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Ash Pack Basket by Jesse Larocque

Title

Ash Pack Basket by Jesse Larocque

Description

Pictured: Pack Basket, Ash Splint, Abenaki

Introduction

The components of an Abenaki basket are not as simple as they appear to be. The amount of physical labor hiding behind even small baskets is immense, perhaps overwhelming for those not familiar with the process (Occaso). Among the multitude of patterns, shapes, and dyes, Brown Ash splints function as the backbone of many traditional Abenaki baskets (Bruchac). Because of the Ash tree’s vital role in the production of durable and beautiful baskets, the material must be treated as purely and sensibly as possible.

Few remaining individuals are able to complete the total basket making process, from Ash pounding to basket weaving. One of these individuals, Vermont resident Jesse Larocque, has illuminated the process of traditional native basketmaking, especially for those who lack a background in the material production ever-present behind the decorative result (Larocque, Interview). He has made the process of his work accessible and understandable, revealing the high degree of physical labor that Ash pounding entails. His subtle knowledge of the Brown Ash and its characteristics makes Jesse’s remarks on Ash pounding and splitting extremely important– both to the process of basket making, and for the preservation of traditional technique (Larocque, Interview). Through examining the Ash pounding process and what the tree produces, one can make sense of the various bare components that end up in a specific basket. To understand the Ash tree is to understand the backbone of each basket. And to understand Jesse’s work is to understand the Brown Ash.

The Ash Pounding and Harvesting

The Brown Ash (or Black Ash) is extremely common and abundant throughout the Northeastern United States. Still, the species’ abundance does not ensure its preservation and protection. Keeping with perhaps the most sustainable practice possible, Jesse requests the harvest of individual trees from various landowners, as to maintain the original density of nearby forests (Larocque, Interview). These trees are most commonly found in swamps, though variations in water supply will produce slightly different internal characteristics, from hue to hardness (Larocque, Interview).

Once the tree is harvested, it must be cut into segments that ultimately determine the circumference of the basket (Larocque, Interview). During pounding, the log segment will start to delaminate and reveal stacked layers of wood. Jesse is able to select individual splints from specific layers of the Brown Ash as he hammers each growth ring (Larocque, Interview). The composition of each specific Ash tree is unique, and the subsequent result of pounding the tree yields splints with consistently different variations. These variations, in turn, dictate the strength, color, and final usage of specific splints. Jesse explained this sorting and matching in further detail during a recent interview:

Age of tree, thickness of growth rings, dry ground or wet ground. White or brown Ash. Sometimes you’ll get five different shades of brown from the tree depending on where it grew. You have to grade the tree by color profile. The tree has to be graded for thickness. Splints must be graded for a specialized piece of the basket. Plan ahead and don’t get excited.

After the splints are harvested and graded, the color and hardness of each splint will determine what sort of basket is created. Harder interior wood will make a more rugged basket (Larocque, Interview). Light and pliable outer wood will go on to form fancy, decorative components (Larocque, Interview). When, and only when this preparation has taken place can the basket be visualized and crafted.

The Pack Basket

Jesse is an extremely patient individual who is led by his work. He allows the basket making process to carry him in an organic and subjective manner from start to finish. His continuing skill outside of Ash pounding is especially evident in his pack basket. Because no two trees are ever alike, no two baskets are ever quite the same, and the pack basket is undoubtedly the clearest example of this dissimilarity. In fact, it is woven to fit the wearer: “I take the measurements for each person and build the basket around them” (Larocque, Interview). Each pack basket is roughly 20 inches tall and by no coincidence, one would find the same height upon measuring his or her own back. In this sense the product tells the story of the wearer and the craftsman. Furthermore, the pack basket is a reflection of Jesse’s skill for choosing appropriate material that will even outlive its ownership. These choices are evident in the pack’s construction: “The basket has a combination of continual weaves and regular stack weaves. The rim has a double lashing around the top. The entire basket uses thicker splints. It’s more durable that way” (Larocque, Interview). Because so many unpredictable factors enter Jesse’s approach, he must remain committed to his work, and prevent himself from doing more work than necessary. Even this excellent photograph does not offer a complete example of this basket’s true intricacy. When working with individually unique materials, frustration can easily arise out of the smallest problem.

To create such masterpieces like the pack basket, Jesse streamlines his splint collection through the use of simple tools that, in essence, reduce the probability of a bad outcome. In an exercise that places equal emphasis on process and product, care and simplification are two of the most important factors in baskets that are indeed “made by hand.” The result of this work-six full days to be exact-is a soundly woven pack that gently fits the slope of each wearer’s back with uncanny precision (Larocque). The tack-sharp accuracy and beauty of Jesse’s pack basket only hints at his tireless dedication to an increasingly esoteric craft.

A Cultural Legacy

In Jesse’s work and in Abenaki basketry, even the most decorated products are often grounded in practicality. That is, the function of each basket always tends to dictate its basic form. The stories and methods that reside in these products are a display of cultural ingenuity, emotion, and traditional sensibility. The function of these baskets, from an artifactual standpoint, is extremely rational and use-driven. This basket (though some would say it is too beautiful to use), would last countless years in the wilderness when treated properly. This same idea fits in all other cases: Berry baskets are, by nature of their shape, perfect for holding berries. An eel trap encroaches on a perfectly sized hole for just the desired catch.

Above all imaginable forms and uses, these baskets serve the amazingly larger purpose of explaining cultural subtleties: ideas and visions that simply can’t be communicated effectively through any other medium. They are physical illustrations of cultural traits that could not otherwise be explained. Therefore, each basket serves as a component of the Abenaki tradition and lifestyle. In continuing to pound ash and weave baskets, Jesse perpetuates his culture through a medium that transcends language boundaries. The basket can be held, examined, even sent to distant regions in hopes that others will understand its history. The basket is alive, and its life will inspire a sustainable cultural attitude, as long as we are willing to listen for its story.

Works Cited

Larocque, Jesse. “Abenaki Baskets by Jesse Larocque.” Abenakibaskets.com Black Ash Baskets, Hand Made by Abenaki Indian Jesse Larocque. N.p., n.d. Web. 15 Oct. 2012.

Larocque, Jesse. “Jesse Larocque: The Ash Pounding Process.” Telephone interview. 4 Oct. 2012.

The NH-VT Abenaki Basketmakers Alliance.” Vermonters Concerned on Native American Affairs. N.p., 17 Jan. 2011. Web. 18 Oct. 2012.

Occaso, Carla. “Basket Maker Shares Traditional Native American Skills.” Vermonter.com. Vermonter.com, n.d. Web. 15 Oct. 2012.

Works Referenced

Bruchac, Jesse Bowman., Joseph Alfred Elie. Joubert, and Jeanne A. Brink. L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basket Making. Greenfield Center, NY: Bowman, 2010. Print.

Additonal Resources

The following videos are included as resources for those seeking additional illustration of the Ash pounding process. All videos courtesy of Jesse Larocque.

Video 1: Preparing a Black Ash log segment for pounding.

Video 2: Pounding the Ash tree segment and preparing raw splints.

Video 3: A close-up of splints delaminating as the Ash is pounded.

 

Creator

Lacroque, Jesse

Date

n.d.

Contributor

Parker Cavallaro, UNH

Type

Still Image

Format

jpeg

Identifier

DV-284

Geolocation

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