The inaugural Abbe Museum Indian Market takes place in Bar Harbor May 18-20. The market will support Wabanaki artists and the local community. We’ll discuss the art of the Wabanaki, its effect on the local economy and learn about events taking place to celebrate the inaugural event.
This year, seven art education students found inspiration in Wabanaki folklore for their University of Maine Art Education Student Outreach project. Students enrolled in Professor Constant Albertson’s AED 474: Topics in Art developed original linoleum blocks and used them to print t-shirts intended to be sold on campus and in the community. All of the proceeds will go toward supporting the programs and activities that the Gedakina, Inc. fosters in Native American communities across New England.
“As I was designing the course I researched many Wabanaki issues,” Albertson said. “The students talked it over and did research. We were very excited to work with Gedakina. We didn’t want the product to be another bauble, something that you shove in a junk drawer, and we thought it would be important to use relevant images and symbols.”
In AED 474, Albertson hoped to teach her students skills in collaboration, negotiation and leadership, while showing them how to integrate an art curriculum with community service efficiently. “Art is critical to creating culture and community,” Rochelle Lawrence, an art education student enrolled in AED 474, said. “It creates awareness of the people, animals, nature and history that have come before you.”
Gedakina, which means “Our world, a way of life” in the Wabanaki language, works to bring like-minded community members and allies together to support and empower Native American and indigenous youth. They also work to challenge racism and continual colonialism and encourage inclusiveness and diversity.
On February 24 at 2 p.m. the Institute for American Indian Studies, 38 Curtis Road, Washington, CT welcomes Vera Longtoe Sheehan, Abenaki, one of the creative minds behind the exhibit, “Alnobak Wearing Our Heritage.”
Vera Longtoe Sheehan, notes “this exhibit is unique because it is the first traveling exhibit about Abenaki people that are still here living on the land and creating wonderful things.” During this fascinating talk, Sheehan will explain how items in the current exhibition are made and used to express Native Identity.
This beautifully curated exhibit is composed of artifact clothing as well as contemporary pieces made by Vermont’s Abenaki artists, community members, and tribal leaders. The show offers a chronological look at Abenaki fashion and adornment. There is everything from a beautiful 17th-century style buckskin dress by Melody Walker Brook to a hip looking denim jean jacket with a Tolba or turtle design created by Vera Longtoe Sheehan.
“I’m Chief Stevens. I’m the Chief of the Nulhegan Abenaki tribe. I want to make it clear. We are a sovereign nation. We are not victims. We would like to promote education and cultural opportunities which I think Burlington has a unique position to be able to afford that including the mural. It’s problematic just from the fact that it doesn’t represent Abenaki people. But I want to find ways to work with you guys in promoting our culture in a positive manner.”
Read the latest discussion of the Church Street mural in Burlington, Vermont from WAMC and Northeast Public Radio, with Pat Bradley.
Gabriel Frey separates each layer of ash as if he is peeling an onion. He removes one thin layer after another until he reduces what had been a formidable stick of wood into a small bundle of flexible ribbons. He then narrows each with a hand-held, handmade splitting tool, and weaves the strips seamlessly into one of his ash baskets.
Frey, a Passamaquoddy who works in the basement studio of his Orono home, is busy preparing baskets for seasonal markets in Maine and elsewhere, including several for the Smithsonian Institution, which commissioned him to make baskets for its New York gift shop. He is among a large group of American Indian artists from Maine whose reputations are growing nationally, enhanced by their successes at juried American Indian art markets across the country. For six years, Wabanaki artists from Maine have won top honors at the Santa Fe Indian Market in New Mexico, the largest indigenous art fair in the world. Frey was among three Wabanaki artists to win ribbons at the most recent market in August, snagging a first-place award and an honorable mention.
The 4th Annual Pocumtuck Homelands Festival, a celebration of Native American Art, Music, and Culture, takes place on Saturday, August 5, 2017, from 10 a.m. to 7 p.m. at Unity Park Waterfront in Turners Falls, MA. The event is free, family friendly, fun, educational, accessible, and of interest to all ages.
Performances include live traditional, original, and fusion music, a story teller, and three drum groups. There will be outstanding Native American artists, and games, activities and crafts for children. Also featured will be primitive skills demonstrations, a books and authors section, and condensed history lessons about Great Falls. The Mashantucket-Pequot archaeology team will be on site for the second time to analyze early contact period artifacts people bring to them. And Tim MacSweeney, keeper of the website Waking Up On Turtle Island, can help explain the significance of threatened sites considered sacred to the tribes such as in Shutesbury and Sandisfield. Food will be available, including Native American fare.
Performers will be Hawk Henries, Nipmuc flute player and flute maker; the Kingfisher Singers and Dancers, Wampanoag from the Mashpee, Aquinnah, and Herring Pond communities; story teller Larry Spotted Crow Mann, Nipmuc; the Medicine Mammals Singers; and Lee Mixashawn Rozie, who uses instrumental virtuosity and stories to illuminate the indigenous and African roots of “American” music. Be energized by the presence of three drums: Chief Don Stevens and the Nulhegan-Coosuk Band of the Abenaki Singers, plus returning favorites, the Black Hawk Singers (Abenaki), and the Visioning B.E.A.R. Circle Intertribal Coalition Singers.
Interpretive text may soon be added to a controversial mural at the Durham Post Office to give it historical context, but a group representing Native Americans still say that is not enough.
The mural was questioned last year by Rev. Larry Brickner-Wood of the Waysmeet Center at the University of New Hampshire. Brickner-Wood said at the time that he has always felt uneasy about what is depicted in the panel “Cruel Adversity,” which shows a Native American preparing to torch a settler’s home.
According to a decades-old brochure about the 16-panel mural, it was commissioned by the Women’s Club of Durham in 1959 and painted by artist Bernard Chapman. The goal was to reflect the history of the town, and the panel is meant to depict the Oyster River Massacre of 1694, where five garrison-style homes and 15 dwellings were burned. It is believed 100 people were killed or carried off.
Last week, during a meeting with town officials, members of the New Hampshire Commission of Native American Affairs, a representative from the New Hampshire Division of Cultural Affairs and a representative from the United States Postal Service (USPS), the idea of installing interpretive text on the wall was brought up. The USPS has a policy that it does not remove or cover historic artwork, and it does not allow new artwork to be added, according to town administrator Todd Selig.