Members of the Turners Falls High School community were able to hear from William Brotherton, a lawyer and Native American who advocates for schools to keep Indian mascots. Brotherton, who is from Texas but is a member of the Abenaki Nation of Missisquoi in Vermont, was in the area and stopped in Montague Wednesday night to answer questions and discuss the Turners Falls High School situation at Hubie’s Tavern.
The Gill-Montague Regional School Committee voted in February to discontinue use of the Indian as a nickname and logo for the high school sports teams. The vote came to the disappointment of some members of the community who said they felt unheard in the decision-making process. Brotherton said there is a larger, cultural issue of political correctness in America, where people no longer feel comfortable discussing difficult issues.
Another side of the story:
Yesterday I met William Brotherton in person for the first time. He’s a friendly, self-assured guy, and has been pro-active with me in opening up personal and intra-tribal communications. We had spoken on the phone and emailed a couple times; that afternoon, we both joined a tour of the Vermont Yankee nuclear power plant (VY) in Vernon, Vermont and were able to get to know each other a little. The tour was offered to participants in VT Public Service Board (PSB, now known as the Vermont Public Utility Commission, PUC) Docket #8880. This is the State review process for the proposed sale of VY by owner Entergy Corp. to NorthStar Group Services, for purposes of decommissioning and site restoration. I had filed in May for intervenor status on behalf of Elnu Abenaki, with the backing of the Nulhegan and Koasek bands. Brotherton, who serves on the Tribal Council for the St. Francis Sokoki Band of the Abenaki Nation of Missisquoi, followed suit for their group shortly thereafter. The PUC process is now getting well underway with dozens of discovery and response documents going back and forth. By way of helping to inform the parties involved, the petitioners (Entergy and NorthStar) coordinated this tour within the plant’s security zone for an inside look at the scope of the project.
While on the tour of the strongly-secured and highly industrialized site (we’re talking guards with machine guns), I asked many questions of our hosts regarding ground disturbance and oversight protocol. While I didn’t get many direct answers, Scott State (CEO of NorthStar) assured me that he understood and respected tribal concerns about cultural heritage and and wanted to be sensitive to them. I believe he has become much more aware of these aspects than was the case previously, and while we must take any such proclamation with a grain of salt, I am guardedly optimistic that there may be some constructive dialogue going forward.
I noted that William Brotherton did not ask any questions about cultural resources. At one point, I gestured across the Kwenitekw (Connecticut River), to the eastern bank in New Hampshire, and mentioned to him about a fortified Sokoki village site there. It had been attacked in December 1663 by a large force of Mohawk, Oneida, and Seneca warriors and successfully defended, although with a great loss of life; the land here holds many spirits, many at rest but others disquiet, whether from war or forced displacement or simply blatant disregard by modern development. William expressed surprise at what I had said. I began to understand the degree to which he was unfamiliar, indeed almost completely separated, from nearly all cultural understanding of Sokwakik. I am not sure that he knows what “Sokoki” signifies, much less represents – if I am wrong, I welcome the conversation.
Afterward, we went down the river a half-mile and sat on a cottonwood log below the Vernon Dam, built in 1909 atop an ancient fishing site there at Great Bend. We spoke together for over an hour. I wanted to use the opportunity to talk with him about the significance of the landscape here to its people, past and present, and why we had filed as intervenors in PUC Docket #8880. I wanted to understand what he, on behalf of Missisquoi, had in mind as well. He didn’t really have an answer. I also wanted to talk to him about his endorsement, as a Tribal Council member, of the Indians team mascot/logo in Turners Falls, where he was going immediately afterward to speak to a group of supporters. I knew where he was coming from, ideologically, since I have read his articles and perused his CV.
I started by saying that I (and others) fully endorse the incorporation of a regular curriculum segment devoted to indigenous culture and the effects of colonization, not only in Turners Falls High School but all educational forums. This would probably be the best thing coming out of the entire mascot controversy, because it will help to displace the ignorance – the “not-knowing” – that brought us to this juncture and the benightedness – the “not-caring” – which follows. I pointed out to him that the contemporary indigenous people in the immediate area, Nipmuk and Abenaki, had clearly expressed their opposition to the continued use of the Indians mascot, and why this was the case. I don’t think he heard, or grasped the significance, what I was saying.
To borrow his own words, from Miranda Davis’s Recorder article: “Brotherton said there is a larger, cultural issue of political correctness in America, where people no longer feel comfortable discussing difficult issues,” this is exactly the case here. This initiative is not an erasure of history or a sanitizing campaign. Yes, this is very uncomfortable situation. It is hard to take a clear look at what has brought us all to this challenging place, recognizing that we can do much better and that everyone in the community will benefit. To NOT do so is continuing the illusion of propriety and the normalizing of disenfranchisement. This IS that difficult discussion which we are having, and to which Brotherton alludes. But first of all we need to know what we are talking about. I hope I can continue this exploration with William – I told him that as we parted on Wednesday afternoon. And I hope we can share this story with many others, in hopes for a healthier, more inclusive life for all in this beautiful place.
A podcast exploring the status of Abenaki Native Americans in Vermont and a video that uses Legos to explain the Iowa caucus, and breaking news coverage of the Northeast Kingdom EB-5 scandal have won Vermont Public Radio three national journalism awards for its work in 2016.
Best News Documentary: “What is the status of the Abenaki Native Americans in Vermont today?”
Each month, the podcast Brave Little State answers a question submitted by a listener and voted on by the community. The winning piece took on the question question: “What is the status of the Abenaki Native Americans in Vermont today?”.
Angela Evancie, the podcast’s host and creator, says the show’s people-powered model, which was pioneered by WBEZ’s Curious City, has opened up a radical new way of reporting.
“In the case of this story about Vermont’s Abenaki, a seemingly simple question prompted complicated conversations about how the native community sees — and doesn’t see — itself in contemporary Vermont,” Evancie said. “I was so grateful to the Abenaki leaders who opened up their homes and tribal headquarters to me, and trusted me to share a small part of their story.”
The eugenics movement is a dark chapter of Vermont’s history, and now one local author’s alleged role in that movement is under intense scrutiny.
Dorothy Canfield Fisher was a prolific local writer, and her namesake rests at various institutions in Arlington today including Fisher Elementary School. In 1957 a Vermont children’s literacy program was established in the author’s honor, and the Dorothy Canfield Fisher Book Award has recognized outstanding children’s writers over the last 60 years.
Fisher’s reputation has been questioned in recent weeks, as Essex educator and artist Judy Dow has led the fight for the removal of Fisher’s name from the award. Dow, who has both French Canadian and Abenaki roots, claims that Fisher not only stereotyped French Canadians and Native Americans in her extensive works, but played an active role in the eugenics movement as well.
The Vermont Folklife Center announces the continuation of the Vermont Traditional Arts Apprenticeship Program for its 24th year. Initiated to support Vermont’s living cultural heritage, the program provides stipends of up to $2,000 as honoraria and to cover such expenses as materials and travel. Under the auspices of the program, traditional arts such as blacksmithing, Abenaki basket making, Franco American singing, and Bhutanese Nepali folk dancing have received support.
A traditional arts apprenticeship brings teachers and learners together who share a common commitment to keeping these art forms alive. It pairs a community-acknowledged master artist who has achieved a high level of expertise in his or her art form with a less-experienced apprentice. The master and apprentice jointly plan when, where, and what they expect to accomplish over the course of the apprenticeship. Apprenticeship schedules reflect the time constraints of both master and apprentice and range from short-term, intensive sessions to meetings spread over the course of a year.
Read the full announcement here.
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.