.... -----ALASKA STATEMUSEUMS-----.

April 1995 Reprint of Technical Paper Number 3

NOTE: The author is not well enough acquainted with the spruce root basketry of the Tsimshian and the Pacific Eskimo to include them in thisglossary. It is felt that theirwork is similar and should be included after further research. P.L.C.

A PROPOSEDGLOSSARYOF SPRUCEROOTBASKETRYTERMSBy Peter L. Corey

Curator of CollectionsSheldon Jackson MuseumITI he following is a proposed

glossary of terms for Tlingitand Haida spruce root

basketry. It has been compiledand designed to be technologicallyspecific to the twined basketry ofthe Tlingit and Haida who wovethe roots of the Sitka spruce(Picea sitchensis). It is intendedthat the terms presented here willbecome an accepted nomencla-ture to lessen misconceptions andmisused terms for individualsinterested in the technology andits associated craft-art.

This proposednomenclature is notintended to supersedeor replace the complexvocabulary developedby the Native weaversover the centuries ofthe development of thisintricate technology.Rather, it is an attemptto review and unify thebest terms used byEmmons (1903),Gunther (1984),Shotridge (1921) andPaul (1944). Thesewriters on Tlingitspruce root basketry dimension superimposed on thehave used overlapping terminology technical requirements necessarybut there is confusing divergence to produce an item that suits thealso. cultural aesthetics. At all periods of

The totality of the terms pro- northern Northwest Coast spruceposed here describe a craft root basketry production, theredeveloped by Tlingit and Haida have been weavers who tookbasket weavers to answer some of creations beyond the craft stagethe utilitarian needs of their cultures. and produced works of art.In the past, probably every woman The adaptations in the Tlingitwas a weaver, with some more and Haida cultures caused byskilled than others, but all capable of the rapid influx of Euro-Americanproducing the basketry items cultures had a great effect onneeded in daily life. spruce root basketry. By the

The efficiency of a basket is last quarter of the 19th century,not enhanced by decorating its weavers increasingly began tosurfaces, but the creative spirit produce basketry items for con-exerts itself to produce decorative sumers outside of the traditionalmethods and motifs acceptable to trade routes. The sale of thesethe culture. This adds an artistic items became a source of income

Tlingit Spruce Root Basket, Alaska State Museum II-B-396

BETWEEN WEAVEfor a number of them. Somebegan to produce pieces foreignto their cultural aesthetics by tryingto guess the aesthetics of thenewcomers. This was a period ofgreat productivity and experimen-tation which had a strong influenceon the craft-art. It is from thisflorescence that most of thesurviving Tlingit and Haida spruceroot baskets come.

The author is proposing thefollowing glossary of terms as thebasis for a unified terminology forthe technology. At this point, it isintended to cover those termsnecessary to describe the physicalstructure of a Tlingit or Haidamade spruce root basket. Thisdoes not include the standardiza-tion of design element names orbasketry forms by function. It isfelt that these are separate issuesand should be dealt with at an-other time.

It is the intent of the AlaskaState Museums to print one issue,annually, of "Concepts" devoted tosome aspect of Tlingit and Haidaspruce root basketry. The ultimategoal would be to collect thesevarious monographs and printthem under one cover in bookform.

The author would encourageany constructive communication toimprove this terminology. After areasonable time for distribution,consumption and communication,another glossary will be releasedin a refined form if necessary.

Peter L. CoreyCurator of CollectionsSheldon Jackson Museum104 College Drive, Sitka, Alaska99835or

Peter L. Corey603 Etolin StreetSitka, Alaska 99835

NOMENCLATUREASCENDERThe vertical design element(s)which extend between the finaldesign band and the rim.Usually* used in 2 or 4 columnsin conjunction with the samenumber of descenders. Thesemay be a diagnostic determinantof age.see: descenderEmmons-vertical designGunther-head piece

BANDEDA general descriptive term (for thegreater majority of Tlingit andHaida spruce root baskets) refer-ring to the parallel series of hori-zontal bands of decoration.see: design band, dyed weft back-ground, narrow-wide-narrow, wide-narrow-wideEmmons-encircling bands

BASEThe bottom of a walled basket withwarp spokes radiating out from thestart to the turn; usually circularbut can be oval. Whether theworking surface of the base is onthe inside or the outside of abasket may prove to be a diagnos-tic determinant of age and/or tribalorigin.see: working surface, start, turnEmmons-bottom, baseGunther-basePaul-bottom

* In this glossary the words usual, usually,common or commonly are used with theunderstanding that there are exceptions.

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Alternating rounds of twining withrounds of single weft passing overand under alternate warp [wicker-work]. This may be a diagnosticdeterminant of age and origin of abasket. False embroidery cannotbe done on this surface.Emmons-weave 2Paul-weave 2

BORDERRound or rounds outlining designbands; can be in various forms,e.g., "strawberry" weave, threestrand twining, dyed weft or falseembroidery.Gunther-to close off

BOTTOMsee: base

CARDBOARDTEMPLATE/LINERCardboard circles are often foundsewn onto the base of baskets,either on the inside or outside.Spruce root basket weavers havegiven two explanations: to keepthe bottom flat and clean (whenfound on the outside) or as apattern or guide to know when toturn (when found on the inside).

CONSTRUCTIONThe weave or combination ofweaves of which a textile (basket)is composed.

DESIGNFIELD

WALL

CYLINDRICAL FORMWIDE· NARROW· WIDE

DESIGN ELEMENT

either to the right or left, andcrossing each other in regularseries. The angled warps areentwined by the weft strands justabove the point of crossing.

synonym: eye hole weavesee: open twiningEmmons-weave 4, crossed-warpPaul-weave 4, "eye-holes"

ASCENDER

DESIGNBAND

DESIGNBAND

DESIGNBAND

DESCENDER

CYLINDRICALA form of relatively consistentdiameter from the turn to the rim.see: flaringGunther-cylindrical

DECORATIONAny of various methods ofornamentation which includestructural decoration integratedat the time of construction, e.g.,false embroidery, weft variations(strawberry weave, "outside ofthe cockle clam"), three strandtwining, twill twining, feathers andpost-structural decoration addedafter the construction is com-pleted, e.g., painting, addition ofshells and/or beads and someforms of handles.

COVER

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The basketry covering that spansthe mouth of a basket and haswalls which overlap the rim. Thistype of mouth closure appears inthe majority of Tlingit and.Haidabaskets.see: lid, rattle chamberEmmons-coverGunther-cover

CROSS WARP TWININGAlternating warp elements aredrawn at an angle from theirnormal vertical orientation, slanting

DYED WEFT BACKGROUNDA band of dyed weft to serve as acolor background for false embroi-dery design elements; can beused as a border for designbands. Upon more research dyedweft background may serve as adiagnostic factor for age determi-nation.see: border

DESIGN BAND Emmons-narrow colored bands,Horizontal band around the wall of colored-root field The semi-circular (sometimes freea basket or on the horizontal swinging) handle which spans thesurface of a cover or lid. It may be FALSE EMBROIDERY mouth of the basket as in a pail,solid in color as with the Haida or kettle, etc., usually of

contain repeated design elements~~~~~;~~~i~1k'~i:~~§?~~ plaited spruce root sewnas with the Tlingit.: "v to the wall of the basket;see: narrow-wide-narrow, wide- post-structural. Mostly found onnarrow-wide, banded baskets made for non-Native use,Emmons-zone, encircling bands, the major exception being theornamental band saltwater drinking cup or basket.Gunther-band of design, design area Emmons-single handle

A decorative technique in twinedbasketry whereby a supplementalweft element, usually preparedgrass or maidenhair fern stems, iswrapped over the weft strand as itpasses over the warp element onthe outside surface of the basket.It never passes to the inside andcannot be seen on the interior ofthe basket. The slant of the falseembroidery strand is opposite thatof the basic twining. Despite itsname, it is a structural technique,that is, it occurs during construc-tion.

DESCENDERThe vertical design element(s)which drop below the bottom edgeof the lowest design band towardthe base; often used in conjunc-tion with ascenders usually in twoor four columns. This may be adiagnostic determinant of age.see: ascenderEmmons-vertical lines of designconventionalized pictures"

.Gunther-dropper

DESIGN ALIGNMENTThe design element in an outerdesign band is aligned vericallyover or under its correspondingdesign element in the other outerdesign band. The indications arethat this is more of a personalaesthetic than group aestheticsand may be more prevalent fortourist pieces, possibly reflectingoutside taste.

DESIGN ELEMENTA single unit of a design whichmayor may not be repeatedserially or alternately, in a bandhorizontally or, infrequently,vertically on the wall of a basket.see: ascender, descender designbandEmmons-motives, design, patternPaul-pattern designGunther-running design, unit design,simple unit

DESIGN FIELDThe total area of the wall or coverof a basket which is decorated.

On most baskets this refers to abroad area on the wall, the majorpart of which falls above thehorizontal median axis. Thedecorated area of a basket,primarily the wall.see: wall, horizontal median axisEmmons-decorative field

DROPPERsee:descender

EDGEsee: rim

see: twining, stitch slantEmmons-embroidery, overlaying withthreads

FLARINGThe basket wall flares gradually,but markedly, outward from theturn giving an increasing diam-eter.see: cylindrical

HANDLEThat portion of the basket de-signed to be grasped by the handor used for suspension.

Bail Handle

Knob Handle

The projection from the top sur-face of the lid or cover can belarge and flat or small and button-like; below the plane of the coversurface, even with it, or above it;

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the twining until the desired coverdiameter is reached.synonym: rattle lid, rattle top ortreasure basketsee: knob handle

may be chambered and containnoise-making elements, orunchambered (not having a base).Usually* the top surface, therondel, is decorated. Knobhandles are structural elements.see: rattle chamber, rondel

Loop Handle------

Length, usually short, of plaitedspruce root sewn onto the lid orcover; sometimes on the wall;post-structural; found mostly onbaskets made for non-Tlingit use.

Tab Handle

Handle added to the wall of thebasket (either inside or, morecommonly, outside) after construc-tion. The older style is of leatherthong sewn on or woven back intothe wall. The later style is of clothsewn to the wall. Common styleof handle on berry baskets.Emmons-loop-like handles, loophandles

HORIZONTAL MEDIAN AXIS

[An imaginary line which dividesthe wall of a basket into twohorizontally equal parts.

JOGsee: termination

LID

A covering which spans the mouthof a basket and has a flange whichfits down into it. This is a muchless common type than the cover.see: cover

NARROW-WIDE-NARROWDesign field composed of threebands wherein the first and third(two outer bands) are narrowerthan the center or medial band.see: wide-narrow-wide, design field,banded.

OPEN TWINING

Twined technique with regulatedspaces left between the rounds ofweft and exposing the warp ele-ments.see: twining, diagonal twiningEmmons-weave 1Paul-weave 1, variation

RATTLE CHAMBERThe chamber on the cover of awoman's work basket whichcontains material to make a rat-tling sound when shaken. Thechamber is produced in two parts;the upper or rondel portion, twinedwith low sides and a regularbasket start, or base, are joinedwhen of equal diameter by over-lapping the warp and continuing

RIMThe physical edge of the basketwall which mayor may not have aspecial twined finish. This can besimply produced from the warpand weft elements already presentin the wall or it can be a compositefinish with elements added tothose already present. The rimtreatment is a diagnostic featureand should be noted.Emmons-rim, edgeGunther-topPaul-rim, edge

RIM DESIGN BANDThe solid or broken rounds ofdecoration, immediately adjacentto the rim. On hats, this would beabove the rim. On Tlingit baskets,this seems to be an older traitcharacterized by one to severalrounds of false embroidery usuallyin one color without design factors.On Haida baskets, this would referto the design band often consist-ing of many rounds of twill twiningor three strand twining.

RINGThe doughnut-shaped basketryappendages appearing above thecrown on Tlingit and Haida head-gear of high rank. They areusually woven in one piece withthe constricted joining area hiddenby the walls of the doughnut.They can be a structural part of aspruce root hat or added as theyare on wooden hats. They weretwined around a wooden form.The presence of the form shouldbe noted. Three strand twining isthe usual technique used toconstruct the walls.

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TURNThe point at which the warp turnsfrom the base and becomes thewall; the change of warp direction(orientation) from horizontal tovertical. This also corresponds tothe change of warp on the coverfrom top to the wall overlap. InTlingit and Haida spruce rootbasketry this is usually* delineatedand reinforced by a round of threestrand twining.see: three strand twining, wallEmmons-periphery of the bottom

synonym: sgil.Emmons-khuke, cylindrical ornamentsPaul-cylinders cylindrical disks, jointedtop, kookh (k'oo?5;'- Dauenhauer inPaul, 1981)

RON DELThe slightly concave to domedsurface of the chamber of theknob handle.see: knob handle

ROUNDA single complete circuit of thebasket in any weave; alwayshorizontal to the base.synonym: line, row, passEmmons-single line

SIDEsee: wall

SPLICEThe insertion and securing of anew warp element or weft strandduring the twining construction.This is done on the non-workingsurface and is a diagnostic featurewhich should be noted.synonym: bind, piecing in, adding, tie,let insee: working surface, warp, weftPaul-let in, add, enter

STARTThe starting point or initial placingof the warp elements and weftstrands in a twined basket. Startsare standardized and are diagnos-tic determinants of tribe and/orindividual weavers and should benoted for research purposes.Emmons-center

STITCH SLANTThe pitch of the weft strandsaround the warp elements intwining. The direction of the slantof the twining stitch can be re-ferred to as "Up-to-the-right" I and"Down-to-the-right" \. This indi-cates the direction of the stitch asone looks at the basket wall.

It is an important tribal diagnosticfeature. The stitch slant is not anindication of right or left handed-ness.

STRAWBERRY WEAVEPlain close twining using twodifferent colors of weft strandwhich appear on the surfacealternately, creating a checkerpattern.Emmons-weave 6, variation of weaveNO.1Paul-variation of weave 1

TERMINATIONThe actual terminus or binding offof the weft strands onto the rim.The jog created is an importanttribal diagnostic feature. Tlingit jog~ or left-over-right (UR). Haidajog ~ or right-over-Ieft (R/L).

THREE STRAND TWINING

A twined construction using threeweft strands. Usually* found at theturn and often found in singlerounds or in bands on the bases ofolder utilitarian baskets. Com-monly used as a rim finish. Some-times used as a design field ordesign band border. Two colorswere sometimes used to producea striped effect. Usually* found onhat crowns and the walls of hatrings. The placement of threestrand twining should be noted forits possible diagnostic utility.see: twining, open twining, twilltwining, turnEmmons-weave 5, braided twiningPaul-weave 5

TWill TWINING

A twined weave producing adiagonal or zigzag pattern ortexture by modifying the rhythm ofthe twining. The two weft strandstwine around pairs of adjacentwarps. By shifting the warp pairs insuccessive rounds a diagonaleffect is produced on the surface.Not commonly worked among theTlingit and Haida as a solid sur-face but used to produce a skippattern producing geometricdesigns noted above. Usuallyused on hat brims. Use of twilltwining on the wall of a basket isdiagnostic of tribal or area originand/or age.synonym: diagonal twining, skipstitch.see: open twining, twining, threestrand twiningEmmons-weave 3, skip-stitch, frog-backGunther-third strand of twiningPaul-weave 3

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/

StainsPermanent discoloration notintended by the maker (*usu-ally distinguished by random-ness of placement).see: residue

TWINING

A major construction type whereflexible horizontal weft strands aretwisted around a set of relativelypassive vertical warps. In plaintwining, the succeeding weftrounds enclose the same warpelements. The weft round may bespaced tightly together as in plaintwining or openly, leaving intervalsas in open twining.synonym: plain twining, simpletwining, close twiningsee: open tWining, twill twining, threestrand twiningEmmons-simple twiningGunther-twiningPaul-weave 1

WALLThe vertical portion of the basketextending from the turn to the rim,the face of which serves as thedesign field.see: turn, rim, design fieldEmmons-walls, sidesGunther-walls, side

IJ

WARPThe relatively passive, usuallyvertical elements in twined bas-ketry enclosed by the active weftstrands. The warp is not directlyvisible in close twining. Warpelements may be single or paired.synonym: weavessee: weft, twiningEmmons-warp-strandsGunther-warpPaul-warp splint

WARP ALIGNMENTThe warp element where the turnis made and where borders, ordesign bands begin and end as

well as where the basket termi-nates; the warp spline wherestructural and decorative featuresbegin and/or end. There is someevidence that this may be either acultural or individual weaver's trait.synonym: master warp, registersee: turn, border, design band,termination

WARP ELEMENTAn individual warp usually derivedfrom the interior portion of thespruce root.see: strand, warp, weftEmmons-strand, splints

WEAR PATTERNSigns of wear or use which help todetermine the function and/orapproximate age of a basket.Careful attention should be paid tothe wear patterns when examiningand cataloging a basket.

SheenThe polish or patina on theexterior of older, well-usedspruce root baskets. This isan enhancement of thenatural weft and grass false-embroidery sheen which isinherent in the materials.

ResiduesParticles of materials found inthe interstices of the fabric ofthe basket, usually on theinterior. While an analysis ofthese residues might help todetermine the basket's use,the history of the piece wouldhelp to determine if the resi-due was evidence fromaboriginal use or from some-thing which came after it leftNative hands.

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WEFTIn twining the paired horizontalstrands which enclose the warpelements by alternately crossingfront to back.synonym: woof, an old term notfavored in contemporary use, weaverssee: warp, twining, stitch slant, threestrand twiningEmmons-woofGunther-woofPaul-weft strand

WEFT STRANDAn individual weft derived from theexterior portion of the spruce root.see: spline, warp, weftEmmons-strand, threads

WIDE-NARROW-WIDEDesign Field composed of threebands wherein the first and third(two outer) bands are wider thanthe center or medial band.see: narrow-wide-narrow, design field,bandedEmmons-broad zone (central band-narrow)

WOOFsee: weft

WORKING SURFACEThe surface which faces theweaver. The warp and weftsplices are made on the oppositeside.

I would like to thank Joanne SegalBrandford for reading this glossary andrecommending changes based on herintimate familiarity with the textile arts.Her advice is greatly appreciated.

BIBLIOGRAPHY

Adovasio, J.M.1977 Basketry Technology: A Guide to Identification and Analysis. Aldine Publishing Co., Chicago.

Baumhoff, MA1957 Introduction to Basketry: A Proposed Classification by Helene Balfet.

Douglas, Frederic H.1935 Basketry Construction Techniques. Denver Art Museum, Department of Indian Art, leaflet 67, Denver.

1935 Basketry Decoration Techniques. Denver Art Museum, Department of Indian Art, leaflet 68, Denver.

Emmons, George T.1903 The Basketry of the Tlingit. Memoirs, Vol. 3, Pt. 2, American Museum of Natural History, New York.

Gunther, Erna1984 Design Units on Tlingit Baskets. Sheldon Jackson Museum, Sitka, Alaska.

Paul, Frances1944 Spruce Root Basketry of the Alaska Tlingit. Bureau of Indian Affairs, Lawrence, Kansas

(Reprinted by the Sheldon Jackson Museum, Sitka, Alaska 1981).

Shotridge, Louis1921 "Tlingit Woman's Root Basket," The Museum Journal, Vol. XII, No.3, September 1921, the University

Museum, University of Pennsylvania, Philadelphia (Reprinted by the Sheldon Jackson Museum, Sitka,Alaska 1984).

Weber, Ronald L.1986 "Emmons' Notes on Field Museum's Collection of Northwest Coast Basketry: Edited with an

Ethnoarcheological Analysis." Fieldiana Anthropology, New Series, No.9, Field Museum of NaturalHistory Publication 1366, Chicago.

Weltfish, Gene1930 "Prehistoric North American Basketry Techniques and Modern Distribution," American Anthropologist,

Vol. 32, NO.3.

The Concepts series publishes information on the preservation of Alaska'smaterial heritage and recent research on the collections of the Alaska State

Museum, Juneau and the Sheldon Jackson Museum, Sitka.

Alaska Sate MuseumsDivision of Libraries, Archivesand Museums395 Whittier StreetJuneau, AK 99801

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