of her goals is to learn her language, Denaakk’e (Koyukon Athabascan). Angniq started learning words and tries to use them in everyday conversation. She appreciates being able to call upon relatives anytime she has questions.

“Alcohol was introduced to Native peoples as a tool of genocide, in the hopes that it would tear us apart. We struggle, but we still survive. The point I am trying to make is: we are burden with extreme hardships of mental health issues, poor health, and poverty within the Indigenous communities. This is another manifestation of white supremacy and it takes a great amount of knowledge and research to understand the systematic nature of this racial hegemony. There will be walls for Indigenous people no matter which direction life brings them, but there is a great liberation in the pursuit of happiness. As I continue to learn about America and my culture, I love myself more. As I continue to meet people from around the world, travel, and live an active lifestyle, I love myself more. At times, I am overwhelmed with oppression as a Native woman, and with the struggle to further my education, but it forced me to bloom in the most beautiful ways. Find your community, find yourself, and continue to live as a marker for our ancestors’ resilience.” – Angniq Woods-Orrison (Koyukon Athabascan)

Angniq Woods-Orrison her fiancé, Mitchell, visited the White Sands National Park. Courtesy photo
Angniq Woods-Orrison her fiancé, Mitchell, visited the White Sands National Park. Courtesy photo

After undergraduate college, Angniq’s goal is to earn a master’s degree. She hopes to work for the tribes, maybe in a village, at a corporation or for an Indigenous program. Angniq’s dream is to bring more mental health resources to Alaskan Natives (or any tribe) that encourage places to learn culture and language. She says, “With more mental health resources, I want to help people recover and strive away from addiction, depression and suicide. In empowering my own people, I want to help other oppressed groups of people, which include women, minorities, the LBTQ community and people of non-biblical faiths.”

I am impressed with how Angniq is working toward her goals and not giving up despite being far from home. She is the only Alaska Native on her campus, but connects with other Indigenous people on social media. Angniq learns about tribal issues on Twitter. Find her on Twitter at @beedubs767 and Instagram at @Angniq. Enaa baasee’ Angniq for sharing your story and inspiring others!

It took Brenda Mahan nearly two years to complete this Athabascan firebag. It is 9.5” x 10” with a 60” wool yarn strap which hangs approximately 30”. Brenda says, “It is beaded on both sides and lined with cotton fabric. I utilized size 11 Japanese seed beads and it is edged with size 6 Japanese seed beads. I utilized black wool broadcloth to create the piece. On each side, there is a main flower in the center. These flowers are old patterns that I attempted to re-create. Although the overall design is my original, I referenced Northern Athabascan Art, A Beadwork Tradition by Kate C. Duncan to design my piece and to determine what was used to create a firebag.” Courtesy photo
Alaska Native/Indigenous People

Brenda Mahan – Athabascan Beader

Angela Gonzalez
Athabascan Artist Brenda Mahan with her latest pieces of beadwork include a firebag, wall hanging and moose hide octopus bag. Photo by Angela Gonzalez
Athabascan Artist Brenda Mahan with her latest pieces of beadwork include a firebag, wall hanging and moose hide octopus bag. Photo by Angela Gonzalez

I have been admiring beadwork by Brenda Mahan for the past few years. She is Koyukon Athabascan with roots from Galena, Alaska and now lives in Nevada. Brenda was raised in Cordova, Alaska and is a shareholder of Chugach Alaska Corporation. Although she has a day job as a child support supervisor, she spends her free time beading. I consider her a master artist in beading.

Brenda’s adoptive parents are Pete and Marlene Laplante. Her birth grandparents were Johnson and Lilly Henry from Galena, Alaska. Brenda’s birth mother is Madeline Henry. Madeline is a beader, and collaborated with her late mother, Lilly Henry, to make several large coasters for the Governor’s Awards in Alaska in the 1982. Madeline and late Lilly also have a piece featured in Kate C. Duncan’s book, Some Warmer Tone Alaska Athabascan Bead Embroidery.

Brenda says, “Being adopted, I learned bead embroidery from books.” One such book was, Ann’s Creations: Designs & Instructions for Making Your Own Athabascan Beadwork by Ann Goessel, where she learned some of the basics to beading. In 2001, she ventured to make her first beaded barrette. In 2004, Brenda took a beading class taught by Athabascan bead artist, Delores Sloan, held at the Alaska Native Heritage Center. In 2009, Brenda decided to create floral beadwork with moose hide with a goal to sell it at Alaska Native Medical Center’s Gift Shop in Anchorage, Alaska. The ANMC Gift Shop is known for selling high quality traditional Alaska Native arts and crafts. Brenda said, “This was an honor for me to have my items accepted in this gift shop as it meant that my beadwork had met a high standard.”

Angela Gonzalez and Brenda Mahan meet in Anchorage
Angela Gonzalez and Brenda Mahan meet in Anchorage

Brenda was always drawn to beadwork and sewing and especially loves floral beadwork. She finds inspiration from nature. She grew up enjoying the wonders of Alaska, like beach combing, berry picking, hiking, skiing, snow machining, trapping, hunting and fishing. Brenda’s preferred materials include size 11 Japanese seed beads, nymo thread, porcupine quills, moose hide, dentallium shells and Ultra suede. Brenda uses the two-needle method which she believes makes her lines straighter and more controlled curves. This method came naturally to her, but designing has been more of a challenge.

“I love to work with the soft moose hide and the smell of smoked hide conjures up many feelings of happiness for me. There are not many people who bead on moose hide anymore due to the rising cost.” Brenda Mahan, Koyukon Athabascan

Beadwork brings Brenda closer to her Athabascan and Alaska Native people. She often shares her beadwork on a Facebook group, called Athabascan Showcase. Brenda enjoys connecting with people, and has even discovered some are distant relatives.

Brenda was honored to receive with several pages of floral patterns and a zipper pull mukluk pattern (signature piece) from Madeline. Brenda wishes she lived closer to Madeline so they could bead together. Brenda only met her late grandmother, Lilly Henry, once and treasures looking at pictures of her beadwork. Brenda adds an edge technique to some of her beadwork in honor of Lilly’s style of beadwork.

Brenda Mahan has spent over 100 hours making this moose hide octopus bag. She says, “Currently, the top is done and I am preparing to put it all together. The strap is done and I am lining that with hide using picot-edge beading. I plan to assemble the top in a similar manner. The tentacles will be lined separately from the bag so that eight tentacles hang down from the main bag. The bag will also be lined using picot-edge beading. I've add more details to the bag, little flowers all over.” Photo courtesy of Brenda Mahan
Athabacan Artist Brenda Mahan has spent over 100 hours making this moose hide octopus bag. She says, “Currently, the top is done and I am preparing to put it all together. The strap is done and I am lining that with hide using picot-edge beading. I plan to assemble the top in a similar manner. The tentacles will be lined separately from the bag so that eight tentacles hang down from the main bag. The bag will also be lined using picot-edge beading. I’ve add more details to the bag, little flowers all over.” Photo courtesy of Brenda Mahan
A close up view of Brenda Mahan's beadwork. Photo by Angela Gonzalez
A close up view of Athabascan Artist Brenda Mahan’s beadwork. Photo by Angela Gonzalez

Although, I am no expert at beading or determining if someone is a master bead artist, I feel Brenda’s artwork is exemplary. Her work reflects her extensive research on the style and technique of Athabascan beadwork. One of Brenda’s latest projects is a moose hide octopus bag. It is approximately 11” x 15” with beadwork on one side. Her center flower is her attempted to re-create using an older book called, Northern Athabascan Art, A Beadwork Tradition by Kate C. Duncan. Brenda says, “Sometimes I feel like I am connecting to that person when I try to re-create their old flower pattern. The patterns are more difficult than ones that I’ve done in the past. I’ve learned about color and contrast working with these more difficult patterns. I feel like the past speaks to me through my beadwork.”

Brenda studied several octopus bags in museums. However, she has never been able to handle one. The bag is going to be lined. The shape of the bag with the tentacles fascinates her, and she has enjoyed making it. Brenda has been careful in planning and creating the bag using old traditional flower patterns and moose hide throughout.

Angela Gonzalez wears earrings made by Athabascan Artist Brenda Mahan
Angela Gonzalez wears earrings made by Athabascan Artist Brenda Mahan

Brenda sells some of her beadwork at the Alaska Native Medical Center gift shop in Anchorage, Alaska and the Fallon Paiute Shoshone Tribe Fox Peak in Fallon, Nevada. You can view some of Brenda’s work on Facebook, Instagram and Pinterest.

Brenda is grateful to friends and mentors, like Emma Forsberg and Glenda McKay, for assistance during the process of learning to bead. Brenda’s dream is to bead an Athabascan baby belt. Although, she knows it will be a large, costly and time-consuming project, she’s looking forward to creating one with full moose hide. One day, Brenda also like to create moccasins, mittens and different types of traditional Athabascan bags. She would love to make these items with moose hide and in the traditional manner as it seems to be becoming a lost tradition (creating them entirely out of moose hide).

I recently met her in Anchorage. Her face lights up when she talks about her work and the process. If I know one thing about artists, it is the fact that they love discussing process. She brought three pieces of artwork with her, and I enjoyed seeing the detail of her work. Brenda’s beadwork almost looks 3D, and I thought some beads were raised. She assured me that it was not raised.

As you can see, Brenda is very talented Athabascan bead working and artist. I admire how much she invests into the planning and creation of each of her pieces. Ana basee’ Brenda for sharing your work and passion!

It took Brenda Mahan nearly two years to complete this Athabascan firebag. It is 9.5” x 10” with a 60” wool yarn strap which hangs approximately 30”. Brenda says, “It is beaded on both sides and lined with cotton fabric. I utilized size 11 Japanese seed beads and it is edged with size 6 Japanese seed beads. I utilized black wool broadcloth to create the piece. On each side, there is a main flower in the center. These flowers are old patterns that I attempted to re-create. Although the overall design is my original, I referenced Northern Athabascan Art, A Beadwork Tradition by Kate C. Duncan to design my piece and to determine what was used to create a firebag.” Courtesy photo
It took Brenda Mahan, an Athabascan artist, nearly two years to complete this Athabascan firebag. It is 9.5” x 10” with a 60” wool yarn strap which hangs approximately 30”. Brenda says, “It is beaded on both sides and lined with cotton fabric. I utilized size 11 Japanese seed beads and it is edged with size 6 Japanese seed beads. I utilized black wool broadcloth to create the piece. On each side, there is a main flower in the center. These flowers are old patterns that I attempted to re-create. Although the overall design is my original, I referenced Northern Athabascan Art, A Beadwork Tradition by Kate C. Duncan to design my piece and to determine what was used to create a firebag.” Courtesy photo

 

Athabascan Artist Brenda Mahan made this wall hanging, entitled Alaskan Angel. It is made of moose hide and is 10.5"x12". Brenda says, “Alaskan Angels flies high above the Northern Lights (which is the fringe) so that she can have the best view, constantly watching and guarding over everything. Her dog is her constant companion, watching over Alaskan Angel; pure love and always together. Just like her dog, Alaskan Angel will be loyal to you, watch over you and love you unconditionally. Believe in Angels.” Brenda donated it to the Friends of Pets Quilt Auction, which will take place on October 7, 2017, 11 am-2 pm at the University Center Mall in Anchorage, Alaska. Photo courtesy of Brenda Mahan
Athabascan Artist Brenda Mahan made this wall hanging, entitled Alaskan Angel. It is made of moose hide and is 10.5″x12″. Brenda says, “Alaskan Angels flies high above the Northern Lights (which is the fringe) so that she can have the best view, constantly watching and guarding over everything. Her dog is her constant companion, watching over Alaskan Angel; pure love and always together. Just like her dog, Alaskan Angel will be loyal to you, watch over you and love you unconditionally. Believe in Angels.” Brenda donated it to the Friends of Pets Quilt Auction, which will take place on October 7, 2017, 11 am-2 pm at the University Center Mall in Anchorage, Alaska. Photo courtesy of Brenda Mahan
Tabetha with her daughter, Allison, and Grandpa Charles Toloff. Courtesy photo
Alaska Native/Indigenous People

Tabetha Toloff – Koyukon Athabascan

Angela Gonzalez
Tabetha and her Grandpa Charles Toloff. Courtesy photo
Tabetha and her Grandpa Charles Toloff. Courtesy photo

Tabetha Toloff (Koyukon Athabascan and Russian) grew up as a kid in Nikiski and has lived in Anchorage for over 30 years. Her beloved grandpa, Charles Peter Toloff, was born in 1921 in Fort Yukon, and later homesteaded in Nikiski where much of her family lived. Tabetha’s great- grandmother was Margaret Albert Reed of Rampart. Her great-grandfather was Peter Toloff and was from Russian. Grandpa Charles is now 95 years old, is like a father to Tabetha, and is the oldest living original shareholder of his Native Corporation, CIRI.

Tabetha is married and has a daughter and two step-sons. I have known Tabetha since the early 2000’s. We served on the board for the Alaska Native Professional Association (ANPA) for a number of years. Since our ANPA days, we have been busy with our lives and I was glad to catch up with her recently.

Tabetha’s passion for education led her to earn her Master of Organizational Leadership degree with a concentration in Servant Leadership from Gonzaga University; her Bachelor of Arts in Organizational Management from Alaska Pacific University (APU); and an Associate in Applied Science degree in Business from UAA. In 2014, she completed APU’s Alaska Native Executive Leadership Program. Alaska Pacific University (APU) recently highlighted Tabetha as one of their new board members and featured alum.

Tabetha Toloff speaks at ANPA's 10th anniversary in 2009.
Tabetha Toloff speaks at ANPA’s 10th anniversary in 2009.

Tabetha is currently the chief administrative officer of Cook Inlet Tribal Council (CITC). Prior to joining CITC, she oversaw the Alaska Native Program for Alyeska Pipeline Service Company and its associated commitments to the Alaska Native Utilization Agreement, scholarships, internships, employee development, community outreach, and stakeholder relations.

Tabetha serves on the Alaska Native Heritage Center Board of Directors as Development Committee chair, and is chair of the Alaska Native Shareholder Development Action Group. She is the President of the Bering Straits Foundation Board of Director, as well as a member of the University of Alaska (UAA) Alaska Native Advisory Council.

Tabetha credits her Grandpa Charles with teaching her a strong work ethic. He is family-oriented, does for himself and helps others. He inspired Tabetha to give back to her community and share with others. She has worked with organizations that help advance Alaska Native people, whether it is with direct services, scholarships, job creation, education, shareholder development and more.

Tabetha with her daughter, Allison, and Grandpa Charles Toloff. Courtesy photo
Tabetha with her daughter, Allison, and Grandpa Charles Toloff. Courtesy photo

Tabetha is a dual shareholder of Bering Straits Native Corporation and CIRI. She was grateful to receive scholarship support from The CIRI Foundation while pursuing her degrees. Like many young Alaska Native people who weren’t raised around the same traditions held by their Alaska Native elders, she didn’t grow up knowing or learning about her cultural heritage, ANCSA, or what it meant to be Alaska Native.

In her mid-20’s, Tabetha set out to give back by working for and volunteering with Alaska Native organizations as a way to learn more about her culture. She made it her mission to learn more about Alaska Native people, culture and ANCSA. Tabetha felt she wasn’t ever easily identified as being Alaska Native and many times found herself in situations or conversations where she needed to explain her heritage to others. It gave her an opportunity to learn from others and she has been fortunate to work with people who have generously shared their culture with her, and some who have given her meaningful insight and gifts of knowledge.

Tabetha has treasured the many connections she has made with people she has worked and crossed paths with, including Willie Hensley. Last year, Willie gifted Tabetha with an Inupiaq name, Ivalu. It means dried caribou tendon or sinew that is commonly used to tie canoes together, and also means useful and strong. Tabetha loves the Alaska Native value of sharing, and appreciates the Inupiaq name being shared with her.

Many young Alaska Native people grew up as Tabetha did, and she shares some advice:

  • Be true to yourself
  • Don’t try to be something or someone that you’re not
  • If you want to learn about your culture, immerse yourself in it through many ways and people
  • You don’t have to look or live a certain way to be truly connected to your Alaska Native spirit and culture. It’s a way of being.

Tabetha is proud of the strides made by Alaska Native tribes, organizations and companies over the years. She is happy to have contributed to organizations, like ANPA, that have grown in the past 20 or so years. I have always admired Tabetha’s work ethic, sense of humor and willingness to ask questions and learn. I also admire the ways she mentors young people in a professional and volunteer capacity. Ana basee’ Tabetha for sharing a little bit about yourself!