Acknowledging A Complicated History and Identity

Historical marker

The Indigenous people called “Abenaki” have continuously lived in Northeastern North America, in the homelands they call “Ndakinna,” for more than 12,000 years. They have survived and adapted to drastic environmental changes since the “Ice Age” era, when glaciers covered the land. Over time, as the glaciers melted, the region changed from arctic tundra to eventually become the forested lands of present-day Vermont. The area was rich in natural resources, and people moved seasonally around Ndakinna to utilize various hunting territories and gathering places, many of which were occupied for several thousand years.

Long before European arrival and into the present day, Abenaki people maintained social, economic, and political relationships with other Indigenous people. Some relationships were friendly, marked by trade and alliance, but some were adversarial when resources were at stake. Abenaki family band organization was fluid and flexible, and people routinely sought marriage partners in other bands or tribes. The complexity of relationships between Abenaki people and their neighbors continues into the present day.

Before European contact, these people called themselves Wôbanakiak, a name that combines the terms for dawn (wôban) and land (aki) with an animate plural ending (-ak), meaning people “from where the daylight comes” (Laurent, 1884, p. 205). During the mid-1600s, European colonial settlers began using the name “Abenaki” or “Wabanaki” to apply to many different Native American communities, tribes, family bands, and groups across New England (Charest, 2001; Day, 1978; Day, 1981; Fabvre, 1970). 

By the late 1600s, French Jesuit missionaries convinced some Abenaki families to relocate to Catholic missions on regional waterways. These included the St. Francis Mission on the St. Lawrence River; Fort Saint-Frédéric on Lake Champlain; and Mission des Loups on the upper Connecticut River, among others. The French built another mission along the Missisquoi River in the mid-1700s. Some Abenaki families embraced mission life and French allies, but others rejected the restrictions imposed by French colonists and missionaries, and returned to their original territories.  Clashes between French and English settlers during the “French and Indian War” era in the early to mid-1700s led to the burning of these missions.

Historical marker commemorating the Koas Mission des Loups. Photo by Chief Nancy Milette Doucet. Courtesy, Koasek Traditional Band of the Koas Abenaki Nation. 

According to the scholar Gordon Day, who worked closely with the community of Odanak in Quebec during the mid-1900s, families from many different tribal groups in central and northern New England sought refuge at the St. Francis Mission on the St. Lawrence River during the chaos of the French and Indian wars (Day, 1981). Some of the families living at Odanak today are descendants of these refugees. Many Abenaki families in Cowass and Missisquoi territory, however, refused French invitations to relocate to Quebec (Calloway, 1991, p.152). 

Over the years, Abenaki families made individual decisions about where to live. Some went to Odanak and stayed; others never left their original home places in present-day Vermont, New Hampshire, and Maine. Some families crossed the St. Lawrence seasonally, and returned to living in familiar homelands (Parker, 1994). 

Traditionally, Abenaki bands identified themselves by the place names of particular regions in Ndakinna, such as Cowass, Missisquoi, Pennacook, etc. But over time, the Abenaki (like many other Native American tribes and communities on the North American continent) have come to be known, not by their own names, but by names assigned by government officials in the states, provinces, and nations that surround them. 

Abenaki people in the United States and Canada continue to have different experiences. In the United States, Abenaki people can hold dual citizenship as U.S. citizens and as Indigenous people. In 2011 and 2012, the State of Vermont formally granted state recognition to four resident Abenaki tribes (Elnu, Koasek, Missisquoi, and Nulhegan) with over 6,000 Abenaki citizens. In Canada, tribal nations are governed under a different system called the “Indian Act.” Several thousand Abenaki people associated with Odanak and Wôlinak have what is known as Indian Status (Government of Canada, 2024). There are also Abenaki families living in Ndakinna who are not citizens of any of these tribes. Although all of these people identify themselves as “Abenaki,” the differences among their various locations and relations may create some confusion among outside observers.

For More Information

The sources below can help better understand the complexity and nuances of Native American recognition locally, nationally, and across North America. 

Abenaki Region: Comparing Vermont’s State-Recognition Process to Indian Status in Canada

Assembly of First Nations/Assemblée des Premières Nations. (2020). What Does It Mean to Be Registered as a 6(1) or 6(2)? (p.3). Assembly of First Nations/Assemblée des Premières Nations. https://www.afn.ca/wp-content/uploads/2020/01/02-19-02-06-AFN-Fact-Sheet-What-does-it-mean-to-be-a-61-or-62-revised.pdf 

Bill Status S.222 (Act 107), Vermont General Assembly 2009–2010 Regular Session, 26 V.S.A. (Title 26: Professions and Occupations) (2010). https://legislature.vermont.gov/bill/status/2010/S.222 

Government of Canada; Crown-Indigenous Relations and Northern Affairs/Gouvernement du Canada. (2018). Background on Indian Registration. Government of Canada; Crown-Indigenous Relations and Northern Affairs/Gouvernement Du Canada. https://www.rcaanc-cirnac.gc.ca/eng/1540405608208/1568898474141 

Government of Canada; Indigenous Services Canada. (2024). About Indian Status. Government of Canada; Indigenous Services Canada. https://www.sac-isc.gc.ca/eng/1100100032463/1572459644986 

Perspectives on Indian Identity

Bergman, Gene. (1993). “Defying Precedent: Can Abenaki Aboriginal Title Be Extinguished by the ‘Weight of History’?” American Indian Law Review  Vol. 18, No. 2 (1993), pp. 447-485. https://digitalcommons.law.ou.edu/ailr/vol18/iss2/4/

Hayssen, Sophie. (2021). “Tribes That Aren’t Federally Recognized Face Unique Challenges: There are almost 400 unrecognized tribes in the U.S.” Teen Vogue, November 24, 2021. https://www.teenvogue.com/story/tribes-not-federally-recognized

Hill, N. S., & Ratteree, K. (2017). The Great Vanishing Act: Blood Quantum and the Future of Native Nations. Fulcrum Publishing.

State Recognition

The Arizona Board of Regents. (2025). Governance Under State Recognition | Native Nations Institute. The University of Arizona Native Nations Institute: Founded by the Udall Foundation & the University of Arizona. https://nni.arizona.edu/our-work/research-policy-analysis/governance-under-state-recognition 

Koenig, A., & Stein, J. (2008). Federalism and the State Recognition of Native American Tribes: A Survey of State-Recognized Tribes and State Recognition Processes Across the United States. Santa Clara L. Rev., 48, 79. 

Ram, K. (2011). Tribal Recognition in Vermont: By Kesha Ram, Vermont State Representative the Role of Federal Standards. Communities and Banking. Federal Reserve Bank of Boston, 22(1), 7–8. 

Salazar, M. (2025). State Recognition of American Indian Tribes. LEGISBRIEF: Briefing Papers on the Important Issues of the Day, 24(39). https://legislature.maine.gov/doc/5373 

Featured image: Historical marker commemorating the Koas Mission des Loups. Photo by Chief Nancy Milette Doucet. Courtesy, Koasek Traditional Band of the Koas Abenaki Nation.

This article is from the traveling exhibition “Deep Roots, Strong Branches”, Vermont Abenaki Artists Association, curated by Vera Longtoe Sheehan.

© 2025. Vera Longtoe Sheehan. All Rights Reserved.

Suggested Citation

Sheehan, V. L. (2025). Acknowledging A Complicated History and Identity. Vermont Abenaki Artists Association and Abenaki Arts & Education Center.


Supported in part by

Vermont Humanities logo.
New England Foundation for the Arts logo - NEFA
Vermont Arts Council logo.

Vermont Abenaki Artists Association is supported in part by Vermont Humanities, The Vermont Arts Councill ,and NEFA – the New England Foundation for the Arts’ Cultural Sustainability program, made possible by the Wallace Foundation.

Nebizun: Water is Life

Nebizun - Water is Life - Acrylic Painting - 2019 by Francine Poitras Jones.

Written by Kelly Holt. First published in Art New England Magazine. June 1, 2023.

Nebizun: Water is Life, is a “living, breathing exhibition,” curated by Vera Longtoe Sheehan, founder of the Abenaki Art Association. The exhibition brings together artists from four recognized tribes from the Champlain Valley and the Connecticut River Valley for its fourth stop on a two-year tour. Nebizun (Abenaki for medicine, whose root nebi means water) metamorphosizes in each curatorial iteration. A vital part of Abenaki art and culture is stewardship of the land, N’Dakinna (our homeland). Explains Sheehan, “The Abenaki people know how essential water is to foodways, medicine, and everyday activities that may be taken for granted.”

Many works are influenced by activist elders. Nebizun is inspired by Grandmother Doreen Bernard’s ‘water walk’ from Nova Scotia to Maine to pray for an abundance of water. Another inspiration is the Standing Rock crisis and art activism by Grandmother Willi Nolan: “Our waters are our highways.” Only Native American people were at Standing Rock—the word was spread via social media. No Pipelines, a drawing by artist JES, was created to share through those channels. Francine Poitras Jones’ Water is Life painting is a direct expression of this protest, “…it was my reality…the painting flowed from me, much like the water that sustains life.”

The exhibition takes visitors through several watershed topics while mirroring Abenaki making and way of life. Traversing a long space, each stop works like a tributary. The exhibition is peppered with water facts that will make you pause the next time you make a cup of coffee, and more. Another tributary begins with images of creation and Standing Rock, then flows into the importance of wetlands as protectors highlighting duck-decoys made from cattails, netmaking, fishing implements and birch, a vital material in canoe making and creating “biting patterns” in pieces of art. At one end of the space is an arresting photo of ancestral rock carvings—petroglyphs of the faces in Bellows Falls, VT. The installation continues with beading and pottery, and concludes with detailed maps, calls to activism, and digital paintings Across the River by Hawk Schulmeisters that evoke pollution in water.

Abenaki Heritage Weekend 2022

FOR IMMEDIATE RELEASE

For information contact: Francine Poitras Jones

[email protected]

 804-943-6197

Abenaki Heritage Weekend June 18-19, 2022 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.

Museum Exhibitions

This page includes our current permanent and traveling museum exhibits.

Deep Roots, Strong Branches

Deep Roots, Strong Branches

The American Abenaki people have lived in N’Dakinna (our Homeland) for more than 12,000 years. Abenaki culture is a complex network of people, places, relationships and ceremonies that links the people with the living land.

This exhibit opened at the Abenaki Heritage Weekend on June 29, 2024 and will remain at the Lake Champlain Maritime Museum through October 20, 2025.

Located in the Museum’s Schoolhouse Gallery, this exhibit presents artwork and stories by the American Abenaki people up to the present day.

The museum is open daily from 10:00 am to 4:00 pm. Admission is free.

Exhibit Schedule

  • 2024 Deep Roots, Strong Branches – Lake Champlain Maritime Museum, Vergennes, VT
  • 2025 Deep Roots, Strong Branches – Lake Champlain Maritime Museum, Vergennes, VT (closing October 17th)

Developing museum exhibitions is not free to produce.

Our exhibitions bring Indigenous artists and arts into public places across New England. Each exhibition require funding for fees, preparation, travel, installation, and coordination. Public access depends on private support.

What Your Donation Make Possible

  • $15-$25/month helps sustain exhibitions year round
  • $2,000 supports a traveling exhibition

Exhibitions support bring Indigenous art and artists into public spaces!

Special Thanks To Our Sponsors

Abenaki Arts and Education Association logo with dark blue background and a white design with double curves and florets and words that say Sharing Abenaki Educational Resources with Classrooms Across N'dakinna.
Lake Champlain Maritime Museum
Vermont Humanities logo.
New England Foundation for the Arts logo - NEFA

Vermont Abenaki Artists Associated is supported by the New England Foundation for the Arts’ Cultural Sustainability program, made possible by the Wallace Foundation.


Beyond the Curve Coming Soon

Exhibit Schedule

  • 2023 Beyond the Curve, Lake Champlain Maritime Museum, Vergennes, VT
  • 2024 Mad River Valley Arts, Waitsfield, VT
  • 2024 Chaffee Art Center, Rutland, VT

Beyond the Curve: the Abenaki COVID Experience

In March 2020, the world stood still as businesses and schools around the world closed in response to the global pandemic. Broadcast media, health and government officials repeated
the daily mantra “Flatten the Curve.” Resources became scarce, exposing health disparities and access issues that Native American families face across North America. Here in N’Dakinna (our homeland) Abenaki families turned to traditional medicines and other cultural practices for comfort and survival, connecting with nature and small family groups.

Throughout the dark times that followed, Abenaki and other Native American artists, musicians, and community members expressed the impact of the pandemic on ourselves and our community through storytelling, visual arts, and writing. Our stories of personal experience and perceptions about the disparities, access issues, and historical traumas that contribute to vaccine hesitation are also stories of recovery, survival, and resilience.

The stories and artwork in this exhibit were gathered by the Vermont Abenaki Artists Association through the Abenaki Storytelling Project to create an auto-history of the Native American community in Vermont and the surrounding environs.

Many of the storytellers, artists, and community members who contributed to this body of work found that sharing helped them process their grief. This exhibition goes beyond differences to speak of experiences that are universal.
Together, we move Beyond the Curve.

Waolôwzi (be very well)


Special Thanks To Our Sponsors

Abenaki Arts and Education Association logo with dark blue background and a white design with double curves and florets and words that say Sharing Abenaki Educational Resources with Classrooms Across N'dakinna.
Lake Champlain Maritime Museum
Vermont Humanities logo.
Vermont Department of Health logo.

Nebizun: Water is Life (2022-2025)

Nebizun (alternately spelled Nebizon) is the Abenaki word for medicine and the root word Nebi is the Abenaki word for water. The rivers and tributaries of N’Dakinna (our homeland) were our highways for traveling and the water itself is important to the species of fish and other wildlife that is necessary to our way of life. As stewards of the environment Native American people know the importance of having clean water. The Abenaki people know and understand the importance of water in everyday activities related to foodways and healing powers of water. Nebizun: Water is Life draws its inspiration from Native American Grandmothers who have been doing water walks to pray for the water, and the 50th anniversary of the Clean Water Act. Curated by Vera Longtoe Sheehan.

  • Water is Life – 2022 Lake Champlain Maritime Museum, Vergennes. VT
  • Water is Life – 2023 Institute for American Indian Studies, Washington, CT
  • Water is Life – 2023 University of Vermont Medical Center, Burlington VT
  • Water is Life – 2023 Bixby Library, Vergennes, VT
  • Water is Life – 2024 Bixby Library, Vergennes, VT
  • Water is Life – 2024 Mount Kearsarge Indian Museum, Warner, NH
  • Water is Life – 2024 Ethan Allen Homestead, Burlington, VT
  • Water is Life – 2025 Chimney Point State Historic Site, VT (closing October 12, 2025)
Acrylic painting of a water scene with many shades of blues and greens.
Water is Life painting
by Francine Poitras Jones

Featured Artists: Charlie Adams (Elnu), Vicki Blanchard (Nulhegan), Joe Bruchac (Nulhegan), Bill Gould (Nulhegan), Francine Poitras Jones (Nulhegan), Jeanne Morningstar Kent (Nulhegan), Melody Walker Makin (Elnu), Lucy Cannon Neel (Nulhegan), Hawk Schulmeisters (Elnu), Breanna Sheehan (Elnu), Linda Longtoe Sheehan (Elnu), Chief Roger Longtoe Sheehan (Elnu), Vera Longtoe Sheehan (Elnu), JES (Elnu), Chief April St Francis Rushlow (Missisquoi), Dorothy Tondreau (Elnu), Amy Hook-Therrien (Koasek), and Aaron York (Missisquoi).

Special thanks to Frederick M. Wiseman, Ph.D. for the usage of his family’s fishing equipment.

Thank you to our partners and supporters!

Vermont Abenaki Artists Association is supported by the New England Foundation for the Arts’ Cultural Sustainability program, made possible by the Wallace Foundation.

Image of Vermont Humanities logo.
Logo
New Hampshire Humanities 50th Anniversary Logo
New England Foundation for the Arts logo - NEFA
Abenaki Arts & Education Center Logo
Image of Vermont Arts Council logo.

Fiber Arts exhibit MKIM

North East Woodland Fiber Art (2014 to present)

Discover hidden secrets of New England Native people as you explore traditional fiber arts that were once used to create their cloths and containers. Learn how one family in the Northeast has continued this tradition unbroken for generations.  Explore plant materials that were and are still used to create soft twine woven bags, baskets and containers. Guest curated by Vera Longtoe  Sheehan.

Featured artists: Jessee Lawyer, Julia Marden, Vera Longtoe Sheehan, and Lina Longtoe.  

On View at Mt. Kearsarge Indian Museum. Warner, NH.

Sen. Bernie Sanders Exhibits Abenaki Art in Office

For more information Contact: Vera Longtoe Sheehan, [email protected]

Image Courtesy of Diane Stevens Photography.

July 26, 2019

Upcoming Events

April 19 th, 2018, 7:00 pm – Wearing Our Heritage – Contemporary Abenaki artists and tribal members talk about the meaning of garments, accessories and regalia in their own lives and in the expression of community and tribal identity. This program was created by the Vermont Abenaki Artists Association in partnership with Lake Champlain Maritime Museum and Flynn Center for the Arts, supported in part by a grant from the Vermont Humanities Council. Charlotte Library, Shelburne, VT. Admission is free.

May 7, 2018 – Abenaki Woman

Abenaki clothing wears a rich history

By Melanie Plenda, Union Leader, September 22. 2017 5:47PM

Vera_ Tolba Jacket_lowres
Vera Longtoe Sheehan, co-curator of the exhibit Alnobak: Wearing Our Heritage, with her painted tolba (turtle) jacket. (Courtesy of Diane Stevens Photography)

WARNER – Next time you see a person wearing a denim jacket or beaded earrings or bracelet, you might do well to take a closer look.

“This is sort of everyday wear that Native people would wear now, and it includes some kinds of things that non-Native people would wear too, but there’s just something about it that shows their native identity,” said Nancy Jo Chabot, curator of the Mount Kearsarge Indian Museum in Warner.

The new exhibit at the museum, “Alnobak: Wearing Our Heritage”, documents the way in which garments and accessories that reflect Abenaki heritage have been – and still are – made and used to express Native identity, according to museum officials.

“You start to see that in little elements in modern clothing,” she said of the portion of the exhibit depicting the current era, “things that wouldn’t look out of place for any modern person walking down the road, but for a Native person have these very distinctively heavy Northeast design elements.

“That’s a crucial, important part of anything we do here at the museum: (showing) that Abenaki people are here, are living, and creating wonderful things. And this exhibit in particular is to show that the Abenaki people that were here, where we are on this land right now, are still here.”

Vera Longtoe Sheehan, an Abenaki teaching artist, activist and director of the Vermont Abenaki Artists Association, curated the exhibit with Eloise Beil of the Lake Champlain Maritime Museum. This exhibit was unique, Sheehan said, in that it is the first traveling exhibit about Abenaki culture co-curated by an Abenaki person and that has been accepted in mainstream galleries such as the Amy Tarrant Gallery at the Flynn Performing Arts Center in Burlington, Vt., in addition to museums.

Among other things, the exhibit aims to answer the questions of what it means to be an Abenaki person in the modern world. The exhibit, which is composed of artifact clothing as well as clothing representative of an early time made by contemporary local artists,is the product of a decade-long collaboration among Lake Champlain Maritime Museum and Vermont’s Abenaki artists, community members and tribal leaders.

Like all native tribes, Chabot said, the challenges of understanding their tradition and culture and then making that work in the modern world are huge.

“For Abenaki in particular,” she said, “because there was a time in the early part of the 20th century that being identified as Abenaki Indian was dangerous. Speaking your language was dangerous. So families made conscientious efforts to hide that identity.”

A 17th-century style buckskin dress by Melody Walker Brook, part of the new exhibit of Abenaki clothing traditions at the Mount Kearsarge Indian Museum. (Courtesy of Diane Stevens Photography)

What she’s talking about is the time period from 1931 to 1963, when the Abenaki among others were targets of a government-sanctioned sterilization program in New Hampshire and Vermont. Some Abenaki fled. The ones that stayed, hid in plain sight, requiringd them to abandon openly practicing traditions that could identify them as Abenaki. To this day, many tribal elders refuse to admit publically they are Abenaki. As a result, some people believe the Abenaki no longer exist and it is one of the reason the Abenaki – while recognized in Maine and Vermont – are not recognized federally or in New Hampshire. According to government documents the Abenaki can’t prove they’ve consistently existed as a tribe.

“Now we’re in a generation, two generations after that,” Chabot said. “And a lot of people know they have an Indian heritage that are from New Hampshire and Vermont and are in that very challenging place where they want to learn more and are starting to understand some things that their parents or grandparents would do that they wouldn’t have explained years ago.

“So people go about that in many different ways. This is sort of reclaiming their culture. This particular exhibit does that through clothing. . Finding ways to find those cultural threads is very important.”

“In addition to relaying the message that we are still here, the exhibit should show people that we know our history and still practice our culture,” said Longtoe Sheeham. “However, artists don’t need to choose between being a traditional or contemporary artist. Many of us practice both. For instance, I made the Tolba (turtle) Jean Jacket that was designed with traditional designs but I also made the twined woven dress that connects my family tradition to thousands of years of our history.”
– – – – –
The Mount Kearsarge Indian Museum, Education and Cultural Center, 18 Highlawn Road, is open daily May 1 – Oct. 31, Monday – Saturday 10 a.m. – 5 p.m., Sunday noon – 5 p.m. In November, the museum is open on weekends from noon to 5 p.m.

The exhibit will be on view in Warner until Oct. 29 and then it will be moving to The Institute for American Indian Studies in Washington, Conn.

For more information, visit the museum’s Facebook page, visit www.indianmuseum.org, call 456-2600 or [email protected].

Read the full story on the Union Leader website