Abenaki

Circle Of Courage Youth Group (A)

DANCERS

Takara Hansell (M)

FIBER ART

Vera Longtoe Sheehan (M)

Linda Longtoe Sheehan (M)

FINGER WEAVING

Melody Mackin (J)

GOURDS

Jeanne Morningstar Kent (M)

Norm M’Sadoques (M)

JEWELRY

J ean Burbo (J)

Linda Longtoe Sheehan (M)

Paul René Tamburro (M)

LEATHER

Shirly Hook (J)

Francine Poitras Jones (J)

Don Stevens (J)

Jesse Bowman Bruchac (M) – Abenaki Linguist

LINGUISTICS/LANGUAGE TEACHER

MUSIC

Jesse Bowman Bruchac (M)

Joseph Bruchac (M)

Elnu Abenaki Singers

Nulhegan Abenaki Drum

Michael Descoteaux (A) Drums and Rattles

Don Stevens

J im Taylor

MUSICAL INSTRUMENTS

Lance Hodgdon (A) Flutes

Shirly Hook (J) Rattles

Brian Chenevert (J) Rattles

REGALIA – Clothing, Sashes and Bags

Jean Burbo (J)

June Roberts Wesley (J)

PIPE MAKER

Roger Longtoe Sheehan (M)

QUILLWORK

Jesse Bowman Bruchac (M) – Abenaki Linguist

STORY TELLERS

Joseph Bruchac

Brian Chenevert

Don Stevens

Paul René Tamburro (J)

Linda Longtoe Sheehan (M)

TWINED BAGS

Vera Longtoe Sheehan (M)

WAMPUM

Norm M’Sadoques (J)

WEAVING

Bill Gould (M)

Sherry Gould (M)

Vera Longtoe Sheehan (M)

WOOD CARVING – Bowls, Dancing Sticks, War Clubs, Snow Snakes and Paddles

Norm M’Sadoques (M)

CONTEMPORARY ART

AUTHORS

Jeanne Morningstar Kent

Lori Lambert

Jon Manitouabe8ich (M)

Trudy Ann Parker

J esse Bowman Bruchac, Abenaki Linguist

CONSULTANTS

Jeanne Morningstar Kent

Carol Billings McGranahan (A)

CRAFTSPERSON

Lisa Ainsworth Plourde

CULINARY ARTS

Jessee Lawyer (M)

DECORATIVE ARTS

Vicki Blanchard (A)

Lucy Cannon-Neel (A)

FASHION

Jean Burbo (J), Regalia and Jewel ry

Takara Hansell (M), Clothing and Beadwork

J une Roberts Wesley (J), Regalia

FILM

Lori Lambert (M)

Lina Longtoe (J )

Michael Descoteaux (J) Photograph y

FINE ART

Francine Poitras Jones (J) Painter

Jeanne Morningstar Kent (M)

Lina Long toe (J) Photography

Jon Manitouabe8ich (M) – Painter & Graphic Art

Takara Hansell (J) Painter

Lucy Cannon Neel (A)

Melody Nunn (J) Painter – Acrylics

Diane Stevens (J) Photographer

Amy Hook-Therrien (J) Painter – Watercolors

GUEST SPEAKERS

Melody Mackin

Joseph Bruchac

M ichael Descoteaux (A) Beadwork

JEWELRY

Shirly Ho ok (J), Jewelry

Francine Poitras Jones (A) Beadwork

T akara Hansell (M), Beadwork

Paul René Tamburro (J), Silver & Copper Jewelry

Linda Longtoe Sheehan (M), Wampum Jewelry

LEATHER

Francine Poitras Jones (J)

MODERN MUSIC

Jesse Bowman Bruchac (M), Abenaki Linguist

PAN INDIAN

Jean Burbo (J), Regalia

Billie Jo Garfield (A), Regalia

Takara Hansell (M), Regalia and Beadwork

Nathan Johnson (J), Regalia

Lori Lambert (M), Regalia and Beadwork

June Roberts Wesley (J), Regalia and Beadwork

PERFORMING ARTS

T akara Hansell, Dancer

Nathan Johnson, Dancer

SCHOLARS/HISTORIANS

Melody Mackin

Lori Lambert, PhD, DS

Paul René Tamburro

Frederick M. Wiseman

Wood Carving

Late Period (1890-1970) Indian Baskets In Vermont

Historic Art

The Historic Indigenous Arts of Vermont and New Hampshire

By Frederick M. Wiseman Ph.D.

Introduction

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.

Woodcraft

Image of Root club, stylistically similar to the Newport, VT example; early 20th century. — Root club, stylistically similar to the Newport, VT example; early 20th century.

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.

Image of Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog. — Well designed crooked Knife. Birch Handle, ground-file blade and brass wire wrap. 19th century East side Lake Memphramagog.

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)

Image of Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremogog) QC). — Twig decoy, Early 20th century, Fitch Bay (east of Lake Memphremagog) QC).

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.

Fashion design

Image of Woman's cotton twill dress and red cloth sash ca. 1900 Connecticut River Valley, VT. — Woman’s cotton twill dress and red cloth sash ca. 1900 Connecticut River Valley, VT.

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).

Image of Beaded wool panel, Trade wool, silk ribbon, glass beads. Early 19th century, found in Swanton, VT — Beaded wool panel, Trade wool, silk ribbon, glass beads. Early 19th century, found in Swanton, VT

Image of Flat Bag with beadwork. Velvet, cotton liner, glass beads. Mid or late 19th century, probably Abenaki — Flat Bag with beadwork. Velvet, cotton liner, glass beads. Mid or late 19th century, probably Abenaki

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)

Basketry

Image of Early 19th century ash-splint Basket. Vernon, VT. — Early 19th century ash-splint Basket. Vernon, VT.

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)

Image of Turn of the 2Oth century ash splint Basket — Turn of the 2Oth century ash splint Basket

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)

Image of two coiled horsehair baskets made with brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St Albans, VT — Two coiled horsehair baskets made with brown horsehair foundation and black hair ties left, and black horsehair and white hair ties, right. Probably early 20th century. St. Albans, VT

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.

Interested in Learning more about the Indigenous Art of Vermont?

Wabanaki Beadwork 1850-2000

Jessee Lawyer

Enrolled Citizen of the Abenaki Nation of Missisquoi

Juried Artist since 2014

Jessee Lawyer is an enrolled citizen of the Abenaki Nation of Missisquoi. He i the head chef at Sweetwaters in Burlington and caters special events. As a culinary artist he creates indigenous specialties using Wabanaki ingredients.

Jesse descends from a long line of Indigenous artists. He continues his family tradition as one of the last two Native families in the Northeast who continue to make miniature horsetail coiled baskets. Jessee also hand carves traditional soapstone pipes and contemporary soapstone sculptures. He draws great inspiration from his father who taught him how to carve. As he continues to polish his skills, he is being mentored by two VAAA artists.

Artist Statement

As a child, I spent many nights watching my father create art. He worked in many mediums; he was well known for his moccasins and homes that he built. His attention to detail captivated and inspired me. Hand carved feathers and chip carving around doors and windows, decorative stitching graced his moccasins, and subtle lines touched his pipes. He would tell me stories of my grandfather who made miniature horsehair baskets, woodcarvings and would cast miniature animals out of bronze. I absorbed as much knowledge and wisdom as I could from my father and cannot thank him enough for preparing me with the skills and love needed to continue our Abenaki traditions before he passed on to the spirit world.

I have only recently started carrying on my family traditions as well as creating my own style. I try to experiment with many mediums but am focusing on horsehair baskets and soapstone pipes and sculptures for the moment, with moccasins shortly. I feel a deep connection to both the plant and animal worlds, and try to incorporate them as much as possible in my art, honoring all they provide for us.

With the knowledge that has been passed to me from previous generations, I have been blessed with the gift of a child on the way. Now there is another generation to carry on our cultural traditions, and another art form for me all-together.

Contact

Image of Cranberry and maple cured duck breast, wild rice, Vermont cranberry bran & butternut ragout, boiled cornbread, and house blueberry and vinegar reduction. — _{Cranberry and maple cured duck breast, wild rice, Vermont cranberry bran & butternut ragout, boiled cornbread, and house blueberry and vinegar reduction}

Image of Jacobs cattle beans, cured duck breast ham, and maple syrup baked in Blue Hubbard Squash. — _{Jacobs cattle beans, cured duck breast ham, and maple syrup baked in Blue Hubbard Squash}

Image of Salt and smoked maple glazed bear jerky. — _{Salt and smoked maple glazed bear jerky}

Exhibits

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2014

Eastern Woodland Fiber Arts (permanent exhibit), Mt. Kearsage Indian Museum, Warner, NH
“Traditional Sources, Contemporary Visions” – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All of my Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, N.H.

Affiliations

Vermont Abenaki Artists Association, Committee Member since 2013

Frederick M. Wiseman, P.h.D.

Enrolled Citizen of the Abenaki Nation of Missisquoi

Juried Artist since 2013

Fred Wiseman teaches Wabanaki decorative arts, ceremonial oratory, dance and song based on historical precedent, but adapted for modern venues and audience.

His most recent (2010-) work focuses on the choreography, stagecraft, regalia and ceremonial accoutrements for dances and ceremonies associated with the agricultural and ceremonial calendar, from Winter solstice observances through spring planting ceremonies, to the various sun dances through the green corn and harvest supper observances. However, in the past, he has worked in other media and formats from “fashion shows” to ceremonial gaming, to the crafting of arms and armor.

Fred uses whatever is necessary to accomplish the goal, from set (stage) design to rock and shell carving to clothing to video and printed word.

Artist Statement

I am a scholar and artist whose purpose is to connect the Indigenous Peoples of Vermont and their environs to their stylistic heritage by all means necessary, whether it be through film/graphic arts, the performing arts or the decorative arts. Professional goals and objectives revolve first around repatriation, the converting of written data, or archival music artifacts and imagery held by Euroamerican institutions into formats and systems of knowing usable by Indigenous people and organizations for cultural reclamation and revitalization. Second, it incorporates tradition and revelation as guideposts in this work. Third it incorporates going beyond recaptured tradition to synthesize antique materials and motifs with the contemporary, to envision an alternative, syncretic stylistic world that could answer –“what if Genocide of Northeastern Natives had been less complete?” Southwestern and Plains Native styles rooted in deep time arts tradition flourish in the West, why not allow this to happen in Indigenous Vermont?

My work is not available for sale to the Euroamerican public, it exclusively produced for tribal governments, organizations and citizens and lent or given at no cost to the recipient. The artist’s designs and productions, ranging from regalia to wampum belts and collars belong to the Pleasant Point and Indian Township Governors (ME), The Citizens of the Aroostook Band of Micmacs (ME), the Grand Chief of the Seven Nations at Akwesasne (NY), and the Chiefs and Tribal Councils of Missisquoi, Nulhegan and Koasek (VT).

However, my work has been exhibited and studied over the years at the various venues listed below.

Contact

Image of graphic design by Dr. Wiseman. — Frederick Wiseman, Graphic Designer, 2013

Image of girl holding staff with wampum belt made by Fred Wiseman. — Belt on staff made by Dr. Wiseman

Image of Paleo-Indian Sea-Mammal hunter. — Belt on staff made by Dr. Wiseman

Exhibit, event and performance history:

1994 “The Spirit of the Abenaki.” Chimney Point Historic Site. Jewelry and sculpture.

1994-1995 “The Light Of the Dawn.” Chimney Point Historic Site. Jewelry and wood sculpture

1995

“Shamans, Magicians and the Busy Spider” Rochester Museum of Art. Rochester, NY. Jewelry and wood sculpture.
“Abenaki Dawn” American Indian Institute. Washington, CT. Jewelry and wood sculpture.

1996

“Light from the Dawnland” San Diego Museum of Man. San Diego, CA. Jewelry and wood

sculpture.

1998- 2008 Abenaki Tribal museum, Swanton, VT (All museum installations)

1999 The Great Council Fire Performance. The Akwesasne Cultural Center (NY)

2001

“Wabanaki Wampum” Old York (ME) Historical Society. Wampum belts
“Notes from the Underground” Shelburne Museum. Stone wampum, wood

2001 Kanien’kehaka Raotitionhkwa Culture Centre (Kahnawake QC) “Seven and Six (Nations) Exhibit.

2001-2003 New Hampshire Historical Society Museum, various exhibits and event)

2004 “Wabanaki Memories. Missisquoi Valley HS Stone, Wampum, wood.

2004 Museé des Abénakis (QC) (my materials are on permanent exhibit there.)

2005

Great Council Fire Exhibition Museé des Abénakis. Wampum and stonework.
“Against the Darkness” Screened at the Museé des Abénakis (Odanak, QC), March 22, 2005
“Against the Darkness” Screened at Mashentucket Pequot Museum. Mashentucket, CT. Oct. 16, 2005
“Against the Darkness” (35 Minute digital video) Screened at the Vermont Archaeological Society, Oct. 1, 2005

2007

“The Material Heritage of 17^th Century Vermont. Lake Champlain Quadricentennial “Workshop” St. Michael’s College, June 13, 2007

2007-2013 The Lake Champlain Maritime Museum, June, Indigenous Heritage Celebration (also my materials are on permanent exhibit there.)

2008 Passamaquoddy Section of the Downeast Heritage Museum, (ME) (my materials are on permanent exhibit there)

2010 ECHO Science Center and Lake Aquarium, Materials of Culture: 10,000 years of Abenaki Attire (also my materials are on permanent exhibit there.)

2010

Indian Township Museum (ME), (my materials are on permanent exhibit there.)
Wapohnaki Museum (ME) “Language and Object” Exhibit and Discussion.

2011 “Before the Lake Was Champlain” Screened at the New England Antiquities Research Association Conference, Burlington, VT. October 2011

2013

“1609:the other side of history.” Screened at the Swanton 250th Anniversary
“Dinner and a Movie” Program. Swanton, VT, April 28, 2013

2014

Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT
All My Relations: Faces and Effigies from the Native World – Invitational Group Art Exhibit. Mt. Kearsarge Indian Museum, Warner, NH.

2015

Parley and Protocol: Abenaki Diplomacy Past and Present. Lake Champlain Maritime Museum. Vergennes, VT.

2016

Parley and Protocol: Abenaki Diplomacy Past and Present. Fort Necessity National Battlefield, Farmington, PA.

Publications

1987

Mapping antiques. Maine Antique Digest, Waldoboro ME. Feb. 14-15C.
Folk art and antiques: a different view. Maine Antique Digest, Waldoboro, ME
The case of the peripatetic candleholder. Maine Antique Digest, Waldoboro, ME July 34-35 B.

1990 Some Queen Anne furniture of the Federal Period. Maine Antique Digest, Waldoboro ME

Jan.1991

“The Colchester Jar” pp. 98-99; “Quillwork trinket box; thimble cover, notions basket and pincushion”; “Beaded reticule” pp. 178-183; “Rectangular bark container”, pp. 204-205; and “Tipi and canoe”, pp. 216-217. In Graff, N.P.
Celebrating Vermont: Myths and Realities.University Press of New England.Hanover
American Indian Art and Native Americans. Maine Antique Digest, Waldoboro, ME

1994

Bapwoganal Alnobaiwi: The Games of Wôbanakik Cedarwood Press. Underhill, VT. 3 figures. 10 pp.
Ngwegigaden, an Abenaki year.(11″ X 17″ Three-color poster and accompanying handbook). Cedarwood Press. Underhill, VT
Wôbanakik. (11″ X 17″ Three-color poster map and accompanying handbook) Cedarwood Press. Underhill, VT
We were always here. (9″ X 17″ Two-color poster and accompanying handbook) Cedarwood Press. Underhill, VT

1995

The Gift of the Forest. Ethan Allen Homestead Abenaki Handbook Series # 1. Lane Press. Burlington, VT. 10 figures. 12pp.
Wôbanakik, the Ancient Land of the Dawn. (18″ X 24″ Four-color map and accompanying handbook) Cartography by Kevin Ruelle. Horseman Press. Burlington, VT
Wild Plant Foods of the Abenaki. Ethan Allen Homestead Abenaki Handbook Series # 2. Lane Press. Burlington, VT. 12 pp.
Abenaki Clothing Ethan Allen Homestead Abenaki Handbook Series # 3. Lane Press. Burlington, VT. 7 figures. 12pp.
An Annotated bibliography and resources list for Abenaki studies. Cedarwood Press. Underhill, VT. 22 pp.
“New Abenaki Booklets available.” in The Oracle. Summer, 1995. Ethan Allen Homestead. Burlington VT. p. 3.
“A view from within” Vermont Humanities. Winter 1994-95. Vt. Council on the Humanities, Hyde Park, VT. p. 6.

1996 History in beads. Historic Roots. Pp. 25-30 Montpelier, VT.

1997

Linda Pearo, Frederick Wiseman, Madeline Young and Jeff Benay. New Dawn: The Western Abenaki, a Curricular Framework for the Middle Level. Franklin Northwest Supervisory Union Title IX Indian Education Program, 14 First St. Swanton, VT 05488

1997 Wobobial. (18X26 pictorial poster and accompanying handbook) Abenaki Tribal Museum. Lane Press, Burlington

2000 The Abenaki and the Winooski. In L. Krawitt. The Mills at Winooski Falls. Onion River Press. Pp. 7-10 Winooski

2001 The Voice of the Dawn University Press of New England. Hanover, NH.

2003

“Abenaki”, “Abenaki Heritage Days” p. 31; “Mahicans” pp. 194-195;
“Missisquoi Village” p. 207;
“Winoskik” 327 in Duffy, J, S. hand and R. Orth. Vermont Encyclopedia University Press of New England, Hanover
“Truthless”. Seven Days, Sept. 10-17, 2003. p. 4A

2005

The Wabanaki World Vol. I : Decolonizing a taken prehistory of the Far Northeast University Press of New England
Blom, Deborah, James Petersen and —– “Repatriation and Monument Road:
Abenaki and archaeologists efforts to find a solution.” In Jordan Kerber. Cross Cultural Collaboration. University of Nebraska Press

2008

“Changeling” Video, Miraclegirl Productions. 1522 Harvard Street Apartment 5, Santa Monica, CA (Producer)
“Calumet to crisis and back.” (Video) Franklin Northwest Supervisory Union Office of Indian Education (Producer/Director/Filmographer)

2009

At Lake Between. Lake Champlain Maritime Museum, Basin Harbor, VT, Champlain Tech Lake Champlain Maritime Museum, Basin Harbor, VT
“1609: The other side of history. Wôbanakik Heritage Center, Swanton, VT (Producer/Director)

2009 “1609: Quadricentennial Curriculum” Lake Champlain Maritime Museum lcmm.org/navigating

2010

Baseline 1609. Lake Champlain Maritime Museum, Basin Harbor, VT
“Before the Lake Was Champlain” Hidden Landscapes Productions 1 Hewins Farm Rd., Wellesley, MA (Co-Producer)
“The New Antiquarians” Hidden Landscapes Productions 1 Hewins Farm Rd., Wellesley, MA 02481 (Co-Producer)

2011

____ and Melody Walker. The Abenakis and their Neighbors: Teachers and Interpreters resources. Vermont Commission on Native American Affairs. Montpelier, VT.

2012

Reclaiming Western Wabanaki Ceremony: A Handbook for Cultural Revitalization. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2012:8. 313pp.2013
Theo Panadis sings Wabanaki songs. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:4. CD
Wabanaki Confederacy political and ceremonial songs. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:5.
Wabanaki Songs: Fun, Dance and Ceremony. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:6
Lets Learn Abenaki Songs I. Wôbanakik Heritage Center, Swanton, VT Indigenous Vermont Series 2013:8.n.d. P
Proposed K-12 Curriculum on Indigenous Vermont Studies Manuscript housed in the Wôbanakik Heritage Center archives

Awards:

1998 Highest ceremonial honors, Abenaki Nation at Missisquoi

2001 Great Peace of Montreal Honor Ceremony and Honor Inscription Museé de Montreal, Montreal, QC

2002 Keynote Speaker, Native American Studies in New England, University of New Hampshire

2005 Wampum Carrier, Seven Fires Alliance, Akwesasne Reserve, NY

2007 Keynote address. Vermont Alliance for Social Studies, Burlington, VT December, 7, 2007

2009 “Governor’s Award” Vermont Lake Champlain International Ceremony July 11, 2009

2010

Appreciation Ceremony. Missisquoi Abenaki Swanton, VT
Silver Astrolabe Award Lake Champlain Quadricentennial Commission

2011 Appreciation Ceremony. Missisquoi Abenaki Swanton, VT.

2012

Elnu Tribe Honor Ceremony Recipient of Gratitude. Basin Harbor, VT
Nulhegan Band Honor Ceremony. Basin Harbor VT

Affiliations

Vermont Abenaki Artists Association

Don Stevens

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2013

Chief Don Stevens is an award-winning leader, businessman, writer, and lecturer. He has been featured in magazines, books, TV shows, and documentaries. He was appointed to the Vermont Commission on Native American Affairs by Governor Douglas in 2006 for two terms, where he served as Chair and led the fight to obtain legal recognition for the Abenaki People in Vermont. Chief Stevens was able to acquire tribal land for the Nulhegan Tribe which had been absent for over 200 years. A gifted storyteller, he speaks about issues of Native American Sovereignty, Racial Disparity, and Abenaki Identity.

He was appointed by the Attorney General to the “Racial Disparities in the Criminal and Juvenile Justice Systems Advisory Panel” and serves on the Lake Champlain Sea Grant Advisory Panel and Vermont State Police Fairness and Diversity Advisory Panel.

Contact

Address: 156 Bacon Drive

Shelburne VT 04582

Image of breast plate made by Chief Don Stevens. — Breast Plate

Image of Raccoon Bag made by Chief Don Stevens. — Raccoon Bag

Exhibits

2017 – 2018

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2014

Traditional Sources, Contemporary Visions – Invitational Group Art Exhibit. Lake Champlain Maritime Museum, Vergennes, VT

Events and Performances

2013 – 2018

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Shelburne Museum, Shelburne, VT

Nulheganaki, Island Pond, VT

2012

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Nulheganaki, Island Pond, VT

2011

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Speaking To The Ancestors Abenaki Gathering. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

2010

Native American Heritage Weekend, Lake Champlain Maritime Museum, Vergennes, VT

Winter Celebration. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

2009

Vermont Indigenous Celebration. ECHO Lake Aquarium and Science Center/Leahy Center for Lake Champlain, Burlington, VT

Affiliations

Vermont Abenaki Artists Association

Diane Stevens

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist

My Love for nature photography was a natural progression of my love for travel. A friend of mine joined the Peace Corps and encouraged me to join her for a two-week adventure in Namibia and Zambia, Africa. Thus began an incredible photographic journey. Vermont’s abundant wild life and beauty have enable me to hone my craft.

Hiking and back water kayaking have led to incredible, yet at times challenging, photographic opportunities. Continued travels in New England, Florida, and Peru have expanded my appreciation of all nature has to offer. I recently won best in color at the Seaba Artists Exhibit.

Contact

Store: Diane Stevens Photography

Peruvian love birds in vibrant colors by Diane Stevens. — Love Birds in Peru

Monkey staring at the camera - taken by Diane Stevens. — Peruvian Monkey

Exhibits

2016 to present

Indefinite Exhibit at Trinity Church in Shelburne, Vermont

2017

Alnobak: Wearing Our Heritage. Traveling Exhibit. Lake Champlain Maritime Museum.

2016

Solo photography show at Charlotte Senior Center . Charlotte, VT.

SEABA (Arts Alive) photography exhibit at One Main Street, Burlington, Vt

Documentary

2015

Photos utilized in Wabanaki Confederacy Documentary

Awards

2017

Best in Color for Nature’s Pallet. Annual Open Photography Exhibit . Arts Alive.

Elnu Abenaki Singers

All are Enrolled Citizens of the Elnu Abenaki Tribe

Elnu Abenaki Singers

For more over two decades, the Elnu Abenaki Singers have performed across the Northeast and mid-Atlantic regions. They are invited to sing at events, museums, school, and historic sites They echo the voices of their ancestors, who have lived in N’dakinna (the land) for thousands of years.

The public has come to know the Elnu Singers through their repertoire of Wabanaki songs and chants; their signature Eastern style hand drums and rattles. With each new song comes an explanation of what it means and any historic information with may be related.

The Elnu Singers are of mixed ages. The group includes men, women, and children. They can perform in either modern or traditional clothing from any era from the early 17th century to contemporary.

Contact Info

Chief Roger Longtoe Sheehan

Click here to read article on St. Albans Messenger website.

Click here to listen to the Elnu Abenaki Singers

Filmed in night vision at the Jamaica State Park archeological dig. The El-Nu Abenaki Tribe Singers led the public through a night of traditional story-telling and songs. Featured here is one of those songs and the protocol that surrounds it.

For more information on the El-Nu Abenaki Tribe please visit:
http://elnuabenakitribe.org/

Film by Lina Longtoe. Featured in the Lake Champlain Maritime Museum’s exhibit, “Contact of Cultures, 1609.”

Circle of Courage

Abenaki Nation of Missisquoi

Background

This highly regarded after-school initiative draws on the writings of acclaimed Native American author Larry Brendtro (Reclaiming Youth At-Risk) who, with colleagues, first introduced this holistic model. While we (Abenaki Nation of Missisquoi, St. Francis/Sokoki Band) believe in the tenets of belonging, generosity, independence, and mastery, these core values have been adapted to accommodate our own beliefs about children.

As we view children from an “at-promise” paradigm, conventional “at-risk” models are replaced by a strengths-based approach.

Through a model that utilizes our traditional dance and other customs, students learn the difference between tobacco as a sacred herb used for ceremonies verses the social convention of cigarette smoking. Ultimately, there is a profound sense that when a community creates a context in which youth can thrive, they will.

The Abenaki Circle of Courage Afterschool Program puts the concepts of belonging, mastery, generosity, and independence into practice.

Children master skills in Native dance and crafts, experience belonging through working together as youth leaders, practice independence in completing artistic projects, and exhibit generosity through community service.

Project Director, Brenda Gagne, is an Abenaki Community member. Brenda directs the “Circle of Courage” after-school cultural program for both Native and non-Native students in Swanton and Highgate, Vermont. She has been honored by the State of Vermont’s Department of Education for outstanding service.

Jeff Benay is the Director of Indian Education Programs for Franklin County and former long-time Chair of the Governor’s Advisory Commission on Native American Affairs. He has worked with Vermont’s Abenaki for nearly 30 years.

Contact

Brenda Gagne is the Coordinator of the Circle of Courage program.

Chief Brenda M. Gagne
Coordinator, Abenaki Circle of Courage Program
65 Canada Street, Room 3
Swanton, VT 05488