DOCUMENT RESUME

ED 282 706 RC 016 278

AUTHOR Bennett, Ruth, Ed.; Shaw, Carolyn RislingTITLE Basketmaking among the Karuk.INSTITUTION California State Univ.-Humboldt, Arcata. Center for

Community Development.SPONS AGENCY Office of Bilingual Education and Minority Languages

Affairs (ED), Washin, )n, DC.PUB DATE 84NOTE 52p.; For related documents, see RC 016 276-282.PUB TYPE Guides Classroom Use - Materials (For Learner)

(051)

EMS PRICE MF01/PC03 Plus Postage.DESCRIPTORS Adult Education; *American Indian Culture; American

Indian Education; *American Indian Languages;American Indians; American Indian Studies; CulturalAwareness; *Cultural Background; *Design Crafts;Elementary Secondary Education; Handicrafts; *NativeLanguage Instruction; Plant Identification

IDENTIFIERS *Basketweaving; California; Cultural Literacy;*Karuk; Karuk (Tribe); UNIFON Alphabet

ABSTRACTA description of basket weaving techniques and

materials used by the Karuk Indians of northwestern Californiaincludes illustrations and Karuk language terms so that the bookletmay be used to enrich Karuk bilingual classes as well as to interestknowledgeable basketweavers. A section on materials discussesidentifying, gathering, and preparing willow and hazel sticks; sugarpine, pine, and willow roots; bear grass; woodwardia and maidenhairferns; porcupine quills; and alder hark and moss for dyes.Illustrations of and Karuk words for materials and preparationprocesses supplement the text. A section on basket types describesbaby baskets, burden baskets, sifting baskets, eel basket traps,acorn pounding baskets, storage baskets, acorn sifting baskets,cooking baskets, acorn soup bowls, decorated baskets, tobaccopouches, and basket hats. Illustrations of each basket type, Karukterms, particular characteristics of each basket, and its use inKaruk society accompany each description. A final section providesstep-by-step instructions for starting a basket including soaking,body positioning, frame of mind, start a basket with open and closedweave twining, adding sticks, and color overlay designs. Each step isclearly illustrated. A Karuk Unifon alphabet and an Indian Unifonalphabet are provided. (LEL)

***********************************************************************Reproductions supplied by EDRS are the best that can be made

from the original document.***********************************************************************

BasketrnakingAmong the Karuk

1819.?0

JUN 1987

RECLIVE-RIC/CRESS

I NI [(161\1"PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)."

11

Bilingual Emphasis ProgramCenter for Community Development

Humboldt State UniversityArcata, CA 95521

U.S. DEPARTMENT OF EDUCATIONOffice of Educational Reserch and Improvement

EDUCATIONAL RESOURCES INFORMATIONCENTER (ERICA

This document has been reproduced asIteceived from the Person or organizationriginating

viinor changes have been made to improvereproduction quality

Points of view or opinions stated in thisdocu-ment do riot necessarily represent officialOERI position or policy

Acknowledgements

Text and Illustrations

Resource People

General Editor

Lettering, Layout, and Typing

Carolyn Risling Shaw, Karuk

Shan Davis, Jr., KarukGladys Guy, KarukLeaf Hillman, KarukGrace Davis, KarukFrank Cook, Karuk

Dr. Ruth Bennett, Shawnee

Patricia Grantham

The Bilingual Emphasis Program, Humboldt State University, is an OBEMLA Title VIIProgram.

1984

NATIVE LANGUAGE GOALS

COMMUNICATION

Communicate in a second language:

-Comprehend the spoken language-Speak the language comprehensibly- Comprehend the written language- Write the language comprehensibly

CULTURAL FUNCTIONING

Function in the culture in which the languageis used:

-Be aware of the attitudes, values, customs,traditions, and taboos of the culture

- Interpret.: and use body language and othertypes of nonverbal communication

- Use language signals appropriately in avariety of social contexts

APPRECIATION OF LANGUAGE, CULTURE, AND VALUES

Appreciate the similarities and diversitiesamong languages, cultures, and value systemswithin the United States and throughoutthe world:

-Compare cultural patterns from native andforeign cultures

- Become familiar with the environments inwhich cultural groups have developed

This Basket Book can be used by the teacher to meetthe above goals through class discussion.

Table of Contents

I. Introduction 1

II. Karuk Alphabet 4

Basket Materials 7

IV. Basket Types 24

V. Starting a Basket 37

VI. Bibliography 45

tin

Introduction

Basket weaving techniques and mRterials are discussed in

this volume, which is intended to 1,0erest knowledgeable

basketweavers and Karuk teachers and students, as well as to

acquaint other students within the Karuk community with one

of the finest arts of the Northwest California American Indian.

Karuk language terms are included so that the book may be used

to enrich Karuk bilingual classes.

What are Karuk bilingual classes?

The Bilingual Education Program of the Center for Community

Development at Humboldt State University, through Title VII of

the ESEA Act (administered by the U. S. Office of Bilingual

Education), is the only university program in the state of

California which offers an elementary teaching credential with

an emphasis on Hupa, Yurok, Karuk, or Tolowa language and culture.

The project carries on several coordinated activities, including

teacher training, curriculum development, continuing education in

Indian communities, and innovation in higher educat-on.

The project is now in its sixth year of funding as a

bilingual teacher training program. Twelve university students

are currently training to receive teaching credentials, and

there are eight fluent bilingual teachers offering classes

ranging from first grade through university levels.

-.2- 7

The primary objective of the Bilingual Education Program

is to promote bilingual/bicultural literacy among Northern

California native peoples. The bilingual community teachers

work with university staff in analyzing key concepts in their

languages; the Program staff then prepares instructional

materials that develop bilingual literacy in a way compatible

wita ideas of tribal elders from the four tribes.

This book is authentic information gathered from and

compiled by Karuk people, and represents the high quality

of production that can be accomplished by cooperation between

the Indian community and the University.

Karuk Alphabet

Li

SINGLE SOUND ALPHABET

NOTE: The Karuk "R" is pronounced

by tapping the tip of the

tongue to the roof of the

mouth,

The "0" may be nasalized:

The sound "A" (as in apple)

occurs rarely in Karui.

YL-RI-PUX-W0 MOC-MOC D+-511 KUC-DIIP F+B-OI XOC-KOM-HUR ,Ff-ROP N,-COR-ROK

(girl) (cow) (dog) (porcupine) (foot)

g-RO UP-MON

(eel) (mouth)

T-IIV Pile

)+N-WIM COP VI-RO-COR

(skunk) (steelhead) (bear)

(bow) (five) (otter)

POF-F+) OR-RI-PI +5-K6S

(deer) (dip net) (river)

YIO-U +P-FO-NI TUC.VON UX-WO

1.0 (earl (four) (one) (hair) (cooking paddle) (head) (eye) (two)

OBE FCCA

YOP U-XUK

ate

14

fast pat

23 a 4

lot3r

thirst there

12

5

all

hatso

24

old31.

bow

16

bit

Z6

SINGLE-SOUND ALPHABET

6

lielqay chair

ir I a

bite slaw

27 2/1

dip

19

ki$5

Z9

10

hen

lo

low

30

look out ba tyl36 37 38 3 9

due you, vest tig

T 1.

he

zr

music

her

tz

no

32.

sure labli

it 2

azure les zebri

13 I lit ettATHE CENTER FOR COMMUNITY DEVELOPMENT

WHO. IN %LEA 14.°Hurn:::It State UrtiversitY

111 A SW, 1.1041455P 1111. SI ill II III. Ith P

Basket Materials

III. Materials

When gathering materials, the gatherer should always

give thanks for these materials and not take more

than is needed.

A. Sticks (u-HOP)

The sticks are the foundation or warp of the basket.

Willow

PCSR- RUK(fig. 1)

-8--

15

1. Willow (P6R.-RuK)

Willow shoots are gathered in April or August.

New shoots of the grey willow are cut before the buds

are open. They grow along the rivers and streams.

The bark is stripped off before it dries out. Sticks

are then sorted according to width and length, and

stored in bundles.

Willow shoots

(fig. 2)1 6

-9-

2. Hazel

Hazel sticks are cut in April or May. The

patch is burned after it is cut so the next year's

growth will be strong, uniform, and straight. The

sticks are peeled after they are cut, then sorted

and stored.

,g. 3)

B. Roots

Roots are used for the wef

1, Sugar Pine (6C-C+P)

t of the weaving.

The root may be dug up any time of the year,

in a moist soft area, where there are no rocks.

Care should be taken to not overdig an area and to

not take more than can be used in a year.

Sugar pine roots are first soaked or boiled

to soften the bark for scraping, They are then

split into smaller sections for storage. Later

roots are soaked again and then scraped, with a

mussel shell or knife (fig. 5), to break them down

for splitting.

1 9

-12-

They are split evenly to the desired width,

then coiled, sorted, and tied for storage.

The roots are very durable and expand when

wet, and are therefore good for baskets used for

holding water.

(fig. 6)

-13.-

20

2, River roots (Willow roots, +S-30-D+P )

Willow roots are pulled up in the spring,

when the river has risen and then receded rapidly

so that the banks are cut away to expose the roots.

While still damp, the roots are easily stripped of

bark and can be used as is, or split at once. The

roots are sorted and coiled according to width, and

used once they are dry.

(fig. 7)

River roots1.,:11,-......, ..,-4-...

C. Bear Grass (PUN-Y6.-ROR)

Bear grass is used for the white color overlay in

the weft. Bear grass is picked in the spring and summer

in high meadows, in areas that have been burnt off the

previous year. The burning causes the new shoots in the

center of the clump of grass to stick together at the

tips. This makes gathering easy.

The grass must be laid out in the sun for several

days and turned often to bleach the grass to a white color.

The grass is then sorted into bundles and tied (fig. 10).

Bear grass

D. Ferns

1. Woodwardia (TI1P-TIP)

Woodwardia fern is used for red overlay designs.

This large fern is found in moist, shady, wooded

areas. The best time to pick the fern is in the fall

or winter. The fern is picked at the base and

stripped of leaves. The stem is pounded flat with a

rock (fig. 12), then twisted in order to take out

the two inner strands (fig. 13). These strands are

then dyed with alder bark to give them a reddish

color. The strands are then dried and coiled for

storage.

Woodwardia fern

(fig. 11)

ss.

23 TIiP-T1P-16-

-17 - 24

2. Maidenhair (q1C-RitiT-T6P-KIR)

Maidenhair fern is used for the black overlay

designs. This fern grows in areas near water or in

foggy, damp areas under conifer trees.

Maidenhair

(fig. 14)

All the leaves are stripped from the dark stem

of the fern. The stems may be stored in this manner

or split when fresh. The stems are very brittle and

should be well soaked before preparation. A split

stick is used to draw the stem through to flatten

and split it. When splitting, the dark and lighter

side of the stem are separated. Your fingernail is

used to finish splitting the two sides and to scrape

out the inside. Only the dark side of the stem is

saved for use, and only the main stem.

2 6-19-

E. Porcupine Quills

Porcupine quills are dyed yellow with moss (tree

lichen) and used for overlay design. Because they are

hard to work with, they are used less often than the

other design materi. The entire, whole quills are

woven with the weft into the basket design.

Porcupine quills

Moss (tree lichen)

2 7

-20-

F. ayt.s_

1. Alder Bark (A-PDX)

Alder bark is used to dye the Woodwardia fern

a reddish brown color. Some of the bark is cut and

peeled off the tree, but never enough to harm the

tree. The outer bark is discarded, and the inner

bark is smashed and put in warm or cool water. The

Woodwardia fern is soaked in the bark-water mixture

and let cool, or soaked for a day until the right

color is reached. The fern is removed from the dye

and let dry (fig. 17),

28-21-

Alder

29-22-

2. Tree lichen (0-00X-x64)

The lichen (moss) is used to dye porcupine

quills. It is added to water which is then heated

to boiling. The quills are then put in and left in

the dye until a nice bright yellow color is reached.

Moss (tree lichen)

(fig. 19)

-23-

o-cox-x6-1

3 0

Basket Types

6. 1--

IV. Basket Types

A. Baby Basket (OLIX-TUY)

This type of basket is still used today by many

Karuk mothers. Its shape and comfort make the baby feel

secure, as in the cradle of its mother's arms. The girls'

basket has a wider bottom, while the boys' has a narrower

one. A new and larger basket is made as the child outgrows

the old one.

The baby basket is usually made with strong, thick

hazel sticks for the warp, and smaller or split hazel

sticks for the weft. Roots are not strong enough for use

in this type of basket.

B. Burden Basket (LIT-T+m-Nuv)

This is an open-weaved, conical shaped basket about

three feet high. It is carried on the back, with a

leather strap around the forehead.

This open twined burden basket was used for carrying

acorns or seeds.

Burden basket

(flg.21)

33-26-

C. Sifting/Serving Basket (OR-ROR-RA-IM-V6R-RUM)

This type of flat, open-weave basket (1 to 2 feet

in diameter) is used for sifting and sorting berries.

A flat, open twined basket tray is also used for serving

fish or other food.

Sifting basket

If

t\\ loot'*4411iIlitotrit,

.14 .4444\; oliply-\\,\ 0,\\,\Iiiik,,/,, #.7

A

(fig.22)

3 4-27--

OR- ROR- RI 11- VCFR:- RU

D. Eel Basket Trap

This type of basket is used for a trap in the river

to catch eels. It was made by men from unpeeled sticks.

Once the eel gets in through the small, conical opening,

it can't escape until the lid is undone.

Eel basket trap

(fig. 23)

E. Acorn Pounding Basket (+K-ROM-NUV)

This closed weave basket is made of closely twined

roots on e sturdy stick base. The bottom is cut out to

fit over a grinding rock. It keeps the meal from scattering

when pounding the acorns with a pestle, Bear grass is

used for simple designs around the outside.

Acorn pounding basket

F. Storage gasket (C4-N0K-MUIYON-NUR)

These large baskets with small openings are decorated

withh, simple bear grass designs. The designs are created

by leaving the weft, or root, exposed.

Storage basket

(fig. 25)

C4-4P-NOK-M6-YON-NUR

3 7-30-

G. Acorn Sifting Basket (eUN-16P-RUV)

A large tray is often used for sifting acorns. It

is faced with grass and exposed roots to create the designs.

A smaller, more closely woven tray was used to catch the

fine acorn meal.

A finely woven, more elaborate tray was used for

gambling.

Acorn sifting basket

(fig. 26)

Vii) IIW, .111ha vitx_aNfaViiipillgii%;''

4 \\ --1r. WI

'.. ,Z.-/--"St Zli

H. Cooking Basket (00R-R6M-POK-ROV)

This type of basket is shaped like a large bowl with

fairly straight sides. Simple designs in grass were used

on the upper portion. The basket is water tight.

Cooking basket

(1.7).27)

eoK-RUri-PoRoy

1. Acou -) Bowl (PuT-TU-Rov)

This basket is made like a cocl-,ing basket but much

smaller in size.

Soup bowl

lUll

4# 4'4' e ,e 1/ .41 // /147 1/1141t1,111

11:111::11CI11119111.

(fig. 28)

4 0-33-

P6T-TU-KCN

J. Decorated Basket

This basket can be any size. It is entirely decorated

with red, white, black, or yellow designs. It is bowl-

shaped with the rim turning slightly in. This basket can

be used around the house or given as a gift.

Decorated basket

-

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41

-34-

K. Tobacco Pouch (I-HAR-U-Hu-c4P-NOK)

This is a mmall basket with a lid that is attached to

a small opening. The designs are simple and often created

with grass and exposed root,

'Tobacco basket

I-H6Fk-U-HU-C+P-NO

42-35-

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Starting a Basket

V. Starting a Basket

A, Soaking (P0-e0R)

All materials must be soaked in water before weaving.

This makes them flexible for weaving. The maidenhair

should be soaked at least a day ahead of use. Most other

materials should be soaked for an hour or so before they

are used; if soaked too long, their colors change. The

Woodwardia fern should be dampened and kept damp, not

soaked.

B. Getting Started

Most weaving is done while sitting on a low stool or

on the knees, with materials and water nearby for soaking.

C. Frame of Mind

Frame of mind is important to the work of the weaver.

Good feelings and thoughts help create good baskets.

Creating a basket takes patience, knowledge, and skill.

4 5

-38-

D. Open Weave Twining: Basket Start

Select sticks according to desired width. Start

around the outside with two-strand weaving to make the

"button." Continue around in two-strand weaving, adding

sticks as you go, into the warp and the weft, as needed.

Keep adding sticks until you have almost reached the

desi:-TI diameter. Keep weaving and thd edges will turn

up autzmatically.

4 6

-39-

E. Closed Weave Twining

1. Basket start

Sort sticks and roots according to desired size.

Start basket as shown in figure 33. Make the button

as shown in figure 34. Then add third root (fig. 35).

Go around entire button once with the three weave to

set the sticks.

(fig.33)

4 7

-:40-

2. Adding sticks

Add a stick in each open corner of your basket

on the next time around (fig. 36). Lock in place

with the three weave around again. Chew the end of

the stick where it will be inserted. Now add a stick

every other one. Then lock them into place with the

three weave again (fig. 37).

(fig. 36)

49

-42-

3. Color overlay

The overlay materials are added so that the designs

and color show only on the outside of the basket (fig. 38).

F. Designs

The overlay materials are used to create the designs of

the baskets. These include the beige of the root, white of

the bear grass, black of the maidenhair fern, red of the

alder-dyed Woodwardia, and yellow of the moss-dyed porcupine

quills,

so-43-

The designs are geometric patterns. There are

usually an odd number (3, 5, 7) of designs on the basket.

A beginning weaver must count the sticks to make the

design come out right. A skilled and experienced weaver

can do it by sight.

Different arrangements and variations of the basic

designs are used to create the individual basket. Each

one has a uniqueness of its own.

-44-

BIBLIOGRAPHY

Newman, Sandra Corrie. Indian Basket Weaving. Flagstaff,Arizona: Northland Press, 1974.

Wallace, Kathy. We Still Make Baskets: Basket Making,A Continuing TradItIO7.--JUne, 1980.

52

-45-