Various Baskets, Plastic, Lumber, and Gourd, Abenaki A History of Adaptation Change through time. In nature, these three words define the process required of all living things for survival. For the Abenaki, they represent the survival of a culture. Without change, the people native to areas of northern New England and Southern Quebec would have no history and perhaps even more importantly, no future (Porter 6). Traditional Abenaki baskets were, and continue to be, woven from sweet grass and splints of ash (Dow, Personal Interview). Abenaki baskets, originally made using various techniques to serve a practical purpose, experienced a change in the late 1800s (Porter 6). Basketmakers adjusted to the changing times, ultimately creating "fancy baskets" (6). By the end of the last century, Abenaki fancy baskets were in such high demand that molds were created to increase production rates and to have a uniform product to sell, while the baskets themselves were sold through catalogs (6). Judy Dow By adapting to social, political, economic, and environmental changes, I am following in the footsteps of my ancestors. The creation of fancy baskets was an adaptation that filled a need for survival… using new and different materials is how I see Abenaki basketry meeting the needs of culture in this new century. - Judy Dow, We Are Still Here Abenaki basketmaker, Judy Dow, is an important personality in the current Abenaki revitalization movement (Dow, Personal Interview). Her baskets have been on exhibit in many museums, such as Strawberry Banke and the National Museum of the American Indian (Vermont Governor's Institute on the Arts). Dow provides a unique approach in preserving Abenaki cultural identity through basketmaking by using nontraditional materials (Dow, Personal Interview). Judy Dow's philosophies for "Saba" (Abenaki for tomorrow) bring awareness to how current mechanisms of revitalization do not honor change as a facet of Abenaki culture (Dow). By not continuing to adapt, the foundation of a culture is at risk. Traditional Baskets Abenaki baskets are traditionally made using four techniques: Coiling, twining, plaited, and one-piece (Dow). Judy Dow portrays each technique as a different branch on a single tree (Dow). Instead of only focusing on one branch, Dow uses all of the techniques when she incorporates her adaptations (Dow). While the material of the basket is changing (along with the tools used to make it) it is important to Dow that the technique remains: "The techniques are gifts from our ancestors" (Dow, Email). In addition to the preservation of techniques, Dow illustrates how the basket making process should be conserved. For example, the art of basketmaking requires the individual to have a connection to the land and knowledge of it (Dow, Personal Interview). Basketmakers gather their own raw materials and prepare them by hand (Dow). In the traditional sense, this refers to basketmakers who cut and pound their own ash (Dow). Although Judy's baskets are not always made from ash, she continues to demonstrate the Abenaki tradition of harvest. She collects all her materials, be it plastic bags, pantyhose, or flax straw (Dow). Above all, in order to be a basketmaker, one must portray patience, perseverance, preservation, and most importantly, pride. "The Four P's," as Dow puts it, should define Abenaki generations of the past, present, and future (Dow). Importance of Adaptations The conservation of the Brown Ash population has been a growing concern over the past few years, especially for Native American basketmakers - in part because of the introduction of the emerald beetle (USDA). The necessity for change has shifted the process of basketmaking towards the use of alternative materials. Judy Dow is perhaps the most creative and adaptive basketmaker today in many ways, all of which promote the conservation of brown ash and the adaptation to use other materials. She has made baskets out of a variety of 'everyday' materials such as old fast food bags, nylon, wrappers, and lumber strapping (Dow, Personal Interview). Because they attract the eye, baskets made out of this material bring attention to sustainability. Her style of basketmaking underscores an important lesson that can be learned from Abenaki culture: the cost of cultural survival. If there is no longer a way to do something in the traditional sense, it is possible to adapt in a manner that maintains the cultural identity of the process. Along with recycling common materials, Judy Dow also finds creative ways of using everyday tools for basketmaking. For example, when her old splint cutting tool broke, she used her pasta cutter from her kitchen instead (Dow). This is one of many instances where adaptations are shown in Abenaki culture, further proving that it is possible for a heritage to survive once the significance of adapting is taught to the younger - interested and willing - generations. By adapting tools and materials, the basketry techniques will live on and then so will our heritage.- Judy Dow, We Are Still Here Works Cited Dow, Judy. "Dowessay." 23 Nov. 2012. E-mail. Dow, Judy. Personal Interview. 11 Oct. 2012. Lori, Carolyn. "Shaping the talk on American Indians." The Valley News. 24 November 2005. Web. Porter, Frank W. "Native American Basketry." The Art of Native American Basketry: A Living Legacy. New York: Greenwood, 1990. 67. Print. USDA Agricultural Research Service. "NPGS Ash Conservation Project." N.d. Digital file. Vermont's Governor's Institute on the Arts. "Judy Dow." 12 June 2012. Web. "We're Still Here" Online Exhibit. Center For New England Culture. University of New Hampshire. N.d. Web. Basket Photographs (Right to Left) 1. Twined baskets 2. Plaited baskets using plastic (right) and (left) lumber 3. One piece basket using a gourd with pine needle trim and burned on designs 4. Coiled baskets using recycled plastic bags Photograph Copyright 2005, University of New Hampshire Photographic Services
Basket with Cowwiss, Ash Splint and Sweetgrass, Abenaki What Is In A Basket? At first glance this basket might seem like a beautiful decoration or a cherished household item. While the basket is both of these things, there is a history and story behind it that is not immediately visible. Made by Abenaki Basketmaker, Liz Charlebois, out of sweet grass and ash splints, this basket represents generations of skilled Abenaki artisans that have perpetuated their culture through the traditional making of baskets (Charlebois). In fact, Abenaki women have been practicing the art of making baskets for hundreds of years (Calloway 37). Baskets became a necessary part of Abenaki culture because women had to travel long distances to pick and gather berries; baskets allowed the women to carry more supplies with less work. However, baskets became much more than carrying items, it became an important part of Abenaki economy and history (37). Although basket styles have changed throughout the years, their significance within Abenaki culture has not (Day). But What Does A Basket Have To Do With Culture? Baskets are important to Abenaki culture not just because of their practicality and their value as an art form, but because of the stories that they hold (Charlebois). Whether these stories are of a personal nature or of a historical one, the basket serves as a record of friendship or of the past. While a basketmaker's materials of choice are ash splints, a storyteller's materials of choice are words that are woven together to form stories, histories, and records of relationships that exemplify their culture. In this way, storytellers and basketmakers are very similar. Along with being an accomplished basketmaker, Liz Charlebois is a storyteller that understands the connection between baskets, stories, and culture (Charlebois). One of the many stories that she tells emphasizes the relationship between the Abenaki, baskets, and nature: In the old days life was very hard for the women within all of the villages. The women had to gather firewood, food, and medicinals with nothing but their hands and arms to carry with. They toiled long and hard and every working hour was devoted to these tasks. It took much effort and many trips from the village to the forest and back again before the women could rest for the night and they were always exhausted at the end of the day from all the toil and the repeated distances they had to travel with their goods. All the birds, beasts, trees, and all living things saw how hard the women worked. After a time on a very hot day a woman sat in the shade of an ash tree. The ash tree took pity and spoke to the woman, told her the certain way to make baskets and how to be grateful for this great gift to help the women with their work. The ash tree told the woman to always remember to be grateful for all that was given and taught her a song of thanks to sing. This woman taught the other women of the village how to make baskets to help carry their burdens and she taught them all how to sing the song of thanks. For many years afterwards the women were grateful and remembered the song to sing. The work became much easier and the women were happy for a time with their gift. Anyone could look out through the forest or the fields and they would see the women were happily gathering and singing as the baskets followed along behind carrying all of the women's burdens. After a time, the women began to take the great gift of the baskets for granted, they stopped singing the songs of thanks. The baskets began to think that their gift was no longer appreciated and they stopped following the women at their work. From that time until this time baskets have remained a true gift from the ash tree but no longer do they simply follow a woman at work but the women now carry the baskets, burden and all. A Story of Baskets and Nature This story is a cautionary tale that underscores the importance of the appreciation of nature. The story attributes the first creation of a basket to the ash tree: an act that underscores the role of the ash tree in basketmaking (Charlebois). Without the ash tree, there are no baskets. The story encourages the Abenaki to be respectful to nature. Furthermore, it emphasizes the importance of sustainability within Abenaki culture. Nothing must be taken for granted. The Abenaki continue to keep sustainability an important part of their culture. In fact, as Joseph Bruchac explains, "it is important to remember the old stories when we consider the relationship today of Abenaki people to the land" (Bruchac 2). The land must be respected or there will be consequences. Even those who have not heard of this story understand that sustainability and basketmaking go hand in hand, whether by preserving ash trees or by using different materials all together. Proof of Culture In addition to the importance of sustainability, the story asserts that baskets have the power to archive a set of tenets for a culture. In other words, by looking at baskets we can understand a part of Abenaki culture. In many cultures, storytelling is used as a way of teaching children about nature, their heritage, and what has happened in their history. This is just as true in Abenaki culture. This particular basket was made by Charlebois as a present for her brother. It expresses friendship and care. This simple act of giving a gift is one way to continue on the tradition of baskets. Charlebois also passes on the art of basketmaking to her daughter. Charlebois' daughter enjoys making bookmarks and baskets (Goff). A Natural Archive The story also makes a comment on the act of passing on stories and other traditions. For example, when the ash tree teaches the woman basketmaking, the tree also teachers her "a song of thanks" (Charlebois). The baskets only do the work for the women as long as they give thanks. However, as soon as they take the baskets for granted and forget to sing the song, they must once again carry their burden. By passing on cultural beliefs and other traditions, the Abenaki remember to always be thankful. The participation of the younger generation is imperative in preserving culture. As Liz Charlebois explains, baskets are a prominent part of Abenaki history and contribute to culture by telling the story of that history (Goff). Stories can bring people closer together because it is a way of sharing feelings and stories of the past. Like stories, baskets also bring people of different backgrounds together through demonstrations, apprenticeships, and the stories that are attached to them. Works Cited Bruchac, Joseph. Rooted Like the Ash Trees: New England Indians and the Land. Ed. Richard G. Carlson. Naugatuck, Conn.: Eagle Wing, 1987. Print. Calloway, Colin G., and Frank W. Porter. The Abenaki: Indians of North America. N.p.: Chelsea House, 1989. Print. Charlebois, Liz. “Basket Making.” Message to Stephanie Gilkenson. 12 Apr. 2012. E-mail. Day, Gordon M. In Search of New England’s Native Past: Selected Essays by Gordon M. Day. Univ of Massachusetts Pr, 1999. Print. Goff, John. “Abenaki Basket-making.” http://www.wickedlocal.com/salem. Salem Gazette, n.d. Web. 19 Oct. 2012. Ramsdell, Jared. Charlebois Baskets – 1. 2012. Photograph. Charlebois Baskets. Jared Ramsdell Photography. Jared Ramsdell, 2012. Web. 8 Oct. 2012. Photo courtesy of Jared Ramsdell.
Pack Basket, Ash Splint, Abenaki The pack basket with a leather harness shown in the picture below is particularly striking and showcases Bill Gould's skill in basketmaking. Used for carrying supplies while out in the woods, the pack basket is 20 inches high and made out of brown ash. Bill Gould, Traditional Basket-maker Basketmakers Bill and Sherry Gould work to maintain and continue the traditional art of basketmaking (“Western Abenaki Baskets”). They are enrolled members of the Abenaki Nation at Nulhegan/ Memphremagog and are passionate about making beautiful baskets (Gould). They pass on their knowledge and skill by taking on apprentices through the NH Arts Council Traditional Arts Program (Gould). As one of the main materials of basketmaking, ash trees are very important to basketmakers such as Bill Gould. Unfortunately, increasing human population and the introduction of foreign invasive species has made it much harder to find healthy ash trees for basketmaking. The Emerald Ash Borer and Sustainability The emerald ash borer, for example, is a beetle-like insect that eats Ash trees (Remillard). The beetle has already done a large amount of destruction. In Michigan alone, tens of millions of Ash trees have been lost, costing municipalities, property owners, nursery operators, and forest product industries tens of millions of dollars ("Emerald Ash Borer"). Although currently not present in New Hampshire, it is prevalent in Vermont and Massachusetts and the risk for its spread into New Hampshire is high (“Emerald Ash Borer”). New Hampshire forest service and other environmental agencies are doing what they can to prevent its introduction into the state (McCullough). For example, one way to avert the spread of the beetle is through the restriction of the transportation of firewood across state lines. Additionally, various traps developed specifically for the ash borer are used to capture the beetles (McCullough). Research is also being conducted into ground nesting wasps that feed on the borers and may keep their population in check (Remillard). This type of research ensures that Ash trees will survive for generations to come. The Traditional Process of Basketmaking Although gathering the material for basketmaking is a lengthy process, Bill Gould continues to make baskets the traditional Abenaki way by first felling and pounding an ash tree. The strips of growth rings are split down to very thin layers and the underside of the outer two layers are scraped smooth. The strips are then moistened and cut down to meet the size of the basket (Sturtevant). There are molds of all different shapes and sizes that the Abenaki basket makers use to form their baskets. For example, some molds are square and small while others are tall and circular (Sturtevant). The ash splints used in basket making can also be died different colors to add certain effects to the baskets. Click here for a video of Ash being split by Jesse Larocque. Bill and Sherry Gould are committed to continue the traditions of basket making and often have open door events at their home so people can see their workshop and learn about Abenaki heritage and culture (Gould). Works Cited “Emerald Ash Borer.” emeraldashborer.info. n.d. Web. 13 October 2012. Gould, Sherry. “Artist Biographies.” McCullough, Deborah G. “ Double-Decker Traps to Detect Emerald Ash Borer.” Michigan State University and USDA Forest Service. 2009. Web. 17 October 2012. Remillard, Kathy. “NH Protects Itself from Emerald Ash Borer.” Union Leader. 21 July 2012. Web. 13 October 2012. Sturtevant, William C. Handbook of North American Indians. Washington: Smithsonian Institution, 1978. Print. “Western Abenaki Baskets – Home.” Western Abenaki Baskets. N.p., n.d. Web. 15 Oct. 2012.
Sweetgrass and Fancy Work Baskets by Sherry Gould
Sweetgrass Fancy Work Basket, Ash Splint and Sweetgrass, Abenaki Before the colonists arrived in America, the Abenaki tribe of New England lived an environmentally efficient and culturally sustainable lifestyle (Porter). Unfortunately, with the arrival of white settlers came the need for adaptation. Engaging in capitalism became necessary for the survival of the tribe. Therefore, many Abenaki turned to their basketry as a way to generate a modest income, which allowed them to remain afloat in a capitalist system (Porter). In the 1800s, tourists attractions, such as the White Mountains, became a popular place to sell baskets (Porter). The Abenaki continued to use traditional materials such as sweetgrass and brown ash splints in these baskets but changed the styles in order to attract more customers. For example, Victorian women would purchase work baskets, like the one pictured below, as souvenirs and use them to hold things like knitting supplies or other small household items. These fancy baskets, decorated with colored dyes, “appealed to the Victorian fondness for embellishment and elaboration” (Lester 154). Often the Abenaki vendors—almost always men, as women would remain at home with the children while their husbands travelled to sell the baskets—would dress in what was perceived as ‘traditional’ Indian clothing, wearing extra furs and feathers to play up their ‘Indian-ness' and increase their sales (154). An 1890 Petition It is clear in an 1890 petition, written by the Abenaki of Quebec to the proprietors of hotels in the White Mountains, that the European presence was hindering the Abenaki ability to survive as an Indian nation (Phillips 52). The petition asks, “Not to let any but Indians or those married to Indian women” sell their baskets or other goods on the hotels’ properties (52). The petition emphasizes the need of the Abenaki to both maintain their culture and make a living. Selling baskets was the perfect way of fulfilling their need because baskets allowed them to continue a traditional art important to their culture while also making a profit. Restricting the opportunity to only Indian vendors would ensure that American Indian basketmakers had a constant demand for fancy baskets. A similar opportunity today is the ability to label items as Indian made, which increases the monetary value of the item (Upham). Sherry Gould: Sweetgrass and Fancy Work Baskets Pictured below is a modern example of a fancy work basket made by Sherry Gould, a New Hampshire basket maker and certified member of the Nulhegan Abenaki Tribe (Gould). Sherry Gould has apprenticed under Abenaki basketmakers, Newt Washburn and Jeanne Brink (Gould). She also became the first Abenaki basket maker to be juried by the League of NH Craftsman in the state of New Hampshire (Gould). Sherry Gould hopes to continue the tradition of basket making, an important part of Abenaki culture, into the next generation and beyond (Gould). She also hopes that her "modern works of art will be appreciated by current and future generations" (Gould). Both Sherry Gould and her husband, Bill Gould, demonstrate their art in various museums and fairs in the hopes of spreading their culture to the general public (Gould). This basket is important to Abenaki culture because it demonstrates the continuance of a traditional Abenaki art form. It tells the story of how baskets have changed throughout the years. The basket is made of sweetgrass and, at eight inches wide by four inches tall, would likely be used to hold ladies’ needles and thread, had it been made and sold in the mid- to late-nineteenth century (Porter). The basket’s cover and sweetgrass handle allow it to be a sturdy and reliable container for sewing kits and its green dyes and braided design make it a beautiful basket to look at. In addition to being a practical and attractive souvenir, Abenaki baskets contained a wealth of cultural tradition, stemming from the materials from which they were made (Phillips). As Ruth Phillips points out in her book, Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900, “The widespread use of sweetgrass as a sacred ritual is ancient” (Phillips 270). Sweetgrass is believed to bring good luck to those who obtain it and is sworn to ward off evil spirits and purify any location, according to many Indian legends (270). Sweetgrass Sweetgrass has always been a widespread plant, present on each coast and in places down South and grows predominately in marshes and wetlands (Leif). However, it is becoming more and more difficult to obtain as these ecosystems are being sold off for development at an astounding rate ("Threats to Salt Marsh Environments"). For basket makers in New Hampshire, the development of Interstate 89 and private landowning in its area have become problematic regarding the collection of sweetgrass ("Threats to Salt Marsh Environments"). As it is, sweetgrass can only be harvested once per year, in July, and one must pick enough to last until the next harvest (Phillips). Native basket makers are historically resilient, however, and that is no different now, as many travel to places along the Maine coast to gather their sweetgrass, and some grow their own. Traditionally, Abenaki baskets include a sweetgrass rim, and the fancy work baskets relied on the pleasant smell of sweetgrass to attract buyers (Leif). Losing sweetgrass in the basket making practice would be losing a sizable and important part of the Native American and Abenaki culture. As Joan Lester points out in the Laurie Weinstein edited Enduring Traditions: The Native Peoples of New England, “When they use materials or processes that are centuries old, they again follow and retain the ways of their ancestors” (Lester, 157-8). A Basket's Cultural Significance While the tourists who purchased baskets similar to this one may not have fully understood their cultural significance, their native makers did. Each basket maker knew exactly what they were weaving into their items: an important sense of tribal identity (Bruchac). Joan Lester further explains that, while the selling of these souvenirs was born out of economic necessity, “creating and selling Indian work also supports cultural survival” (157). The basket below, and many like it, are important reminders of the rich Abenaki history and the sweetgrass that comprises it upholds the presence of an Abenaki cultural hallmark. Works Cited Bruchac, Jesse, Joseph Alfred Elie Joubert, and Jeanne Brink. L8dwaw8gan Wji Abaznodakaw8ganThe Language of Basketmaking. Greenfield Center, NY: Bowman, 2010. Print. Leif, John W. “Sweet Grass.“ Plant Fact Sheet. United States Department of Agriculture, 09 Apr. 2010. Web. 11 Oct. 2015. Lester, Joan. “Art for Sale: Cultural and Economic Survival.” Enduring Traditions: The Native Peoples of New England. Ed. Laurie Weinstein. Westport, CT: Bergin & Garvey, 1994. 151-67. Print. Phillips, Ruth B. Trading Identities: The Souvenir in Native North American Art from the Northeast, 1700-1900. Seattle: University of Washington, 1998. Print. Porter, Frank W. “Native American Basketry.“ The Art of Native American Basketry: A Living Legacy. New York: Greenwood, 1990. 67. Print. ”Threats to Salt Marsh Environments.“ Environmental Fact Sheets. New Hampshire Department of Environmental Services, Aug. 2008. Web. 11 Oct. 2015. ”Western Abenaki Baskets – Home.“ Western Abenaki Baskets. N.p., n.d. Web. 15 Oct. 2012.
Ash Pack Basket by Jesse Larocque
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.
Basket, Ash Splint, Abenaki The Universal Container We do not think of baskets in a practical way anymore; they are mostly decorative art. If we need a durable container for large dry goods, we are likely to use a plastic bin. Starting in the 1930s, galvanized bushel baskets and pails, made by machine in vast numbers, were the universal carry-alls, ("Newton Washburn"). Before that, the universal container was the wooden basket. A sturdy, durable container, it was, pound for pound, much stronger than galvanized steel, and in some ways more durable. In fact, baskets retard spoilage by providing controlled ventilation and are still heavily used for harvesting and storing apples and other produce (Congdon). In upper Vermont, the Sweetser family made many, if not most, of the baskets sold commercially (Linzee 25). The family originated in the early 1800′s by the marriage of a German immigrant basket-maker to a basket-maker from Odanak, Canada ("Newton Washburn"). By the 1920′s, there were over a hundred family members making baskets in a small area between Stowe and Lamoille, Vermont (Eaton 51). They sold their products all over upper Vermont and their brown-ash baskets were unusually sturdy, with a hybrid vigor from the marriage of Abenaki and European designs. First Life Born into the Sweetser extended family in 1915, Newt Washburn grew up making baskets; it was his family’s winter occupation. They made “bushel baskets… egg baskets, apron baskets, laundry, feather, berry, bike, and pack baskets … baskets for every need, even baby cradles and fishing creels” (Linzee 25). It was a communal activity, with families often getting together for basketmaking parties. But their Abenaki heritage was a family secret: “It was frowned on. If anyone knew, I wouldn’t be able to play with the other kids and the neighbors wouldn’t let me in their houses to play” (Colquhoun). Secrecy about their heritage was not unusual. Arthur Sweetser, a basketmaker working in the late 1940’s, explained that one day when his grandfather brought his grandmother “into a store with him [to trade baskets for goods] … he introduced her as ‘my squaw.’ [His] Grandmother was so mad she didn’t make any baskets for a couple of years” (Eaton 51). By the mid-30′s, the market for baskets greatly diminished, displaced by all manner of modern containers. By the end of World War II, with the need to find other work, the Sweetser community was largely dispersed (Colquhoun). After serving in the war, Washburn moved to Bethlehem, NH, where he worked repairing auto bodies, shaping steel instead of wood ("Newton Washburn"). He was forced to retire by two heart attacks in the early 1970′s ("Newton Washburn"). Second Life I came home from my last heart attack. That’s the day I started. I don’t know how many years I’d lived here then, but I went down back on my own land, leaning against a tree, watching the river. Something told me to look at the tree. I stepped back and looked. It was a brown ash tree growing on the river bank… That night I had a basket made. And I haven’t stopped since. (Linzee 26) While recuperating, Washburn found himself drawn back to his family’s heritage and craft (26). It was the beginning of the Abenaki renaissance in New England, which caused a growing interest in baskets (Berolzheimer). Working out of a small workshop at his house in Bethlehem, NH, “Silent Bear” made baskets for more than twenty-five years (26). He was the last basket-maker still working who was part of the earlier, utilitarian cottage industry where he learned his craft (26). His baskets are beautiful examples of a highly refined, utilitarian design that leaps from craft to art. He continued to innovate within his tradition, as with his signature combination of an “Abenaki star” basket bottom with a concave “demijohn” bottom, which greatly strengthens the basket (26). As his ability to practice his craft diminished with age, Washburn’s scope of concern widened to the sustainability of his people and his craft. The Sweetsers had always kept their craft within the family but as the last holder of the tradition, Washburn realized that it would be lost if he did not teach others ("Newton Washburn"). To continue the tradition, Washburn taught at pow-wows and at schools. He mentored more than eighty apprentices, many or most of them Abenaki, including Sherry and Bill Gould ("Western Abenaki Baskets"). His apprentices have gone on to teach others through apprenticeships, events, and writings. Newt Washburn died in 2011. Like the basket spokes we see radiating from that exuberant signature, those he taught are the framework of a lasting, universal container of his legacy – a basket made of people of the ash, carrying the craft of his ancestors onto the uncertain waters of the future. Works Cited Berolzheimer, Alan. The Flow of History Winter, 2011. Web. Congdon, Kristin G. and Kara Kelley Hallmark. American Folk Art: A Regional Reference. Santa Barbara: ABC-CLIO, 2012. Print. Colquhoun, Lorna. “Littleton Honors Native Americans; Governor, Town Celebrates Cultural Day, Invites Tribal Leaders”. New Hampshire Sunday News 26 September 1993: 1B. Print. DeSorbo, Mark A. “State’s Top Arts Promoters Honored”. New Hampshire Union Leader 20 September 1995: A1. Print. Eaton, Allen H. Handicrafts of New England. New York: Bonanza Books, 1949. Print. Linzee, Jill and Michael P. Chaney. Deeply Rooted: New Hampshire Traditions in Wood. Durham: University of New Hampshire, 1997. Print. “Newton Washburn“. National Endowment for the Arts. Web. ”Western Abenaki Baskets – Home.“ Western Abenaki Baskets. N.p., n.d. Web. 15 Oct. 2012. Photographs by Alicia Gagne.
Small Fancy Basket with Cowiss (c. 1900)
Fancy Basket, c. 1900, Ash Splint, Abenaki, Housed at the Mt. Kearsarge Indian Museum This is a small, purely decorative, fancy basket. The main structure of the basket is tightly woven with light colored ash splints. The even sized and very smooth splints indicate the later date of the basket. Small decorative curls, known as cowiss, fashioned out of a darker splint cover most of the outside of the basket. These curls, called cowiss, are a common decoration on fancy baskets. The handles of the basket, two on the sides and one on top, are highly decorative. Due to its style, the basket would have been an item popular among tourists in New England. The Legacy of Basketmaking By continuing to make baskets, basketmakers today preserve a traditional way while also being involved members of their communities. Basketmaking creates a connection between ancestors, the older generation, and the younger generation that is important to the continuation of the art of basketry: "the work we create as artists connects us with our ancestors and leaves behind a connection for those yet to be born to remember who we are and were. The baskets, carvings, beadwork, tools, and items that made their way into museums still speak to us and teach us" (Mundell 26). Basket styles continue to change, which is a testament to the adaptability of the Abenaki people: "Each new ash splint basket crafted by Abenaki basket-makers… is a modern creation, designed to meet current 21st-century needs. Yet behind each basket lies a fascinating, time-honored history of native woodworking and basket-crafting here in the northeast” (Goff). Despite changing styles, the legacy is never lost and the tradition and process of making a basket remains much the same as it used to. Today various basketmakers such as Jesse Laroque, Jeanne Brink, Judy Dow, and Bill and Sherry Gould, keep the tradition alive by teaching apprentices and the younger generation, selling their wares, providing information, forming organizations and attending events that keep basketmaking a big part of New England culture. By keeping the tradition alive, Abenaki basketmakers are able to keep their tribe in the news and in the minds of the people of New England. And because for many years Indigenous peoples were erroneously labeled as disappeared from the area, being in the public eye helps to break down those stereotypes. Works Cited "Ash and Birchbark: The As and Bs of Traditional Baskets." U.S. National Park Service. N.p., 27 July 2012. Web. 27 July 2012. Goff, John. "Abenaki Basketmaking." Salem Gazette [Salem] 24 June 2011: n. pag. Web. 27 July 2012. Mundell, Kathleen. North by Northeast: Wabanaki, Akwesasne Mohawk, and Tuscarora Traditional Arts. Tilbury House Publishers, 2008. Pelletier, Gaby. Abenaki Basketry. Ottawa: National Museums of Canada, 1982. Print.
Image used with permission of Mt. Kearsarge Indian Museum.
Sweetgrass Fancy Basket (c. 1900)
Fancy Basket, c. 1900, Sweetgrass & Ash Splint, Abenaki, Housed at Mt. Kearsarge Indian Museum This fancy basket with a flip lid has dark colored handles on the side and a blueish green latch on the front. The edge of the basket is decorated in a spiral formation with small ash splints of the same color. A circle of dyed ash splint is the focal point of the basket while the rest of the basket is woven with sweet grass: "Sweetgrass is a perennial grass that occurs in a wide variety of habitats including moist meadows, riverbanks, forest edges, low prairies, wetlands, shorelines, roadsides, and other disturbed areas" (Shebitz 258). It is commonly used in basketry and is also used as “a ceremonial smudge and incense or medicine” (Shebitz 357). “Sweetgrass, which can only be gathered once a year in July” has a very sweet fragrance and retains its smell even after it has been dried (Fratini). The material is just as important as the final product and the fact that sweetgrass is used in baskets indicates that a basket is more than an object with only a functional purpose. This archive continuously argues that baskets can serve as a text. They can say just as much as a letter, a deed, or a petition as long as the context of the basket is examined. Although Indian literature was not always alphabetic, various tribes had their own forms of communication as well as a permanent way to pass on their traditions from generation to generation. This basket is part of that communication. Like Ash trees, sweetgrass is becoming harder and harder to find: "it is becoming more difficult to locate, and gatherers believe that its population is declining " (Shebitz 258). However, steps are being taken to preserve what sweetgrass is left and introduce sweetgrass where there is no longer any. For example, Daniela J. Shebitz and Robin W. Kimmerer worked with Kanatsiohareke, a Mohawk farm, to explore the possibilities of the reestablishment of sweetgrass because "Traditional crafts made from locally grown plants can strengthen the community both by preserving traditional art forms, such as basketry, and by providing a means of income" (Shebitz 258). This project emphasizes the connection between plant, tradition, and community. Likewise, baskets are an important part of the Abenaki community both in the past and in the future. What is a Fancy Basket? Probably from the 1900s, this basket was created at the height of the fancy basket period. Because fancy baskets were very popular in the late 1800s, many Abenaki would travel to tourist destinations in New England. For example, Joseph Laurent, chief of the Abenaki at Odanak from 1880 to 1892, "set off south for the summer with a group of Abenaki and Sokoki Indians to sell baskets. In 1884 they settled on a permanent spot in Intervale" (101 New Hampshire Century). The permanent encampment in Intervale sold baskets among other items such as canoes (101). Joseph Laurent also published New Familiar Abenakis and English Dialogues. His son, Stephen Laurent, later continued work at the Indian Shop and eventually became inspired to translate a dictionary, which helped revitalize the Abenaki Language (Koenig). The shop stayed in business until the late 1900s. Baskets such as this one were probably sold at the shop. These handmade baskets were an essential source of income. The popularity of the baskets coupled with the economic independence provided by this camp and others like it, allowed the basketmaking tradition to survive. As the Abenaki are not federally recognized, baskets such as this one help to reaffirm the Abenaki presence in New England. The Importance of Context Baskets require context to understand. Similarly, the Abenaki language places a big importance on context. For example, Stephen Laurent explains, "Even the simple word 'hand' gave one missionary a great deal of trouble. The Jesuit, pointing to his own hand, looked inquiringly at the Indian. The latter grunted, 'Kelji,' meaning Your hand.' Later to verify his records, he repeated his question, pointing to the Indian's hand. This time the answer was, 'Nelji,' meaning 'My hand'" (New Hampshire Century 100). The word hand does not stand-alone; it belongs to someone. The context of the communication is important because it does not make sense for a hand to stand alone, it is part of something bigger: "Finally to isolate the noun, the missionary persuaded someone inside a wigwam to stick out his hand through a slit in the doorway. The answer was 'Awanelji,' 'Someone's hand.'" (100). Likewise, the context of baskets must be discovered for their textuality to be evident. The fancy basket "movement" illustrates the economic independence of American Indians at the end of the 18th century and beginning of the 19th century. Furthermore, the format of the Abenaki language explains why context is so important as far as Abenaki baskets and other texts are concerned. The hand must belong to someone because that is the way that hands work: without the person and context the hand is meaningless. Likewise the basket does not mean as much without the context surrounding it. The Next Generation The next generation is just as important as the last generation: both are needed to strengthen a culture and keep it as a continuing presence. The strongest argument for how a basket counts as a text is in what a basket communicates to the decedents of the basketmaker. In a book dedicated to American Indian basketry, North By Northeast, Kathleen Mundell writes, “The work we create as artists connects us with our ancestors and leaves behind a connection for those yet to be born to remember who we are and were. The baskets, carvings, beadwork, tools, and items that made their way into museums still speak to us and teach us” (Mundell 26). As Joseph Laurent passed down his passion for the Abenaki language to his son Stephen Laurent, so too do others pass down the passion of basketmaking to the younger generations. A basket, when looked at in conjunction to its context can inspire the younger generation to continue the tradition. Works Cited Belman, Felice, and Mike Pride, eds. New Hampshire Century. Hanover: University Press of New England, 2001. Print. Coombs, Linda. Guest Speaker. Indigenous New England. University of New Hampshire, Durham, NH. April 2012. Fratini, Mary. "Basketmaker Continues Abenaki Family Heritage." Vermont Woman. Vermont Woman Publishing, Oct. 2004. Web. 15 June 2012. Koenig, Sarah. "Legacy of a Saved Language." Concord Monitor 1999: n. pag. Native Languages of the Americas. Web. 11 June 2012. Mundell, Kathleen. North by Northeast: Wabanaki, Akwesasne Mohawk, and Tuscarora Traditional Arts. TilburyHousePublishers, 2008. Shebitz, Daniela J., and Robin W. Kimmerer. "Reestablishing roots of a mohawk community and a culturally significant plant: Sweetgrass." Restoration Ecology 13.2 (2005): 257-264. Business Source Corporate. Web. 11 June 2012
Wall Basket (late 1700s to mid 1800s)
Wall Basket, late 1700s to mid 1800s, Ash Splint, Abenaki, Housed at the Hopkinton Historical Society Probably used to store fruits and vegetables, this basket was made to hang on a hook on the wall (Hopkinton Historical Society). Wide-open spaces at the bottom of the basket would allow air to circulate facilitating the quick drying of food or other items placed in the basket (Hopkinton Historical Society). According to the Hopkinton Historical Society, there is a residue on the inside of the basket that may suggest something wet was hung to dry inside it (Hopkinton Historical Society). The strong handle would probably be able to support a heavy load. In addition, the edge of the basket is reinforced with a continuous splint in a spiral formation. The strength of the basket illustrates the skill with which baskets are made. Although the basket is utilitarian in nature, "red and black natural dyes were swabbed on the exterior of some of the splints and on the visible portion of the interior"(Hopkinton Historical Society). The visible black splints make a square checkerboard shape, which compliments the pattern of the plain colored splints. The black splints were dyed with natural dyes, which suggest the date of the basket to be from the late 1700s to mid 1800s (Hopkinton Historical Society). A Basket Speaks But what analysis can be gained by looking at a basket? How much can a basket say? In her essay, "The Cultural Work of a Mohegan Painted Basket," Stephanie Fitzgerald writes, "Baskets, which were and still are ceremonial and utilitarian objects used for transportation and storage of items, prayer ceremonies, and traditional games, function as communicative devices. In sum, by touching every aspect of daily Native life, both past and present, basketry is imbued with cultural and spiritual power" (Fitzgerald 53). As an object needed for daily use, baskets have a direct connection to daily Native life. Because a basket is connected to the community, both now and in the past, through the basket making process and through its functional uses, baskets form a big part of Abenaki culture and tradition. An Open Dialogue Non-native written documents are biased and looking at non-alphabetic texts can create a bigger picture and form a more complete version of history. In his article, "Oral Tradition as Complement," Gordon Day writes, "All through the period of discovery, exploration and colonization they caught only glimpses of the Indian's attitudes, motivations, and understanding of the situation, and they were obviously not in a position to observe many events which were witnessed by Indian observers" (Day). In other words, non-native texts cannot explain everything because there is much that was only seen through the Indian's perspectives. Additionally, non-native writers were often biased and could not understand the position of the Abenaki: "dialogue with indigenous records enable us to imagine a literary tradition routed in negotiation and dialogues - rather than simply conquest and colonial monologues as the foundation of American Literature" (Rasmussen 9). The possibility of "A literary tradition routed in negotiation and dialogues" is why baskets are included within this archive (9). They are witnesses to a larger picture of history. Furthermore, because the Abenaki are not federally recognized it is important to appreciate baskets as a form of documentation that proves the continuing presence of Abenaki people, culture and traditions. As part of the criteria for recognition includes “documentation of sustained unity and government,” baskets can only aid the goal (Lindholm). The Abenaki Today The Abenaki are not federally recognized, however, four Abenaki bands, The Missisquoi, the Koasek, The Nulhegan, and Elnu tribes, have Vermont state recognition. This state recognition is important because of three reasons. First, it allows their artisans to sell items with the Native American made label, which lets the artisans sell their wares for a higher price. This enables many basketmakers to be financially independent through their craft. Second, it “allows members to apply for some federal programs including housing and education grants” (Lindholm). It opens the doors for the society to progress. Third, it provides a positive emphasis on their idea of identity. In other words, they no longer have to fight as hard to convince others of their identification as Abenaki: "Wabanaki Basketry can be used by Wabanaki people to assert tribal sovereignty and promote decolonization" (Neuman 100). Basketry also works as an outlet of communication between natives and non-natives (Neuman). It enables the dialogue started by looking at native texts to continue. The Worth of a Basket By focusing only on written works, a heavily non-native view is explored. Baskets add an additional piece of the puzzle to the Abenaki view of the world. Baskets such as this one prove that the Abenaki had and continue to have their own concrete culture. Although this basket is utilitarian and not decorative as some of the fancy baskets in this archive, the “textuality” or literary worth of the basket is evident through its materials, its uses, and the careful process of basketmaking. This archive aims to be one of inclusion, not exclusion. By including both utilitarian and fancy baskets in context with their materials, the process of basketmaking, and the way that baskets continue to affect the Abenaki and other tribes today, a larger literary picture is formed. Works Cited Dawnland: Abenaki Creation Story. Youtube Video,n.d. Fitzgerald, Stephanie. "The Cultural Work of a Mohegan Painted Basket." Early Native Literacies in New England. Amherst: University of Massachusetts Press, 2008. 52-56. Print. Lindholm, Jane. "Recognizing Vermont's Abenaki." Vermont Edition. Vermont Public Radio, 8 May 2012. Web. 13 July 2012. McMullen, Ann. Key into the Language of Woodsplint Baskets. Institution for American Indian Studies, 1987. Print. Mundell, Kathleen. North by Northeast: Wabanaki, Akwesasne Mohawk, and Tuscarora Traditional Arts. Tilbury House Publishers, 2008. Print. Neuman, Lisa K. "Basketry as Economic Enterprise and Cultural Revitalization: The Case of the Wabanaki Tribes of Maine." Wicazo Sa Review. 25.2 (2010): 86-106. Rasmussen, Birgit Brander. Queequeg’s Coffin: Indigenous Literacies and Early American Literature. Duke University Press Books, 2012. Print.
Berry Basket With Handwritten Note (1840)
Berry Basket, 1840, Ash Splint & Hong Kong Cord, Abenaki, Housed at the Hopkinton Historical Society Made from ash splint and detailed with Hong Kong Cord, this berry basket stands out because of the handwritten note on its ash splints that names the encampment on Bassett Mill Road in Hopkinton, NH as the location where it was sold and possibly made. The various splints of varying shapes and sizes, which were "not cut using a gauge as is typical of later baskets made by Abenaki artisan basketmakers," indicate the basket as utilitarian (Hopkinton Historical Society). The basket "is physical evidence of Native American life in Hopkinton in the 1800s," which is important because Indians in New England are commonly presumed to have disappeared (Hopkinton Historical Society). This basket is one object among many that offers proof of Native Americans in New England and is representative of Abenaki culture, tradition, and survival. The Meaning of The Material Hong Kong cord, "a commercially produced cord of natural fibers, imported and sold to native Americans for use in woodsplint baskets," was used instead of sweetgrass to speed up production, which shows the Abenaki ability to adapt in order to survive economically (McMullen 19). Despite being hard to acquire, sweegrass is still used in baskets today. Because Baskets have taken a more artistic and cultural meaning, they can sell for much more. Being able to use different materials, however, is important to many basketmakers. For example, Judy Dow and Gail Tremblay use modern and sometimes unusual materials while still weaving in the traditional way. They do this because it is important to preserve the process even if traditional materials are increasingly difficult to find. The Threat of the Emerald Ash Borer Ash trees are becoming rarer because of the emerald ash borer, an invasive species from Asia. The emerald ash borer attacks the ash tree, eating the leaves while the larvae burrow into the tree bark, making it unsuitable for making into splints. Because the ash borer is so devastating to the ash tree, it has a big affect on the Native community, especially those who pound ash for baskets. There are efforts, however, to preserve the tree and stop the spread of the emerald ash borer. The Cerceris wasp, for example, makes a good predator for the emerald ash borer. Education is also a powerful tool as the transportation of firewood is the easiest and fastest way for the borer to spread. Discouraging people from transporting firewood is the best way to prevent the spread of the borer. The Abenaki and Conservation Some Abenaki are also involved in conservation efforts. For example, the Nulhegan tribe along with the Sierra Club of Vermont is advocating for tribal and town forests called the Our Forests Our Future initiative: "The land we walk upon is a gift and from that land my people were able to meet their every need and maintain the beauty of the land" (SierraClubVT). The forests would only be used for traditional activities such as sustainable hunting and fishing, recreational activities such as hiking, and would serve as “a place to teach our children the simplicity of sustainable living and stewardship” (SierraClubVT). These forests would also help with the acquirement of ash trees for basketmaking as well as provide clean air to breathe in addition to clean medicine and food. One of the goals of the project is to provide safe, natural habitats and migration routes for animals. By building community, sustainable resources, and a sanctuary for wildlife, tribal and town forests offer many positive aspects for both natives and non-natives alike. The natural materials of this basket are an important part of Abenaki culture as illustrated through the Abenaki creation story. The only way that baskets can continue to be made with traditional materials is through conservation and preservation. The Importance of the Next Generation As emphasized in many of the basket descriptions, the passing down of traditional ways to the younger generation is imperative to the continuance of the Abenaki culture. The goal of teaching children traditional ways is underscored on the Nulhegan Abenaki website: "Teaching our young ones the skills and customs of our ancestors keeps our heritage alive. We empower our children to, not only to survive but, thrive during economic hardships by utilizing the traditions and practices of our ancestors, such as organic agriculture and permaculture" ("Culture"). Town and tribal forests can also serve as a place to teach children traditional ways as well as teach non-native children a more accurate depiction of history and Abenaki way of life in order to break down erroneous stereotypes. Works Cited "Culture." Nulhegan Abenaki Tribe. Nulhegan Abenaki Tribe, 2012. Web. 21 July 2012. McMullen, Ann. Key into the Language of Woodsplint Baskets. Institution for American Indian Studies, 1987. Mundell, Kathleen. North by Northeast: Wabanaki, Akwesasne Mohawk, and Tuscarora Traditional Arts. TilburyHousePublishers, 2008. SierraclubVT. Luke Willard at Vermont May Day Rally 2012-Abenaki Tribal Forests. YouTube. YouTube, 10 May 2012. Web. 21 July 2012.