On Twitter, Nov. 1, 2018
A response to an article by Tom Slayton in the online Vermont magazine Seven Days today, November 1, 2018:
This article includes a classic example of the minimization of a 10,000 year-long (or longer) indigenous presence in the landscape, exemplified by characterizing cultural usage patterns as ephemeral and insubstantial. This biased historical trope is deployed typically in comparison to later European land settlement practices such as fence- and wall-bounded properties, permanent structures, commoditized agriculture, and extractive industry.
The narrative device is used so often it has become de rigueur and may not even raise an eyebrow in notice. In this case, the statement is made: “There’s no evidence that Native Americans lived on the mountain, but they may have used it as a strategic lookout.” This, in spite of the fact that the subsequent post-Contact history (to draw a fuzzy gray line) was and is exactly that as well.
Given that the Champlain Sea is estimated to have been about 450 feet above current Lake levels, Mt. Philo and a few other nearby elevations would have been islands at the time, projecting only a fraction of their mass above the surrounding brackish water. They would have been heavily utilized by the region’s first inhabitants for occupation, food processing, resource gathering, and reconnaissance. With a broad prospect over the water- and landscape, the eminence would play a significant and lasting role for the Native descendants of these first peoples. It is not hard to find evidence for this supposition. The Abenaki have their own name for the landmark: Mategwasaden – Rabbit Mountain. Immediately west, Thompson’s Point remained a significant Abenaki community well into recent times. The Point and the surrounding Lake are well-documented for archaeological significance.
With a twist of irony, the State of Vermont’s management plan for Mount Philo State Park states: “In the late 1800s, William Higbee, a Charlotte resident and journalist, wrote that Mt. Philo was named for an “Indian fighter and famous hunter” named Philo who camped on the mountain. One of the first written references to the “Devil’s Chair” [a slopeside feature] was in an 1896 article that describes a natural rock outcrop by that name.” People who are able to “read between the lines” will recognize here another common displacement trope masquerading as quaint local history: the Devil epithet is often attached to Native sacred landscape features, and a description of “chair” or “seat” will often refer to an elevated ceremonial site, used in recognition of its prominent exposure to the sweep of landscape and sky.
We are not served well by such dismissiveness.
Rock shards from the Paleoindian Period have been discovered at a sand pit next to Chittenden County’s regional composting facility, less than a decade after concerns about Native American artifacts contributed to the closure of a similar operation in Burlington’s Intervale.
The district acquired the sand pit through eminent domain in 2009 from a private company, Hinesburg Sand & Gravel, and granted the company the right to take sand from the pit for 30 years. The artifacts were discovered as the district sought to amend its Act 250 permit to expand the sandpit’s active excavation area and allow for stormwater improvements related to its Green Mountain Compost facility, according to its application. A portion of the pit is currently used for compost curing and storage, according to the permit documents.
Read the full article by Molly Walsh in Seven Days.
In early May, Burlington Mayor Miro Weinberger’s office announced a new partnership with the Vermont Abenaki Alliance. The collaboration grew out of controversial discussions over the “Everyone Loves a Parade!” mural on Church Street, which not everyone loves.
(If you haven’t been keeping up: Calling the artwork racist, Albert Petrarca vandalized the mural’s identification plaque in October 2017. Since then, community members and City Council representatives have been debating whether to replace or alter the mural to depict a more accurate history of Burlington.)
The focus of the City and Abenaki Alliance collaboration will be public events and education about native people and history. The release notes a July 7 event on Church Street and, in the future, a permanent exhibition at the Burlington International Airport.
Read the full article by Sadie Williams in Seven Days.
Last Saturday, about two dozen people gathered in West Barnet to play the traditional Native American winter game of snow snake. The games also coincided with the official opening of the Nulhegan Abenaki Cultural Center.
“This is an ancient Native game,” explained Donald Stevens, chief of the Nulhegan band of the Abenaki nation. “You slide a stick down the track. Whoever goes the farthest wins.”
The competition is generally friendly. But sometimes, the winner takes all the sticks, said Stevens. “If you’re playing against another nation, be prepared to lose your sticks.”
The games were held in Derby Line for the last three years.
Read the full account by Kymelya Sari in Seven Days.
When Deb Reger began her weekly radio show, “Moccasin Tracks,” on WRUV 90.1 FM last Tuesday at noon, she reminded her listeners where she was. “We recognize this area where we broadcast from as N’Dakinna, the ancestral homeland of the Abenaki nation,” she said from the radio station’s studio in the University of Vermont’s Davis Center in Burlington.
As the song “Grandmother” by Navajo artist Radmilla Cody played in the background, Reger told listeners that her guest for the week was Grandmother Nancy Andry, an elder who lives in Connecticut and is of Algonquin and Metis heritage. It took a couple of tries before Reger got through on the phone to her guest. So the seasoned radio host adjusted her playlist to include longer songs. She wasn’t too frazzled, though. “It happens,” she explained.
Reger started “Moccasin Tracks” in 2009 because she wanted to produce a show that featured the voices and music of native peoples. “You just didn’t hear [from them] that much,” Reger said.
Reger, who doesn’t claim any native ancestry, stresses she doesn’t seek to speak for the native peoples. Her goal is to let them represent themselves and tell their stories. “I hold this space, this broadcast time, for the people who are underserved,” the radio host said.
Read the full article by Kymelya Sari in Seven Days.
In May 2012, then Vermont governor Peter Shumlin signed into law the state recognition of four of Vermont’s Abenaki tribes: the Elnu, Nulhegan, Koasek and Missisquoi. The victory had more than symbolic significance: Formal recognition meant that many of Vermont’s contemporary indigenous artists could begin legally to label their work as “American Indian.” According to Elnu Abenaki member Vera Longtoe Sheehan, access to this designation has opened many new doors — including, at least indirectly, doors to galleries.
Such fraught politics of visibility and authenticity are very much at the heart of “Alnobak: Wearing Our Heritage,” now on view at the Amy E. Tarrant Gallery in Burlington. The show offers a chronological survey of Abenaki fashion and adornment, from the pre-Champlain era to the present day, accompanied by both modern and historical photographs.
There’s a twist, though: Almost all of the objects on view are contemporary, regardless of the era they were created to represent. While reproductions are often considered to be lesser facsimiles, in this case, the absence of “traditional” artifacts speaks to the 20-plus artists’ ongoing commitment to making their history and heritage come alive.
Read the full article by Rachel Elizabeth Jones in Seven Days.
Recently, some 40 Vermonters and New Englanders, many affiliated with the local grassroots environmental advocacy organization 350 Vermont, traveled to the Standing Rock Sioux Reservation in North Dakota to join the ongoing protests there against the Dakota Access Pipeline.
The Vermont contingent to Standing Rock arrived on November 20 and spent six days at Oceti Sakowin. Among these was musician and Burlington expat Avi Salloway. He’s a University of Vermont graduate and formerly one half of noted local folk duo Avi & Celia — later reimagined as the Boston rock band Hey Mama. More recently, Salloway has toured with Tuareg guitarist Bombino, and worked as an ambassador with Heartbeat, a nonprofit organization that works to bridge cultural divides in Israel and Palestine through music.
Seven Days recently spoke with Salloway by phone from his home in Cambridge, Mass. We asked him about his experience at Standing Rock, what life is like at the camp and how those who can’t travel there can get involved.
Read the interview at Seven Days VT.