Contemporary Abenaki artists and tribal members talk about the meaning of garments, accessories, and regalia in their own lives and in the expression of community and tribal identity. Some of the topics will include: The Indian Arts and Crafts Law of 1990; art informed by tradition and what it means to be a Native American artist in the 21st century; honoring the past through art, and how artists walk the Red Road recognizing our ancestors. The panel will include [Elnu Abenaki] S8gm8 (Chief) Roger Longtoe Sheehan and Willow Greene, moderated by Vera Longtoe Sheehan.
This program was created by the Vermont Abenaki Artists Association in partnership with Lake Champlain Maritime Museum and Flynn Center for the Arts, supported in part by a grant from the Vermont Humanities Council. Find out more about the event and panel at http://brookslibraryvt.org or (802) 254-5290.
Wednesday, November 8 at 7 PM – 9 PM
Brooks Memorial Library
224 Main St, Brattleboro, Vermont 02645
A positive piece on VPR yesterday, talking and walking with Tom Beck of Nulhegan Abenaki, getting to know #allourrelations. Audio from the podcast is included.
“To prevent their collective cultural knowledge about medicinal plants from disappearing, some Vermont tribal nations are sharing their expertise with those outside the native communities.
On a recent sunny morning, a small group of 10 or so people gathered in the parking lot at the entrance to Vermont state land for a educational plant walk through the forest.
Before making it out of the parking lot, Tom Beck, one of the instructors, pointed out the first medicinal plant to the group. “Right here, this is a piece of sweet grass, it’s actually pretty long, and it’s quite nice,” says Beck. He’s a spiritual leader of the Nulhegan Band of the Coosuk Abenaki Nation, a state-recognized tribe in Vermont.
Beck has picked up a wide blade of green grass about two feet long, and he’s holding it delicately between his weathered fingers. “When you take this and you braid it together, it’s your mind, your body and your spirit working together,” says Beck. “It’s a self-diagnostic tool.”
Beck says the sweet grass braids are burned in a ceremony, and how evenly the three strands burn is an indicator of how your mind, body and spirit are working together. It can be a reminder to attend to that balance. “If it burns straight across, you know your mind, your body and your spirit is working together equally,” Beck says.
See the full article with Kathleen Masterson on VPR News here.
Vandals are destroying ancient indigenous pictographs throughout Canada at an alarming rate and activists are trying to call attention to the desecration and its consequences.
As of late July vandals had defaced, and in some cases destroyed, indigenous pictographs in Ontario, Quebec, Alberta, Manitoba, British Columbia and Montreal in the last six years including some recent dramatic incidents.
“We are talking about indigenous heritage, oral traditions, cultural memory,” [Zawadzska] told CBC. “The sites are associated with sacred places, traditional territories, and traditional knowledge. They are living sites.”
Read the article in Indian Country Today.
With the Barre Heritage Festival around the corner, it’s a good time to look back and celebrate Barre’s history. For many people, that means looking back over 200 years to when the town was officially founded. How about looking back over 10,000 years?
The people native to the area, the Abenaki, are a community that has lived in the central Vermont area ever since their ancestors first migrated here several thousands of years ago.
Thirty people, give or take, are “American Indian and Alaska Native alone” in Barre (City and Town) taken together according to the Vermont Census. More Abenaki people might identify as being of “two or more races,” and they aren’t included in that number.
Read the full article by Will Kyle in the Montpelier Bridge.
Navajo Sovereignty: Understandings and Visions of the Diné People, a new collection of essays by Navajo authors, edited by Professor Lloyd L. Lee, tackles Indigenous sovereignty from a specifically Navajo perspective. The essays vary in tone and depth, but they all hit on or near the bulls-eye: revealing “the ongoing consequences of an imposed Western democratic governmental structure that transformed Navajo governance and leadership.”
The book demonstrates that Navajo society has not succumbed to the imposition of an alien governmental structure. The essays depict “tribal government” as a collaborator with colonial forms, but as Professor Jennifer Denetdale says in her Foreword, the authors “note the multiple ways and layers of how we are Diné and how we practice sovereignty and self-determination [and how] we work to transform governance….”
The authors do not shy from referring to U.S. federal Indian law as “U.S. claims to authority”; describing the “domestic dependent” relationship as “constraint,” rather than “protection”; and celebrating community cultural, organic sovereignty as “spaces of respite and rest from the ongoing effects of colonialism.” The book’s unflinching confrontation with the “colonial box” of federal Indian law combines with unabashed affirmation of Diné Fundamental Laws and philosophical principles, to advocate traditional Navajo governance to meet 21st century challenges.
Link here to the full review by Peter d’Errico in Indian Country Today.
I visited a reception for indigenous artist Alyssa Hinton (Tuscarora-Osage) yesterday, at the C X Silver Gallery in West Brattleboro, VT. We had a cheerful conversation about her artistic journey of discovery, first through intuition and then traditional knowledge – her focus being on her southeastern roots, but finding commonality with other native, earth-based cultures. One thing was clear through our exchange: the truth that traditional understandings are not destroyed, missing, or lost. All of this knowledge, these relationships, “ways of seeing,” are still here and still accessible to those who seek them. A Chadwick Allen quote from the exhibit program (using indigenous earthworks as its particular reference point) makes the point well:
“…like other Indigenous writing systems, they assert, earthworks and their encoded knowledge have been ‘asleep’ rather than ‘dead.’ Dormant but alive, they have waited to be awakened by descendants of their makers finally free to re-approach and even to remake them, finally freed of the psychological fetters of an internalized colonialism that has undervalued Indigenous technologies and ways of knowing. Earthworks have been waiting, they assert, for old scripts to be reactivated, for new scripts to be written and performed. A time of waiting appears near an end, near the beginning of a new cycle. That time of new beginning is now.” Chadwick Allen, University of Washington
The significance of this reality here in N’dakinna becomes more clear, and more affirming, each day.