Abenaki Heritage Weekend June 18-19 at Lake Champlain Maritime Museum
Are you looking for a special experience to start the summer? On June 18th and 19th, citizens of the New England Abenaki community will gather at Lake Champlain Maritime Museum to celebrate their history and heritage and they are inviting you and your family to join them!
This free event will be open from 11am to 4 pm both Saturday and Sunday. One of the highlights is the Native Arts Marketplace of the Vermont Abenaki Artists Association, where visitors can talk to artists, watch craft demonstrations, and purchase outstanding beadwork, paintings, jewelry, wampum, woodwork, leatherwork, drums, feather boxes, and other items. “The variety and quality of the work created by our Abenaki artists are outstanding,” says Vera Longtoe Sheehan of the Elnu Abenaki Tribe, Director of the Vermont Abenaki Artists Association (VAAA). “Some of our artists create traditional art and some create contemporary art, often inspired by tradition. If you are looking to purchase a special gift or something new for your collection, be sure to visit the Native Arts Marketplace.”
Throughout the weekend there will be activities to interest everyone. There will be singing and drumming by the Nulhegan Drum — you may even be invited to drum with them. Chief Shirly Hook and Doug Bent of the Koasek tribe will demonstrate bean hole cooking – just imagine how good that food will smell! If you love the outdoors, don’t miss the Animal Tracks display where Doug Bent will help you to identify and recognize tracks of many animals from N’dakinna (our homeland). Families with little ones will enjoy the “Make and Take” area, where children can make a craft to bring home. Children and adults alike should not miss storytelling by Nulhegan Chief Don Stevens and songs for the little ones with Dancing Blue Wolf.
You are invited to watch skilled artists demonstrate the making of Indigenous crafts. Chief Roger Longtoe Sheehan of the Elnu Abenaki Tribe will demonstrate the delicate process of stone carving. Chief Roger will also talk about local Abenaki history. Michael Descoteaux will demonstrate the making of hand drums. You can watch Elnu Abenaki Elder Jim Taylor make wampum beads from whelk and quahog shells, and Linda Longtoe Sheehan weave wampum, an intricate process using the shell beads.
Frederick Wiseman, Ph.D., will present information about American Abenaki Health and Wellness, a topic of particular interest at this time. The American Abenaki have historically been the targets of genocide and systemic racism. This talk provides important insight into the issues faced by Abenaki people today. Vera Longtoe Sheehan will also introduce the Abenaki Covid Storytelling Project, is a community-based arts and storytelling project which is a new initiative in partnership with the Vermont Department of Health.
A special exhibition, Nebizun: Water is Life, will be featured in the Schoolhouse Gallery. Work by Abenaki artists together with photographs and commentaries illustrate the dynamic relationship between the People and water in the Abenaki homeland, past and present. Water is essential for life and Nebizun (or Nebizon) is the Abenaki word for medicine. Meet the curator, Vera Longtoe Sheehan, for a gallery talk and conversation.
About Vermont Abenaki Artists Association (VAAA)
The VAAA mission is to promote awareness of state-recognized Abenaki artists and their art, to provide an organized central place to share creative ideas, and to have a method for the public to find and engage state-recognized Abenaki artists. For more information about VAAA, please visit http://abenakiart.org or follow us on Facebook or Instagram.
About Abenaki Arts & Education Center
The Abenaki Arts and Education Center provides authentic curriculum materials, programs, and other resources about Abenaki culture and history for educators and interested learners. For more information about AAEC, please visithttps://abenaki-edu.org/ or follow us on Facebook.
About Lake Champlain Maritime Museum
Lake Champlain Maritime Museum is an all-year hub for maritime education that uses the discovery and stewardship of Lake Champlain’s underwater cultural heritage and environment to inspire life-long learning. LCMM brings Lake Champlain’s storied past to life through replica vessels, active boat building, on-water ecology programs, nautical archaeology, collections and exhibits, and cultural heritage events. From late May through mid-October visitors explore LCMM’s 4-acre campus, antique boats, lake history, shipwreck discoveries, step aboard replica canal schooner Lois McClure at the waterfront, or visit 1776 gunboat replica Philadelphia II “on the hard.” Enjoy hands-on and on-water opportunities. Located at 4472 Basin Harbor Road, 7 scenic miles from Vergennes. Find Museum dates, hours of operation, events and reservations at www.lcmm.org or call 802 475-2022.
June 6, 2022 – We, the four Vermont state recognized Abenaki tribes, stand together in affirmation of our own shared, lived experience here in the Northeast, which is necessarily different from that of our relatives in other places, and which has been acknowledged by the State of Vermont.
The distinct historical and contemporary realities within the southern reaches of Ndakinna, our homelands – under the influence of British and French colonial, Federal, and State governments – have brought us to where we are today. Through common experiences of colonization, marginalization, and displacement, our citizens are now found within what is now called New England and points beyond.
We are appreciative of the public process of change that is underway, to raise awareness, remove imposed divisions, and restore balance in these homelands. We wish to work together for healing and understanding among All of our Relations and all of those who are here now.
We look forward to opportunities for dialogue and collaboration – a responsibility incumbent upon us all – in these increasingly challenging times. Traditional teachings make it clear that we owe this to each other, our children, and to the Earth, our Mother.Signed by the Chiefs of the Four Vermont State Recognized Tribes, on behalf of their Councils and Communities (signatures on file),
Chief Richard Menard, Abenaki Nation of Missisquoi
Co-Chief Shirly Hook, Koasek Traditional Band of the Koas Abenaki Nation
Chief Donald Stevens, Nulhegan Band of the Coosuk Abenaki Nation
Thursday, April 28, 2022 — 4:00 pm EST (75 minutes)
FREE (Registration required)
Zoom link will be sent out to all registrants via email
“Firsting and Lasting: Writing Indians Out of Existence in New England” with Jean M. O’Brien
ABSTRACT: In this talk, Jean O’Brien narrates the argument she makes in her book, Firsting and Lasting, that local histories written in the nineteenth century became a primary means by which Euro-Americans asserted their own modernity while denying it to Indian peoples. Erasing then memorializing Indian peoples also served a more pragmatic colonial goal: refuting Indian claims to land and rights. Drawing on more than six hundred local histories from Massachusetts, Connecticut, and Rhode Island as well as censuses, monuments, and accounts of historical pageants and commemorations, O’Brien explores how these narratives inculcated the myth of Indian extinction, a myth that has stubbornly remained in the American consciousness.
Speaker Bio: Jean M. O’Brien (White Earth Ojibwe) is a Distinguished McKnight University Professor of History at the University of Minnesota. She has authored numerous articles and book chapters about the Woodland American Indian region including but not limited to: Monumental Mobility: The Memory Work of Massasoit (with Lisa Blee, North Carolina, 2019); Firsting and Lasting: Writing Indians Out of Existence in New England (Minnesota, 2010); and Dispossession by Degrees: Indian Land and Identity in Natick, Massachusetts, 1650-1790 (Cambridge and Nebraska, 1997 and 2003).
Jean is a co-founder, co-editor, and Past President of the Native American and Indigenous Studies Association and the association’s journal, Native American and Indigenous Studies. Jean has received numerous fellowships and awards in support of her expertise.in this field
After a year’s hiatus, Abenaki and Indigenous Peoples Day is returning to White River Junction. The celebration, hosted by the Hartford Historical Society, aims to honor Vermont’s earliest known residents who lived in the area well before Vermont, or the United States for that matter, was ever thought of. It will take place on Saturday from 11 a.m. to 5 p.m. at Lyman Point Park in White River Junction. Admission is free.
Among the attendees will be Jeanne Brink, whom Martha Knapp, director of the Hartford Historical Society Museum, described as “a respected elder,” of the Abenaki tribe. Brink also teaches the Abenaki language. “The language is really getting big now that the Abenaki are starting to come out and get recognized,” Knapp said. Brink also teaches basket-making, and three of her students, Emily, Megan and Valerie Boles, will be there with her to demonstrate their skills.
The 4th Annual Pocumtuck Homelands Festival, a celebration of Native American Art, Music, and Culture, takes place on Saturday, August 5 from 10am to 7pm at the Unity Park Waterfront in Turners Falls, MA. The event features live traditional, original and fusion music, Native American crafts, story telling ,drumming, games and activities for kids, primitive skills demonstrations, and an impressive selection of books.
The Mashantucket-Pequot archaeology team will be on site to analyze early contact period artifacts brought to the festival. Festival food will be available, including Native American fare. The Pocumtuck Homelands Festival is free, family friendly, educational, accessible and fun for all ages!
This event is sponsored by The Nolumbeka Project, with support by Turners Falls RuverCulture.
Walk Through Western Abenaki Historywith Melody Walker Brook
From creation to the present day, Brook will touch upon key events in Abenaki history to highlight their unique story in the Northeast.
Introduction to VAAA Educational Resources with Vera and Lina
Explore VAAA educational tools, study guides, activity sheets and possible classroom visits by Abenaki culture bearers. Followed by a sample screening of some of our documentary short that teachers can show their students in their classrooms.
Using the Land, River, Forest, and Animals to Survive withRoger Longtoe Sheehan
When talking about hunting, spirituality, and land use, it’s important to understand how they are all connected. Sheehan will guide us through seasonal lifeways from hunting moose, ice fishing, harvesting materials for survival. There will also be a display of equipment and other items from his private collection.
Alnobak: Wearing Our Heritage Exhibition Tour with Vera Longtoe Sheehan
Teachers will have the opportunity to further their knowledge of the intertwining historical and cultural concepts that they have been learning throughout the day, and to become more familiar with some of the materials available to the Abenaki people. The tour will explore how culture bearers express their identity through wearing regalia that shows their connections to the world, their community and their ancestors.
Coming Home: the Significance of Local Knowledge and Stewardship by Lina Longtoe
Across Native American communities, what is the principle of the Next Seven Generations and how have Abenaki families communicated it to their children? Learn how to connect students to local plant life, then utilize them to create children’s toys and activities.
Gardening and Foodwayswith Liz Charlebois
Liz’s discussion will focus on Northeast indigenous food varieties. She will talk about food sovereignty, growing practices and Three Sisters gardening. She will also discuss her seed keeping efforts.
Every year the Abenaki Heritage Weekend offers opportunities for in promtu activities for the public to interact with the Abenaki community. Lina Longtoe of Askawobi Production captured a couple of these encounters.
Aaron Wood teaches two young people learn how to pound an ash log to produce ash splints for basket making.
VERGENNES, VT., JUNE 9, 2017 – Join the Abenaki community of Vermont and New Hampshire on June 24 and 25 for a family fun, enriched weekend that is deeply rooted in local Native American heritage.
This special weekend, hosted by Lake Champlain Maritime Museum and presented in partnership with the Vermont Abenaki Artists Association, gives visitors an Indigenous perspective on life in the Champlain Valley in the past and present. Indoor and outdoor activities such as drumming, storytelling, craft and cooking demonstrations will be presented by citizens of the Elnu Abenaki Tribe, the Nulhegan Band of the Coosuk and Koasek Traditional Band of the Koas Abenaki Nation.
Come early to take advantage of all of the activities! The event will open with an Abenaki Greeting Song at 10:30am each day. Feel free to bring a picnic lunch or snacks for your family to enjoy as you listen to the afternoon concert by the Nulhegan Abenaki Drum Group while sitting on your picnic blanket or join in a Round Dance. Make and take arts and crafts activities for the kids will include making a glass wampum bracelet or children’s.
The Native Arts Marketplace and exhibit opening celebration provide opportunities to meet some of the artists featured in the special exhibition Alnobak: Wearing Our Heritage. A gallery talk with the curators and artist will provide greater insights as to how Native identity finds expression in different ways with each generation. Additionally, in the presentation The Light Behind Our Eyes – A Perspective on Abenaki Identity, Melody Walker-Brook will explain what it means to be an indigenous person.
Chief Shirly Hook and Doug Bent of the Koasek Traditional Band of the Koas Abenaki Nation will be doing a fire pit cooking demonstration. They will begin digging the fire pit on Friday and the turkey and beans will be cooking all day on Saturday. Chief Hook is an avid gardener who prepares foods that she has grows herself. She will a table set up with photos and seeds from the tribal garden. She will also have her three young apprentices with her.
The three little gardeners Savanah, Greyson, and Cadyn will be selling some of the plants that they have grown with the guidance of Chief Hook. Proceeds of the sales will benefit Koasek youth group and children’s activities at the Abenaki Heritage Weekend.
My Grandfather Was Right: a $50,000 Lesson in Ethnoscience by Lina Longtoe of the Indigenous People’s Alliance of Eckerd College who believes “The answers to achieve a sustainable future may exist in the past and present of Indigenous life.”
You will find the Elnu Abenaki Tribe, near a leantu in the Pine Grove, where they will be presenting an 18th-century encampment similar to what their ancestors might have stayed in while fishing on Lake Champlain. Talk to the Native Interpreters about the history and culture of the Champlain Valleys first navigators. Then walk over to the Native American Arts Marketplaces and watch demonstrations of traditional Abenaki art forms such as quillwork, wampum, twined bags and ash basketry.
Admission: Adult $12, Seniors $11, Youth 6-17 $8, and Children 5 & under Free
About the Vermont Abenaki Artists Association (VAAA)
Our mission is to promote Vermont’s Indigenous arts and artists, to provide an organized central place to share creative ideas and professional development as entrepreneurs, and to have a method for the public to find and engage our artists. For more information about VAAA please visit http://abenakiart.org or follow us on Facebook or Twitter.
For more information, contact:
Vera Longtoe Sheehan, Director VAAA and Exhibit Co-Curator (802) 579-0049
Eloise Beil, Collections Manager, Manager of Public Relation, and Exhibit Co-Curator LCMM (802) 475-2022
When we think of indigenous American craft arts, we immediately think of Navajo rugs and Tahono o’odam (Papago) basketry. Or perhaps the woodcarvings of the Northwest Coast of North America. Possibly one of the least recognized historical Native American crafts regions of North America is the Far Northeast, only a few books will mention baskets made by Maine or Canadian Maritime tribes. However, Vermont and New Hampshire have a vibrant but little known artistic tradition stretching back over 10,000 years. The oldest artistic works are made of stone, chipped or ground into beautiful but useful tools such as the clean, almost Art Deco- looking lines of Vermont Middle Archaic Period gouges, the tight design of Late Archaic lapidary jewelry, or the evocative rock-carved human face petroglyphs at Bellows Falls. However, except for stone, and a few pieces of shell, there is little that remains, underground of this rich artistic tradition. During the So-Called Colonial Era (1609-ca. 1800) the Indigenous Arts of our region are still little understood and seem to resemble those of neighboring tribes. There are occasional pieces of 18th century quillwork-decorated leather craft or twined basketry residing in museums and private collections illustrating the precise work and artistic flair of the People. Unfortunately, they are so similar to items made by our Penobscot, Huron and Iroquois neighbors that there has been little effort by art historians to find out what is specific to our region.
Below, are a few examples of older art traditions that have good ties to the VT/NH region and its immediate environs of southern Quebec. These show a careful choice of material, excellent plotting out the eventual form, and meticulous care in decoration — evidence of a well developed craft tradition that its practitioners were very comfortable with. Many of our 19th and early 20th-century craft arts seem to have its closest ties to the great multiethnic Indian Village of Kahnawake, south of Montreal, but other traditions especially basketry shows early artistic similarity to Southern New England, while cloth seems more similar to our Wabanaki brethren, showing that our area was a great crossroads of artistic ideas flowing throughout the region.
Most Indigenous Vermont and New Hampshire wood craft is very utilitarian, and probably would not be classed as fine or decorative art. However, some particular forms, such as crooked knives and root clubs have become accepted as valuable craft arts by art historians and critics. We do see nice examples of these tools that have come from our area, but have a distinct stylistic look. Root clubs, for example, did not seem to be made and sold in Vermont as tourist items, although very similar looking ones were sold for that purpose at Kahnawake. These root clubs tend to be carved relatively simply with minimal decoration, usually of fine ink or watercolor delineating bird-like beaks and eyes, rather than the fine carved detailing and painted design demanded by tourist buyers. Instead, we have a documented example that seemed to be used in healing, and another that was used to keep order within a family, indicating that they remained, at least in part, internal cultural implements.
Another well-designed and executed wooden implement is the crooked knife (often called “basket-knife” in VT). These distinctive native-design tools seem as rare as root clubs and are almost always entirely utilitarian. However, one crooked knife with a provenance just north of the Canadian Border in the Southern Eastern Townships of Quebec is finely crafted with beautiful incised and filled detail on the obverse and an artistically sweeping rake to the blade; thereby making a classic pieces of Northeastern Native art. (Photo to the right)
In the last 50 years or so decoys have emerged as a great vernacular art tradition, with many fetching many thousands of dollars at auction. Although there are Vermont decoy carvers with Indigenous heritage their creations are not considered “Indian Art.” However, a composite twig decoy from the same area as the crooked knife is so similar to the Cree “Tamarack Twig” decoys accepted as legitimate Indian Art that we will list it here. This is a goose “shadow decoy” constructed of black or river birch twigs and bound with cotton twine. A Nulhegan band elder remembered their use in middle 20th century cornfields around Lake Memphramagog to attract Canada geese to the shotgun. When viewed from a distance, the decoy has a wonderful flowing stance, and as the elder said “looks like a goose to another goose.. (Photo to the right)
These few items are only an introduction to the richness of historic Indigenous woodcraft of our region. Old bowls, spoons, wall-hangings, cups, walking staffs and even furniture remain to this day to grace museums and collections.
Since the 1970’s, beaded clothing and fashion accessories of our neighbors to the East have become some of the most collected and valuable of any Native American art. Fortunately, our regional styles have not seen such interest or even study by elite art collectors, and so the materials are still somewhat available and collectable by Indigenous museums and cultural organizations. I find that some of the late 19th and early 20th century clothing used by basketsellers especially interesting. It combines European materials such as cloth and ribbons with indigenous motifs to make a distinctive, but underappreciated fashion that I call “cut-cloth Fringe’ style. We have several examples of this style from the Connecticut River Valley and Lake Champlain which seem to date from the 1890’s to about the beginning of the Great Depression. The example that I share here is made from a tan twilled cotton with patchwork and ribbon-work detail below the neck and above the hem. It is sturdy and technically well made, so much so that it is still worn for educational purposes. (Photo to the right)
Of course everyone wants to know about “Abenaki Beadwork,” and unfortunately, pre-1900 Indigenous Vermont/New Hampshire beaded cloth is the most elusive craft art that remains today. There is one late 18th/early 19th century beaded moccasin vamp or epaulet that was found in NW Vermont that is in a generalized style that may or may not be Vermont Abenaki, but was at least used here at one point. (Photo below).
Probably a more characteristic style is the mid 19th century “flat bag” or reticule described below. It has a form related to the typical “tulip” or “inverted keyhole” bag sold by the Eastern Wabanaki people of New Brunswick and Nova Scotia. However, the beadwork itself is distinctive and unlike that of the standard Wabanaki to the East, or the Iroquois styles to the west. Unfortunately, it has not yet attracted interest of collectors, museums and academics, so it is uncertain exactly whether this is a “Montreal Area,” “Eastern Townships (Quebec) area,” “Vermont area” “or “New Hampshire area” style; or all of the above. However, I believe that it represents the best candidate style for having been produced here in the mid 19th century. (Photo to the right)
The one craft art likely to show up in VT/NH antique shops is ash-splint basketry, and there are many styles and types. I will illustrate two of the older more utilitarian types that were made before the ubiquitous “sweetgrass” and “cowiss” touristic souvenir baskets that are so common today. Ash splint basket making in VT/NH basically went extinct in the 1930’s. Baskets after that time seem to be made by expatriate basket sellers from Canada or Maine who sold tourist goods in places such as the White Mountains Intervale or the shores of Lake Champlain. (Photo to the right)
The first early type is from the 1830’s and is more closely related to southern New England basketry, in its “varying splint” construction and the use of stamping and or painting on the wide splints as decoration. it was probably used like a bandbox, for the storage of lightweight household and fashion goods such as yarn or hats. The second basket, probably from the third quarter of the 19th century, still retains the varying splints, but now shows direct influence of basketry evolution to the East, in its checkerboard (rectangular) base and the treatment of the radiating splints on the lid. Instead of being stamped, the wider splints are “daub-dyed” or pigment painted only on the outside before weaving the basket. The later, turn of the 20th century dyed ash splints are dipped in dye and thus show the color both inside and out. Both of these early basket styles are relatively uncommon in VT/NH and even less common with a good provenance placing them here in the 19th century. (Photo to the right)
Another important basket type is the coiled basket. Even more elusive than early beadwork, coiled basketry is only known from two areas in the Northeast, the Passamaquoddies and a single family in Northwestern VT. These are tiny items, made from carefully selected and prepared horse-hair, similar to the much more well known Thono O’odam tourist wares. As with most local wares, there is no historical interest in these beautiful tiny baskets, and we await the continuation of this tradition by young members of the VT basket making family.
Honoring Abenaki history, culture, and art since 2013.