By Faith Wood. Middlebury College. Class of 2024 Native Presence and Performance (First Year Seminar Course)
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Poitras Jones believes the United States government has not done nearly enough to heal the wounds it has inflicted upon Indigenous peoples. She
By Faith Wood. Middlebury College. Class of 2024 Native Presence and Performance (First Year Seminar Course)
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it is being introduced in three parts over a period of three weeks. Thisis the second part.
By Faith Wood. Middlebury College. Class of 2024. Native Presence and Performance (First Year Seminar Course).
In spring 2021, Vera Longtoe Sheehan (Elnu Abenaki) met with the students of “Native Presence and Performance: Reclaiming the Indigenous Narrative,” a first-year seminar offered by Middlebury College. After the meeting, Longtoe Sheehan recommended the students interview and write about VAAA affiliated artists. This blog post is one of a series that were created for that project, respectfully submitted by a student who self-identifies as non-Native.
Due to the length of this narrative, it will be introduced in three parts over a period of three weeks.
Even at 72 years old, Francine Poitras Jones of the Nulhegan Abenaki tribe plays an active role in teaching through creation. Dressed in her traditional regalia, she often volunteers to visit the classroom to teach students about Abenaki games, songs, culture, and language. Her BlueWolfCrafts Etsy page boasts over 170 items of Native American hand-crafted items, from jewelry made with Wampum shells she herself gathered, to leather pouches and moccasins. Francine does not limit herself with just one or two mediums.[1] For example, in two-dimensional works, her art spans from acrylic painting, to sketches with India ink, to creating with watercolors. For as long as she can remember, Francine has loved and been naturally inclined to creating.
Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation
Juried Artist since 2014
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.
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 PublicHealth. 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
2013:
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
Dissertation
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
Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation
Juried Artist
June Roberts Wesley
June Roberts Wesley, like many artisans before her, had an affinity for drawing and painting. No surprise her favorite class in school was Art Class! She had an eclectic interest in many mediums, including silversmithing and painting. During her high school tenure she began to explore more traditional Native art forms and bought her first beading loom.
She attended her first pow wow at Dartmouth college and was enthralled with a whole new world opening up for her. She was fortunate to have her early work on display at an All Native art show for high school students and one of her drawings was chosen to be the graphics on the pow wow poster for the Dartmouth event.
June has settled into the sewing and designing of dance outfits using applique as her “paint”, creating colorful contemporary powwow dance clothes for dancers all over the US and Canada, including a former Miss Indian World. She also enjoys beading and sequin work. She is currently working on a traditional fully beaded top for a client as well as other custom orders. She is also helping to make a traditional Apache dress for a young lady’s Sunrise Ceremony, a coming of age celebration for Apache girls as they come into womanhood.
June lives in Arizona with her husband Fred in the beautiful Apache homeland enjoys the always dramatic surroundings in the Southwest desert.
Artist Statement
I have always been drawn to color and being able to design and sew powwow dance outfits or bead items for a living is pretty extraordinary! My mom always encouraged me, even allowing me to paint murals all over my bedroom. ..how cool is that for a little girl? Get me in a fabric store or bead shop and I just get excited at the possibilities…..
I am so grateful to those who enjoy my work and to those who encouraged me through the years, especially my friend Amisa Yellowbird who spent countless hours with me, teaching me new techniques and brainstorming ideas.
Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki
Juried Artist since 2016
Billie Jo is an avid seamstress who enjoys making regalia. She is known in her community as a seamstress who makes dresses and skirts, ribbon shirts, shawls, leggings, and even traditional coats.
Enrolled Citizen of the Nulhegan Band of the Coosuk Abenaki Nation
Juried Artist since 2016
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.
CONTEMPORARY ABENAKI ARTISTS share their artwork and family photographs in the special exhibit
A note to our visitors
This website has updated its privacy policy in compliance with changes to European Union data protection law, for all members globally. We’ve also updated our Privacy Policy to give you more information about your rights and responsibilities with respect to your privacy and personal information. Please read this to review the updates about which cookies we use and what information we collect on our site. By continuing to use this site, you are agreeing to our updated privacy policy.
CONTEMPORARY ABENAKI ARTISTS share their artwork and family photographs in the special exhibit