School of Abenaki Pilots First Summer Remotely

Abenaki-Lang-schools-By-Ho-June-Sean-Rhee

In its first summer as part of Middlebury’s summer Language Schools, the School of Abenaki engaged 23 students in a two-week pilot program on Abenaki language and culture. Jesse Bowman Bruchac, a citizen of the Nulhegan Abenaki Tribe, led Middlebury’s first Native American language program. The school allowed all of its students to attend this year free of charge, something Bruchac noted as a demonstration of the college’s support of efforts to preserve indigenous culture and language in the area.

Like all of Middlebury’s Language Schools this summer, the program was conducted remotely.

“Being online helped to bring people together,” said Bruchac, who has spent his career traveling across New England and the country to teach. Bruchac has nearly 30 years of experience teaching the Abenaki language and working to preserve its culture… (continued)

Read the full article by Catherine McLaughlin in The Middlebury Campus digital paper.

 

Mount Grace Land Conservation Trust at Wantastegok

radder wantastegok retreat farm mount grace

“The Elnu Abenaki Tribe have partnered with Mount Grace since the early planning of the Gunnery Sergeant Jeff Ames Wheelchair Accessible Trail, which now guides visitors through a series of interpretive signs emphasizing the Abenaki’s continued connection to the lands that make up Squakheag/Northfield.

Elnu representatives worked with Mount Grace, and with the Wampanoag Aquinnah and Narragansett Nations, to describe the cultural importance of the Alderbrook Meadows site and helped design the educational signs for the trail.

This August, Mount Grace was invited to Vermont by the Elnu to witness the reclamation of Wantastegok–”at the river where something is lost”–the original name of the confluence of the West River with the Connecticut in Brattleboro.”

Read the full article in the 9/8/20 Mount Grace newsletter.

 

Vermont Humanities Fall Conference 20/20: Democracy, Social Change, and Representation in Nd’akinna

This video is part of Vermont Humanities’ “Democracy 20/20” digital Fall Conference.

The panel was led by Vera Longtoe Sheehan, the director of the Vermont Abenaki Artists Association, and features Abenaki leaders, mentors, and community members. From upper left, clockwise: Sherry Gould (Nulhegan), Brian Chenevert (Nulhegan), Vera Longtoe Sheehan (Elnu), Jim Taylor (Elnu).

Beginning with a greeting and historic overview of democracy in Nd’akinna (Western Abenaki for Our Land), this panel of Abenaki voices considers the threads of place, home, belonging, and representation in a time of great social change.

Reclaiming the Abenaki Placename Wantastegok at Retreat Farm

The Brattleboro Words Project commissioned this appealing, succinct video by filmmaker Donna Blackney, as part of its NEH-funded documentation of the intersection of people, places ,and words in this region. The event was well-attended and well-received, and signals the beginning of an inclusive and mindful collaboration between the Elnu Abenaki, other members of the Native community, and Retreat Farm, in Wantastegok/Brattleboro.

This video will be shared several times through programming at Brattleboro Community Television (listing here).

New Abenaki Language School in Vermont

abenaki heritage weekend

Learning a new language can be both daunting and rewarding. And perhaps no other language school in the U.S. does it better than Middlebury College and its famous Middlebury Language Schools.

That’s why Middlebury’s new School of Abenaki, a pilot program for 2020 which wrapped up recently, promises to become an asset to the school’s overall program in the coming years.

The secret of the internationally acclaimed Vermont language school is its intensive, immersive approach. Students not only learn a new language but they are also live it by being taught the language’s culture underpinnings.

Approximately 20 students lived, learned, and interacted with Abenaki, Vermont’s indigenous language, during June and July.

Link to the original article in The Sun, from The Vermont Eagle.

Kwenitekw – The Long Story

kwenitekw-prospect-wantastegok-may-2016

It is a traditional understanding that Creation is continual – the only constant is change. What we see now was once something else, and what may come afterward will only be known when it is here. All that we encounter is made of the same substances… combining, recombining, transitioning, growing, fading. It has all “always been here” and it is still here. We are each a part of everything else in this whole we call Creation, in a very pragmatic manner, and even now there is change underway: things will be different afterward but Creation continues.

To state that something is “exactly this or that” is to not see the situation as it truly manifests itself. This is the mind of separation and objectification – the illusion of control – which, after all, is the process of colonization, and the (literal) force that has been and is having a great effect upon our existence here on this Earth. When we step out of a recognition that we are in a continually evolving relationship with everything around us, we move away from balance and toward increasing disarray and dysfunction. We are no longer fulfilling our roles and responsibilities.

We see the world in part, for at least several reasons. Internally, our individual life lessons color our experience; in other words, we can only understand the world in terms of what we already know of it, and if we encounter something unfamiliar, we either learn from that moment, or not. Externally, our cultures frame our worldview; they provide the tools, including language, by which we make meaning and interpret our intersections with our surroundings. And, on a practical, material level, our degree of perspective is necessarily limited by both the physical location at which we are situated, and by how much attention we devote to the moment. We see what is before us, if we are present there and then, using our full senses – and those need not be limited to the basic five. There are many ways to be “sense-itive.”

west-river-december-brattleboro-2018

All of this suggests that there are multiple, equally valid experiences of existence – many ways of being – and all of these entities are experiencing each other at the same time. There are layers of relationship, always in motion and shifting, seen and unseen, moving between forms and effects, all present at once and energized by the Spirit within. There is no “one objective way of being,” since all is in constant flux and centered on the interactions of that moment. This is not license for carelessness and anarchy, but a call to recognition and responsibility.

This is an Indigenous view of the world. This is why Place is so important. These interactions and overlapping realities are shaped by the ways that the entities of a particular place are relating to each other, in the moment – they are present, together, in that Place. In any other location, there would be necessarily be a different set of actors, interacting in different ways. The dictionary definition of an Indigenous person is “ the original people of a place.” The critical characteristic here is the landscape within which the People (and every other entity there) are connected; the Place is the lens through which they define themselves. They, and the Place, are the same thing. It is no accident that the Abenaki word “tôni” means both “where” and “how.” The setting matters that much.

rock-dam-connecticut-river

Quite often, this is the way that Aln8ba8dwaw8gan (the Western Abenaki language) works… A word may evoke more than one meaning at the same time, since there is more than one possible reality, and the language allows for that. A term may have a direct, descriptive significance, and at the same time it may make a metaphorical reference. It can be a launching point for a deeper exploration of significance or suggestion, totemic for an entire story or understanding. That the language structure itself is polysynthetic – combining smaller, individual root words, known as morphemes, to add inflection – means that a single word can express a complex concept.

This is the case with Kwenitekw (KWEN- ee – took – uh, the last syllable almost voiceless), the Abenaki word for today’s Connecticut River. On a pragmatic level, it is usually taken to mean “Long River”. The two morphemes that impart inflection in this word are “kwen-” and “-tekw”, with the “i“ connector. “Kwen-“ is an adjectival modifier suggesting extended length and usually translated as “long” or “tall”, a spatial dimension. And “-tekw” is a bound suffix, used for water in the form of rivers, tides, and waves. At first examination, this results in the straightforward “Long River.” And it is a long river – the longest in the region – flowing southward over 400 miles, from the eponymous series of Connecticut Lakes at the US/Quebec border to the Atlantic Ocean at Long Island Sound. But it doesn’t stop there.

connecticut-river-confluence-dummerston-canoe-brook

It has been said that the Abenaki did not focus on the idea of the River as an object unto itself, a stand-alone geographical feature. Of course, in the grand web of inter-relatedness, it certainly is not. Rather, it is a unifying presence, a vast watery web of connections, drawing together the rainfall, snowpack, brooks, ponds, vernal pools, marshes and swamps, and tributaries of an 11,260-square-mile watershed. Where today we see a dividing boundary between Vermont and New Hampshire, the Kwenitekw is more inherently the central heart of a vast community of communities, the Abenaki homeland of Ndakinna.

The Abenaki (and the Wabanaki, by extension) see themselves as river-centric people, using the place-based paradigm of indigeneity, applied to their various dwelling places in the lush, well-watered mountains of the Northeast. Scholar Lisa Brooks makes mention of this in her relation of the Native leader Polis, who lived on the Presumpscot River in the early 18th century. When he travelled to Boston, protesting colonial abuse and usurpation of the Presumpscot, he referred to it as “n’sibo” – “the river to which I belong.” Each band of Abenaki people had their own river, or other body of water, each with its own associated name – which typically became their name for themselves as well. The tributaries of the Kwenitekw provide examples: Wantastekw, Ammonoosuc, Ashuelot, Mascoma, Ompompanoosuc, Nulhegan, Pocumtuk. These places (often at confluences) were centers unto themselves, a network of relations connected by the River, but also by kinship, trade, culture, diplomacy, seasonal gathering, and more, down through the generations.

connecticut-river-summer-sunset-brattleboro

By allowing these cultural understandings to illuminate underlying concepts of the two constituent morphemes, the name Kwenitekw can evoke something much more encompassing and suggestive than simply Long River. “Kweni-” can also suggest “duration”, as in a continuance – a length of space/time. An ongoing, sustained series of connected moments: a story line. A cognate, perhaps, to what the Aboriginal People of the Australian continent call a dreaming track or a songline. And the suffix “-tekw” more closely means means “flow” as in “water in dynamic motion” – thus, it is used for rivers, tides, and waves – but not lakes, ponds, and bays. Rather, it is water as the essence of life – moving and shifting, transitioning from one place to another – it is imbued with power.

So, while Kwenitekw can be seen to express the “Long River” as a rather straightforward toponym, it can also describe an expansive concept. In sentence form, it might be expressed as “a continuous, connecting flow of spirit-power in transition.” One might think of it as an Abenaki expansion of the expression attributed to the Greek philosopher Heraclitus “No man ever steps in the same river twice…” When this broadened perspective is absorbed, it begins to inform many other concerns, such as relationship, change, presence, responsibility and balance, to suggest a few. This is the way of it.

connecticut-river-sunset-february-ice

This essay appeared online in the Mt. Kearsarge Indian Museum blog on March 25, 2020. I encourage you to visit them, in Warner, NH, when you have an opportunity.

Nebi, Abenaki Ways of Knowing Water

A just-released short film by Vince Franke of Peregrine Productions, LLC, created to support the watershed education programs of Lake Champlain Sea Grant, UVM Extension, the Rubenstein School of Environment and Natural Resources, and to help preserve these stories for the Abenaki and others. Funding was provided by NOAA, Sea Grant, and an anonymous donor.

Centering on Bitawbagw/Lake Champlain and then water in general, the film is a series of interviews with people in the Native community expressing their understanding of  being in relationship with life-giving water. Each story teller provides their own unique interpretation; I was honored to participate in this group effort with Chief Don Stevens, Chief Roger Longtoe Sheehan, Chief Eugene Rich, Melody Brook, Lucy Cannon Neel, Cody Hemenway, Morgan Lamphere, Bea Nelson, Fred Wiseman, and Kerry Wood.

#WaterIsLife

Direct link to Vimeo here.

The Winter Season, Solstice, and the New Year

nokahigas wantastegok wajo 2017

As it usually does, this year (2018) the winter solstice in Pebonkik – the North Land – lands on December 21st, specifically at 5:23 pm in our region (EST). In our modern scientific understanding, as a detached observer with the perspective of an imaginary point in space, this the time when the North Pole of the earth, in its annual orbit of the sun, is facing farthest away from its light and warmth, due to the fixed tilt of our axis. The seasonal calendar lags behind a little, due to the earth’s great thermal mass, but on the solar cycle, this is actually Mid-Winter, and is known as such in many old cultures. As we continue our yearlong orbit, we find ourselves tipped relatively more toward the sun, lessening the ratio of night to day, until we reach the summer solstice position on or near June 21st, half an orbit and half a year away.

But now, back here in the northeast part of the continent, the approach of the winter solstice means the daylight grows scant and the nights extend their long darkness. The noonday peak of the sun’s circuit across the sky sags toward the horizon, dropping lower every day, until it slows to a virtual stop at its nadir. Here it seems to pause for a few days: in fact, the English word “solstice” derives from “sun stands still.” This is how it is experienced for a person standing in their own familiar landscape, watching the changing sky with the passing of days. Indigenous cultures have developed protocols based around these celestial and seasonal rhythms, manifesting as both practical and ceremonial, to ensure their continuity and prosperity. They are encoded in their respective spiritual belief systems, with the assurance that the diligent observance of these practices is necessary for the ongoing mutual success of both cycle and celebrant.

ash swamp brook confluence hinsdale nh february

To a community of Abenaki people, living in a close relationship with the landscape, marking the change of seasons and understanding the implications is a matter of necessity. Planting, harvesting, hunting, fishing, material and medicine gathering, and sheltering must be anticipated, planned, and achieved, with ample provision made until the cycle comes around again. With a close awareness of the changing signs, at the appropriate times these activities are signaled and marked with traditional practices such as feasts, dances, ceremonies, songs, and stories, reminders of the importance of what is at hand.

As winter sets in, the annual circle of seasons is seen as slowing to a quiet, still place: a time for resting, reflection, and renewal. The year is made of 13 moons, the approximate number of full lunar cycles in a solar year. Each lunar month begins with the new moon, with a 29 1/2 day cycle through the full moon until the next new moon.

The old year ends with the new moon before the winter solstice. This last moon (the current one) is known as Pebonkas – Winter Maker; it may also be called Kchikizos – Great Moon (kchi=great + kizos=full moon), due to the clarity of the shining disc in the cold, clear sky. The solstice lies within this moon and signals the time when the sun stands still, low in the sky, and then begins to climb higher. This is known as “Peboniwi t8ni kizos wazwasa” – “In winter when the sun returns to the same place.” Two other names, for reasons already given, are first: “kwagwanidebokak” – “the very long night” (kwagwani=very long + debokak=when it is night) and second “n8wiponasik” – “midwinter” (n8wi=middle + pon=winter + asik=the one that is).

wantastiquet wantastekw march twilight

On these long, cold nights stories are told around the fires in the wigw8m, more so than at other times, when the longer days and warmer weather are better utilized in other pursuits. The stories entertain, teach, remind, and reinforce, important for a culture that depends on oral transmission of tradition, wisdom, and history. This is how the next generations learn who they are, from whence they have come, and how they in turn may become good ancestors of those yet to appear. Circumspectly, many of these stories are only told at this time of the year, when the subjects of the discourse are asleep and dreaming beneath the ground or ice, or caves, or gone until warmer days return. Their rest will be undisturbed, not overhearing their names and their stories being shared in the firelight within the snug bark lodges.

The next month is called “Alamikos” or “Anhaldamawikizos” – Greetings Maker or Forgiveness Moon. It is the first moon of the Abenaki annual cycle and it begins on Jan. 5th this year with its own dark phase, and has its own traditions, which we will address in another post.

 

On 7/24/18, Lynne Keating Murphy: the Sadoques Family in Keene, NH

lynn keating murphy keene cheshire county historical

Facebook Event listing here.

The Historical Society of Cheshire County will offer the first lecture of its 2018 Wyman Tavern Lecture Series Tuesday, July 24, at 7 p.m.

Lynn Keating Murphy, Abenaki Indian, master educator, and descendant of the Sadoques of Keene, will discuss the history of her family in the Connecticut River Valley and Quebec and their basket-making traditions. The history of the Sadoques family intersects with this area, and provides insights into the complex story of the Abenaki people in the region. The talk will be held at the historical society’s headquarters, 246 Main St. in Keene, and admission is free.

The theme of this year’s Wyman Tavern Lecture Series is “Indigenous people, history and culture into the 21st century.” The Wyman Tavern Lecture Series will continue Aug. 29 when Keith and Kathy Stavely do a book signing for their early American cooking book — “United Tastes: The Making of the First American Cookbook” — and Linda Stavely prepares samples of early American recipes including a Native-American-inspired dish.

On Oct. 7, The Colonial Theatre will host a showing of “A Good Day to Die” — a 2010 documentary that chronicles the American Indian Movement that fought for the civil rights of American Indians.

The series concludes Nov. 3 with a “Basket Day” at the historical society. Members of the public are invited to bring their baskets, and basket experts will be available at the full-day event to identify and record the age, origin, physical characteristics, and known history of each basket. Basket Day will end with a talk by basket expert Lynn Clark on the history of Native American baskets in the Monadnock Region and New Hampshire, and by Lynn Murphy on her family’s Abenaki Indian basket history.

More information: visit hsccnh.org or call 352-1895.

See the original listing in the Keene Sentinel.

Institute for American Indian Studies Exhibit Features Abenaki Creative Process

vera longtoe sheehan aln8bak wearing our heritage

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.

 “The message of this exhibit is that we are still here and that we know our history and still respect and practice our culture,” said Longtoe Sheehan. Many of us practice both traditional designs and clothes such as the twined woven dress and handbag I made as well as contemporary designs using a jean jacket, in different ways, both connects my family tradition to thousands of years of our history.”