Indigenous Design in The Sleeping Beauty

By Kariel Galbraith – Tlingit, Dakl’aweidi Clan

Stepping outside of his usual medium of glass, Preston Singletary, Tlingit tribal member, brings his cultural knowledge and artistry to the set creation for this performance. Singletary, born and raised in Seattle, is of the Kaagwaantaan Clan from Kóok Hít (the Box House) of Sitka, AK. Indigenous cultures of this region have been here since time immemorial. This production of The Sleeping Beauty has been imbued with cultural and aesthetic elements of Indigenous Northwest Coastal cultures to offer this same sense of timelessness.

To embed Indigenous cultural design and teachings from the Northwest coast, Singletary has invited Northwest Coastal formline—a design system with strict rules about shape, proportion, scale, and negative space—on stage in The Sleeping Beauty. Though Tlingit design elements can be seen throughout the performance, the production team does not seek to overbear the original tale of The Sleeping Beauty, nor transport its audience to Southeast Alaska. These elements are an invitation to reflect on the commonalities we find in our stories across the world.

Preston Singletary working on set elements for The Sleeping Beauty, photo © Lindsay Thomas.

Tlingit cultural hero, Yeíl or “Raven,” was an important inclusion for Singletary in this performance. Yeíl is a trickster figure, but he also played a crucial role in preparing the world for Tlingit people. He brought them the moon, stars, and sun. Each celestial body was once trapped in bentwood boxes, similar to what you will see on stage. Bentwood boxes are multipurpose boxes that are culturally significant to Tlingit people. Made of cedar planks that have been scored, steamed, and bent, these boxes commonly hold at.óow—sacred clan objects. The boxes of this particular Yeíl story belonged to a wealthy nobleman. Through trickery and disguise, Yeíl opened each box, revealing the light of day and showing people the world in a way they had not seen before.

Early versions of The Sleeping Beauty bentwood boxes.

Yeíl also represents one of the two moieties for Tlingit people. As a matrilineal society, Tlingit people trace their heritage through their mother’s side. These ideas of moiety, clan, and house as represented in Singletary’s introduction are ways in which Tlingit society is divided. Each category tells important stories of who one is connected to, and how. Moieties help regulate marriages while perpetuating cultural balance. Balance is key in Tlingit society. It is a core tenet of Tlingit design, as can be seen in formline through the vertical symmetry of front-facing pieces, or careful distribution of line weight in pieces with a profile perspective. In most regions of Southeast Alaska, Tlingit people will either be Ch’áak’ (Eagle) or Yeíl (Raven) moiety. Ceremonially, these moieties are crucial: for example, if someone of the Yeíl moiety passes away, it is the responsibility of their opposites—people of the Ch’áak’ moiety—to care for them in their time of grief, and vice versa.

During the planning of this performance, Singletary noticed the traits of Yeíl in Carabosse. Like Yeíl, Carabosse will drive conflict. She will also bring gifts, given in illuminated bentwood boxes. When considering Carabosse as a Yeíl-like character, Singletary offers that these gifts represent the traits that make a good person, according to Indigenous teachings of the Sweat Lodge: Patience, Endurance, Courage, and Alertness. This production of The Sleeping Beauty has also returned to the origins of Carabosse, viewing her as a godmother who was not invited to Aurora’s Christening rather than the embodiment of evil as she may be understood in other renditions. In this arrangement, breaking taboo by excluding a family member is what presents consequences for Aurora and her family. Taboo, li-gaas in the Tlingit language, and the breaking of it is a common theme in Tlingit storytelling. It is a strategy used across cultures to share important knowledge with our younger generations on how to be a good person. Carabosse, like Yeíl, is a core driver of conflict as well as resolution, which is why she has been cloaked in black feathers and adorned in a raven mask.

Other characters on stage also have Tlingit aesthetics incorporated into their costumes. Working with Paul Tazewell, Singletary provided guidance on the abstraction of formline elements within the outfits seen on stage. The fanciful interpretation of formline by Tazewell with Singletary’s feedback has created a look that complements the fantasy of the work, while having a clear Indigenous Northwest Coastal influence. Original and formline-inspired designs cover dresses and cloaks, while the fringes and trims of belts and vests of villagers mimic the movement of woven Tlingit regalia. Subtle elements on the Queen’s gowns include black edges with white circles, similar to the trim on Button Blankets, a form of Tlingit regalia made of wool blankets with contrasting trim, outlined in mother-of-pearl buttons.

Dylan Wald as Carabosse. Amanda Morgan & Dammiel Cruz-Garrido as Queen and King Papillon. Photography © Angela Sterling.

Though Yeíl is a crucial component to Tlingit culture and the shaping of Tlingit worldview, Ch’áak’ adds a crucial balance. Represented through the eagle staircase you view on stage, Singletary has inserted a piece of himself—his moiety—on stage to share with viewers. This staircase is comprised of a golden-colored eagle, perched on stage with wings spread to both encase and showcase the dancers. For many Indigenous people across North America, including Tlingit peoples, eagles can be symbols of good luck, determination, and courage. With this cross-cultural recognition of the sacred symbolism of these animals, eagles are not just viewed as important cultural species but represent a unifying element of people from all tribes. The distribution of weight across the eagle’s stance and the subtle formline placed on various feathers create a centerpiece which complements the energy radiating from other set elements and each thoughtfully designed costume. Carabosse’s intensity is balanced by the Eagle’s radiance, neither trait seeking to be demonized or glorified, but instead existing harmoniously on stage, and foreshadowing clarity and hope for the works’ conclusion.

Eagle set design for The Sleeping Beauty, photo © Lindsay Thomas.

Through careful and considerate representation of the Indigenous Northwest Coast, this production seeks to honor the ever-changing and modern nature of Indigenous peoples of this region and beyond. As we invite cultural art forms, teachings, and histories to this stage, we can root our performance in place and pay respect to the intertwined nature of our communities

Kariel Galbraith (Tlingit, Dakl’aweidi clan) is a writer and fiber artist from Sitka, Alaska. She lives, works, and weaves stories on Coast Salish territory in Seattle, Washington.