Lori Lambert, PhD, DS

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2014
Image of Dr. Lori Lambert.
Lori Lambert, PhD, DS

Lori Lambert is a scriptwriter, photographer, writer, and researcher. In her spare tine she follows her passion of beading.  She has been beading for over 20 years. She learned her craft from the elders on the Flathead Indian Reservation, especially Rachel Bowers and Edna Finley, and from the great granddaughter of Wooden Legs, a Cheyenne Warrior.

She believes that anyone can learn to bead and that anything can be beaded. It takes patience, and a good sense of what the colors can express. She says, “It is important to have a peaceful heart and calm mind otherwise the work will have bad karma.” At Salish Kootenai College, where she is a professor and the Head of the Native American Studies Department, she has taught students to bead stethoscopes, medallions, dance dresses, and even moccasins. In addition to beading, Lori loves doing research, writing, traveling, and hosting television programs for KSKC-TV. She lives on the Flathead Indian Reservation in western Montana with her husband, Dr. Frank Tyro and their band of sled dogs.

 Artist Statement

Although I enjoyed drawing and writing since I was a child, I never thought of myself as an artist.  To me artists were musicians, painters, dancers and their work was shown in museums or theaters. After I married my husband Frank, I paid more attention to Native cultural arts and took courses in reservation arts at Salish Kootenai College, where I teach.  Many of my friends are amazing bead workers and I continually aspire to their level of perfection.

 I have written and published six books.  They are all on amazon.com.  My latest book is entitled “Research for Indigenous Survival: Indigenous research methodologies in the behavioral sciences.  

 My husband Frank is filmmaker and broadcast engineer. As the scriptwriter, we have collaborated on several projects all of which won various awards from “Best Documentary Short” “Aurora”  “Aurora Platinum.” 

 Over the years I have learned that art is writing, bead working, powwow dancing, and script writing and doesn’t necessarily have to be shown in a museum or a theater. 

My most recent book, Children of the Stars: Indigenous Science Education in a Reservation Classroom was written in coordination with Ed Galindo. It is the story of students and a teacher, courage and hope. Written in a conversational style, it’s an accessible story about students who were supported and educated in culturally relevant ways and so overcame the limitations of an underfunded reservation school to reach great heights.


Email: [email protected]

Image of beaded keychains by Lori Lambert.
Beaded keychains
Image of beadwork by Dr. Lori Lambert.
Image of detailed beading on dress by Dr. Lori Lambert
Detailed beadwork on dress



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


  • All of my Relations: Faces and Effigies from the Native World –  Invitational Group Art Exhibit.  Mt. Kearsarge Indian Museum, Warner, NH
  • Western Montana Fair: Blue Ribbon for Katiya’s beaded harness
  • Art show at the Sand piper Art Gallery in Polson Montana
  • Salish Kootenai College Art exhibit/ Faculty Art exhibit

 Selected Publications

  •  Lambert, L. (2014). Research for Indigenous survival: Indigenous research methodologies in the behavioral sciences. Pablo: Salish /Kootenai Press
  •  Lambert, L. (2011). Two-Eyed Seeing: Indigenous Methodologies in Psychology. Paper accepted: International Congress for Qualitative Research
  • Lambert, L. (2011). Two-Eyed Seeing: Indigenous Methodologies in Psychology. Paper presented for the Eberhard Wenzel Oration. Australian Health Promotion Association Conference, Cairns, Qld, Australia
  • Lambert, L. (2011). Historical Trauma and Environmental Degradation as Health Disparities for Indigenous People. Keynote paper presented Health Promotion Association of Australia, Cairns, Australia
  •  Lambert, L. & Toby, R. (2009). Gungalu Warrior Dreaming: The biography of Robert Toby senior. Rockhampton, Queensland, Australia (Unpublished Manuscript at the Request of the Family)
  •  Lambert, L (2008). In Our Own Voice: 12 Narratives focusing on culture and health for Grades 8-12. Seattle, WA: University of Washington
  •  Lambert, L.,Wenzel, E. (2007). Issues in Indigenous Health in Critical Issues in Public Health. Ronald Labonte and Judith Greene (Eds). Routledge
  •  Lambert, L. (2005). Paper presented at the Canadian Aboriginal Science and Technology Conference, Cape Breton, Canada: Distance Education Providing College Courses for Remote Aboriginal students
  •  Lambert, L (2005).Cheyenne Daughter. Bloomington, IL: Authorhouse
  •  Lambert, L & Walsh, C. (2002). Heart of the Salmon, Spirit of the People: Ethnicity, Pollution, and Culture Loss. Bloomington: Author House
  •  Lambert, L.A. (2001). International Union for Health Promotion and Education Journal: Promotion and Education. Vol. viii/2-4. American Indian Partnerships: Historical and contemporary
  • Lambert, L. (2000). Keepers of the Central fire: Issues in Ecology for Indigenous Peoples. New York: National League of Nursing Press
  • Lambert, L. (1996). Through the Northern Looking Glass: Breast Cancer Stories told by Northern Native Women. New York: National League of Nursing Press

Awards & Honors (select list)

2014: Conference Chair: American Indigenous Research Association Conference

2013: Conference Chair: American Indigenous Research Association Conference


  • Founder and member: American Indigenous Research Association
  • Member: Indigenous Studies Research Network. Queensland University of Technology, Brisbane, Queensland
  • Tapestry Institute, Longmont, CO: Board President

2013: The International Women’s Leadership Association: Woman of Outstanding Leadership.

2012: American Indian College Fund Faculty of the Year for Salish Kootenai College

2011: American Indian College Fund Andrew W. Mellon Foundation Fellowship Award for Faculty Research

2009 Award: Outstanding Contribution to Distance Learning and Adult Education. The North Carolina State University

2009 Fulbright Scholar: China (6 weeks)

2005: Aurora Award- Platinum Best of Show Cultural Documentary: Lambert, L. & Tyro, F. (2003) Sacred Salmon. Documentary Produced by Salish Kootenai College Media Productions. Frank Tyro, Director, Lori Lambert, Script Writer.2003: Faculty Fellowship Award: United States Department of Agriculture, Foreign Agriculture Service 2002: Faculty Development Award: Center for Theology and the Natural Sciences

 2002: Faculty Development Award: Canadian Embassy

 2001: Sloan –C National Award for “Excellence in Asynchronous Teaching”

 2001: Nominated for Outstanding Employee of the Year: Salish Kootenai College

1999: Course Award: Center for Theology and the Natural Science, Berkeley, Calif.: Science and Religion : Environmental Science and Indigenous Religions.1995 American Society for Canadian Studies in the United States: Nominated for the Distinguished Dissertation Award

1996: Canadian Embassy Research Grant

1995 The Union Institute: Nominated for the Sussman Award for Distinguished


1994: Canadian Embassy Graduate Student Fellowship

1988: The Schuylkill Center for Environmental Education, Philadelphia, PA: Board    Award.

1982: Montgomery County Community College, Blue Bell, PA: Outstanding Graduate Award.

1980: Temple University, Philadelphia, PA: Outstanding Graduate Award 1980

1979: Gladys Pearlstein Humanitarian Award: Montgomery County Community College, Blue Bell, PA


Vermont Abenaki Artists Association

John Hunt

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2016
Image of John Hunt.

John Hunt grew up in the farm country of Vermont. When he was young, his father would tell him about his native heritage and about how their ancestors had lived. John enjoyed imaging how it was long, long ago as well as how his grandfathers lived more recently. He saw how life used to be made up of your own two hands. Whether it was tools needed for farming or hunting or things you would need around the house like bowls and baskets it all had to be made by someone’s skilled hands.

This inspired John to have a relationship to life like his family had always had. To know how to make what he needed from the land around him. When he looked back at many of the tools of our ancestors, he saw they were created not only to be functional but beautiful as well. He was inspired by that way of being and has chosen to live his life in that way. Though he has tried and practiced many art forms, he has focused most on carving, basketry, and pyrography.


I have been creating art since I was a child, but since the age of 18, it has become a very strong focus in my life.  Though I have never had one primary teacher, I have learned through many people over the years as well as through my own personal practice.

Carving: For my carving, I use many types of wood. For kitchen utensils, I like to use a hardwood like black walnut,

Image of gourd bowls with corn.
Picture courtesy of Diane Stevens. Gourd bowls with corn.

black cherry, apple, maple, etc. and for more figure/ sculpture carving I use soft woods like white pine or cedar.

Basketmaking: My family members were basket makers that sold their wares around northern VT. However, there is no longer anyone in my direct family practicing this art, so I have sought out many different teachers over the years. Though I haven’t formally studied with anyone, I have spent time with many different basket makers around Vermont. I primarily make bark and willow baskets. For the willow, I gather from a few locations by my home that grows nice long rods, and I tend these patches. For my bark baskets, I prefer pine, and I keep my eye out for trees that have fallen over during the winter and peel their bark in the spring.

To create my art, I use modern hand tools. However, I gather all of my materials from the natural world. My art is an expressive outlet for me and a connection to my ancestors. I really enjoy making things that have a function as a spoon but going beyond function and giving it a unique beauty. I find inspiration for my crafts in nature around me. I try to have my crafts showcase and lead to the innate majesty of the plants, animals, and elements.

Pyrography: Over the last several years, I have studied traditional Wabanaki designs and the images I see in nature. From these studies, I create my designs. I grow the gourds that I use and gather soft woods for my pyrography.

Image of spruce and bark baskets.
Spruce and bark baskets. Picture courtesy of Diane Stevens.

Image of cranberry and skunk bean necklace
Handmade true Vermont cranberry and skunk bean necklace. Picture courtesy of Diane Stevens.
Image of handmade wooden spoons.
Handmade wooden spoons. Picture courtesy of Diane Stevens.

Contact Info

Email: [email protected]


Part of the permanent collection of Abenaki Cultural items at the Burlington International Airport, Vermont.

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


Vermont Abenaki Artists Association

Jean Burbo

Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation

Juried Artist since 2016
Image of Jean Burbo.

Jean Burbo is an enrolled citizen of the Nulhegan Abenaki Tribe. She was raised in an atmosphere where art was prevalent. Both her mother and father were artists. Her mother taught arts and crafts to both adults and children. As a result, Jean learned many skills at a very young age.  Jean lives in Connecticut, not far from the ocean, with her husband and her “fur baby.” Because she is now retired, she is able to devote much time to her art. She says, “Making art is so relaxing to me. When I’m touching the shells or stringing the beads, I’m taken away to another world. Sometimes, I feel like I am sitting with my Ancestors and sharing my time with them.”

She makes both traditional and contemporary styles of jewelry. Her favorite making chokers and bracelets with hornpipe. While walking on the beach near the ocean, Jean enjoys finding wampum shells and incorporating those found items in her creations. She also uses leather, as well as glass, wooden, and metal beads to finish her work.

Artist Statement

I was born in Massachusetts but was raised in Vermont. My family was connected to Vermont and had been for centuries. I am a member of the Nulhegan Band of the Coosuk Abenaki Nation.

As a child, I spent many hours in the woods riding my horse, Cottontail, or walking with my dad while he told me about the beauty and spiritual connection we have with Mother Earth. He would teach me about the responsibility we have to protect and preserve the land. I have never forgotten those teachings, and now they are part of my life.

My ability for making jewelry and crafting came through the teachings of my mother, who was a very talented artist. It seemed like she was always creating something and she would include me; so I learned, at an early age, to enjoy designing jewelry. My jewelry has evolved over the years, and I now include both traditional and contemporary pieces.

Because I believe that wearing traditional clothing and jewelry is in honor of our Ancestors, I always smudge each piece when it is completed. I ask Creator to bless the item as well as the person who will wear it.

Image of necklace made by Jean Burbo.
Image of quill earrings made by Jean Burbo.
Image of pouch made by Jean Burbo.
Image of tribal bracelet made by Jean Burbo.

Contact Info

Email: [email protected]


Vermont Abenaki Artists Association

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