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dataVE[1] = new data("images/collaboration/ve01_l.jpg","<font><strong>Evelyn Vanderhoop </strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;May 2000<br><br>Ms. Vanderhoop modeling her first full size Chilkat robe.<br><br>&quot;I am a Northwest coast textile weaver from the Haida nation. I was born in Alaska. My family is from the Massett, Haida Gwaii Git’ans Git’anee Clan. My crests are the Eagle, Beaver, Frog and Sculpin.<br><br>I weave the Northern Northwest Native textile techniques, Raven’s Tail and Chilkat. The objects I create range from Chief’s robes and tunics, to smaller objects like dance aprons, leggings, and other ceremonial regalia.<br><br>In the 1960’s, there were only two or three traditional weavers of these techniques left. Today there are as many as fifteen people who are weaving the Chilkat technique, some of whom are teachers, including myself, and my mother, who taught me. It is very rewarding to weave this rare ceremonial regalia that is still honored and worn by Northwest coast Tribal leaders.&quot;</font>")
dataVE[2] = new data("images/collaboration/ve02_l.jpg","<font>Ms. Vanderhoop dancing in her first full size Chilkat robe.<br><br>&quot;I am from a family of weavers. My sisters, April Churchill and Holly Churchill Burns, weave cedar bark and spruce root basketry. My grandmother, Selina Adams Peratrovich, was the first Native to teach the traditional art of basket weaving at the University of Alaska. Before she passed on in 1984, she was honored with the Alaska State Governor’s Award for her contribution in preserving this traditional art.<br><br>My mother, Delores Churchill, became a teacher of basketry to continue passing on this ancient tradition. She received an honorary doctorate degree from the University of Alaska.<br><br>I strive to attain and maintain the high quality and skill that my relatives and ancestors established. I feel privileged to be part of the revival of these techniques. To ensure that this tradition isn’t lost I am passing on the knowledge to my own children.&quot;</font>")
dataVE[3] = new data("images/collaboration/ve03_l.jpg","<font>Ms. Vanderhoops’s Raven’s Tail curved style dance apron. One of three purely Raven’s Tail curved style dance aprons in existence; all of them woven by Ms. Vanderhoop.<br><br>&quot;When I began learning to weave, I started with Raven’s Tail. This ancient weaving predates Chilkat. Raven’s Tail is woven with pure mountain goat wool. These large robes are what the first explorer’s saw our Chiefs wearing. They described these robes as being mostly white, with black and yellow decorated with geometric design patterns.&quot;</font>")
dataVE[4] = new data("images/collaboration/ve04_l.jpg","<font>Tiffany, one of Evelyn’s three children, wearing the Raven’s Tail bordered robe.<br><br>&quot;My first major project was a button robe with a Raven’s Tail border. There is a Chilkat bordered robe at the University of Pennsylvania that inspired this weaving.&quot;</font>")
dataVE[5] = new data("images/collaboration/ve05_l.jpg","<font>detail of the central design element in Ms. Vanderhoop’s full sized Chilkat robe.<br><br>&quot;Chilkat was the next challenge for me. I wanted to learn the techniques that would create the curves and circles of the Northwest coast formline art. I also enjoyed the use of the different colors, black, white, moss yellow and a blue-green. The traditional dyes for these colors were wolf moss to create the yellow, copper oxide to create the blue-green, and alder and hemlock dyes were used for the black. I started my first robe in February 1998, and finished it in December 1999.&quot;</font>")
dataVE[6] = new data("images/collaboration/ve06_l.jpg","<font>Ms. Vanderhoop’s full sized Chilkat robe.<br><br>&quot;This robe took me almost two years to weave. It was presented and danced for the first time at a feast that honored its completion.&quot;</font>")
dataVE[7] = new data("images/collaboration/ve07_l.jpg","<font>&quot;I’m teaching my daughter, Carrie Anne Vanderhoop (pictured, left). She surprises me with how quickly she is learning. It is as if I am reminding her of something she has done in the past. In this picture she is wearing a bear’s ears style Chilkat headdress that she wove. She was inspired to replicate a drawing she saw in Cheryl Samuel’s book, The Dancing Blanket.&quot;</font>")
dataVE[8] = new data("images/collaboration/ve08_l.jpg","<font>Ms. Vanderhoop, in the GGHC galleries, examines an early print of Robert Davidson’s (Haida), from the Creation’s Journey exhibition.<br>photo: John Dwight<br><br>&quot;For my community project I will show images at the University of Washington’s Burke Museum of the Chilkat objects I studied here in New York. I found robes in the New York and Washington D.C. museums made by the same weavers whose robes are also found in museums on the West Coast. To identify an individual weaver’s work in different museums is one of my goals.<br><br>I would also like to go to the museum at Haida Gwaii and present these images to the community there. Many beautiful robes were collected from the Islands. Through my research I have discovered evidence of a strong textile weaving connection between the Tlingit, Tsimshian, and Haida cultures.&quot;</font>")

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