1 10 189 https://dawnlandvoices.org/collections/files/original/2b367aa0fad7703ed95a21df2e531434.jpg 0cc632a4bc3f2e44339ec6ce9fdc0b3a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Other Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Red Fancy Basket (c. 1970) by Mary Adams Description An account of the resource Fancy Basket, c. 1970, Ash Splint and Sweetgrass, Mohawk, Created by Mary Adams, Housed at the Mt. Kearsarge Indian Museum One of our most modern baskets, this red fancy basket was created by Mohawk Basketmaker Mary Adams in c. 1970. With its green and red ash splints making a continuous spiral pattern, the basket illustrates the intricate art of basketry. A circle of sweetgrass on the top of the basket with splints shaped into a flower like pattern demonstrates the artist's skill. More than just a decorative or utilitarian object, this basket tells a story of survival and triumph. Mary Adams' baskets incorporate modern aesthetics and a comment on the Mohawk world-view into the art and process of basketmaking. Every basket illustrates her life story and the debt that basketry as an art form owes to her. This piece is housed at the Mt. Kearsarge Indian Museum <h4>The Mohawk</h4> The Mohawk have been making baskets for a long time. Every step of the process underscores their dedication to traditional beliefs while also adapting to changing times: "Mohawk people of today have combined centuries-old ways of living into 20th century everyday life. The values of their historical culture still remain present in their daily life" (<a href="http://www.srmt-nsn.gov/government/culture_and_history/">Mohawk Tribal Website</a>). Despite much adversity, the Mohawk tribe has survived and preserved their culture. Because American Indians as a minority are not given as much attention as other minorities, tribes do their best to positively emphasize their modern culture. The St. Regis Mohawk tribal website, for example, delineates the continuance of their culture: "The Kanienkehaka, or Mohawks as they are known in English, have managed to preserve, maintain and foster a unique culture for thousands of years. This dynamic culture has survived, despite the oppressive odds brought about with the arrival of Europeans in what is now known as North America” (<a href="http://www.srmt-nsn.gov/government/culture_and_history/">Mohawk Tribal Website</a>). Baskets such as this one are proof of the continued presence of Mohawk people into the present day. In Akwesasne (the Mohawk land around the St. Lawrence river) today, there are more than a hundred Mohawks that practice basketmaking (Williamson). Through her baskets, Mary Adams showcased her culture and inspired others to take on and continue the trade. <h4>Mary Adams, Mohawk Basketmaker</h4> Mary Adams was born on Cornall Island, Ontario, Canada in 1917 and died in Fort Covington, New York in 1999 (Smith). She learned basketmaking at a young age from her mother: "When my mother used to make baskets, my brothers and sisters and I used to play with the scraps she threw down around her" (Smith). At ten years old, when her mother died and her father left to find work as an ironworker, Adams made baskets with the help of her brother to support the both of them (Thornburn 92). Adams began by making a dozen baskets a week (later upping the production to two dozen baskets a week) (92). Adams would trade the baskets in for cigarettes at one store and then trade the cigarettes at another store for $1.25 (92). She continued making baskets to support herself for the rest of her life: "That's why my baskets are so good- because I work every day" (Smith 38). In total, Adams produced over 25,000 baskets during her lifetime. Later on in her life, Adams had more time to experiment with different forms and decorations (Thornburn 92). She is famous for her exquisite <a href="http://americanart.si.edu/exhibitions/online/highlights/artworks.cfm?id=MC&StartRow=3">Wedding Cake Basket</a> and for the Pope Basket that has various smaller baskets (over 150) attached all around the rim. <h4>The Continuance of Basketry</h4> Passing on the tradition of basketmaking was especially important to Mary Adams: "Continuing the community- centered tradition of the Mohawk, Adams shared the original patterns and surface designs in her basketry with her family and the women at Akwesasne, and also traveled widely to give demonstrations of Mohawk basketmaking " (Thornburn 92). Adams taught many people what she knew about basketmaking including her children. In a recording from <a href="http://www.northcountrypublicradio.org/upnorth/masters/akwesasne/akwesasne.php#">North Country Public Radio</a>, Mary Adams recalls how one woman would often come over to learn basketmaking. Later on, when the woman was more experienced, she called Adams to ask for her advice if she got stuck ("Mary Adams"). When the woman asked how much the lesson cost, Adams replied with "I don't charge you anything. I just want you to learn" ("Mary Adams"). Much more important than making money, Adams' goal was for younger people to learn and in turn teach others so that the tradition could continue on. Michele "Midge" Stock recalls how she had the great pleasure of meeting Mary Adams and learning from her through a New York Folklore Society <a href="http://www.nyfolklore.org/progs/mentproj.html">mentoring project</a>: "She invited me to her home to learn more about Iroquois Basketry. I was thrilled, of course, as I was a novice, and she is one of the most well-known Iroquois basket-makers in the world" (Stock). In 1998, when Adams was injured due to a fall, Stock helped Adams with her baskets (Stock). Mary Adams’ daughters would also join in (Stock). <h4>Inspiration</h4> Adams drew on various sources for her inspiration. Mary Adams used a mix of modern culture and the traditional art of basketry to make The Wedding Cake basket. Built to look like an elaborate wedding cake, the basket commemorates the 25th wedding anniversary of one of her daughters. Although wedding cakes are a popular modern tradition, Adams used her knowledge of basketry to put her own spin on the significance of the anniversary (Thornburn 92). A testament to modern Mohawks, the basket merges two cultures. Mary Adams also created the Pope Basket, which mixes religious influence with the Mohawk traditional art of basketry. A devotee of Kateri Tekakwitha, a Catholic Mohawk woman who lived during the 17th century, Mary Adams presented the basket to Pope John Paul II in honor of Kateri’s beatification (92). <h4>The Culture of Baskets</h4> Modern baskets illustrate the melding of traditional customs with modern aesthetics and lifestyles. One of the most famous Mohawk basketmakers, Mary Adams expanded and experimented with different designs, colors, and techniques. Despite having to grow up at the very young age of 10 and support herself and her brother, Adams was able to make baskets to sell for money in addition to expanding on the art form. Mary Adams’ baskets emphasize the unique culture of the Modern Mohawk by combing different aesthetics: Mohawk, non-native, and Modern American. <h4>Works Cited</h4> Hassenplug, Sarah. "Culture and History." Saint Regis Mohawk Tribe. N.p., 1991. Web. 08 Aug. 2012. Mary Adams. North Country Public Radio. N.p., 2012. Web. 08 Aug. 2012. Smith, Jaune Quick-to-See. "Women of Sweetgrass, Cedar, and Sage." Women Studies Quarterly 15 (1987): 35-41. Jstor. Web. 08 Aug. 2012. Stock, Michele. "NYFS Mentoring: Iroquois Basketry." New York Folklore Society. N.p., 2012. Web. 08 Aug. 2012. Thornburn, Olivia. "Mary Kawennatakie Adams: Mohawk Basketmaker and Artist." American Art 15.2 (2001): 90-95. JSTOR. Web. 08 Aug. 2012. Williamson, Lynne. "Music and Art to Remember." Voices Fall-Winter 2002: n. pag. New York Folklore Society. Web. 8 Aug. 2012. Creator An entity primarily responsible for making the resource Adams, Mary Date A point or period of time associated with an event in the lifecycle of the resource circa 1970 Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Identifier An unambiguous reference to the resource within a given context DV-281 https://dawnlandvoices.org/collections/files/original/baf4dcd809b2af084bdba0fdb3907cae.pdf 2b93f415de9d1a21d5c7c50872e93951 PDF Text Text MASHPEE’S IDENTITY Why there should be speculation about Mashpee’s identity, with the emphasis on its traditional char acter being on the way out, is particularly agrivating to those of us Wampanoags who are Mashpee's Native Community. Development, architectural design, new comers, one center or five centers, do not change the history and identity of Mashpee. "Mashpee was once a close-knit community - all that has changed," stated our Town Planner. the right to make this statement? What gives him We haven’t seen him at one of our inter-tribal socials, tribal meetings, youth gatherings, or any number of other Indian activities which we have perpetuated down through the years as started by our ancestors long before Columbus discovered us* We are still a very close knit community, following our traditional culture, and despite adversities, we move forward. In 1870, Mashpee was incorporated into a Town. It was an Indian town then and it is an Indian town now, as the "Land of the Wampanoags" signs indicated. We recog nize that Mashpee Commons is there. We do not recognize that Mashpee has been reinvented. Why is the word "re invented" being used at all? Is it because there are those who wish to wipe out Mashpee’s Indian identity as permanently as when Columbus "discovered" us? The fact is that we have a very unique identity. Why can’ we go forward and be proud of that identity t "The Land of the Wampanoag." By the way, after all these changes are made, what is the Town of Mashpee being faced with? Not Identity...Environmental Strangulation is the answer ??? Joan Avant Tavares; President, Mashpee Wampanoag Indian Tribal Council, Inc. Director, H a sheee/Falmouth*Indian Education Program. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wampanoag Description An account of the resource Traditional Wampanoag territory encompasses a wide swath of southern New England--much of what is now southeastern Massachusetts, including Martha's Vineyard and Nantucket. Today, there are two federally recognized communities: one at Mashpee, Cape Cod; the other at Aquinnah (Gay Head), Martha's Vineyard. Wampanoag people were among the first indigenous people regionally to begin writing and published a Wampanoag-language bible as early as 1663--a text that has been useful in contemporary language revival efforts. Wampanoag people have also been devoted writers of their own history, as evidenced by the detailed timelines that appear even on the official tribal websites. Resources <a href="http://mashpeewampanoagtribe.com/" target="_blank">Mashpee</a> Wampanoag Tribe <a href="http://www.wampanoagtribe.net/Pages/index" target="_blank">Wampanoag Tribe of Gay Head</a> (Aquinnah) <a href="http://www.wlrp.org/" target="_blank">Wopanaak Language Reclamation Project</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Mashpee's Identity" by Joan Tavares Avant Description An account of the resource Avant wrote this piece during her tenure as President of the Mashpee Wampanoag Tribal Council and Director of Mashpee's Indian Education Program. The piece appeared in the Mashpee powwow flyer, an important source of Wampanoag writing and self-representation. Creator An entity primarily responsible for making the resource Avant, Joan Tavares Contributor An entity responsible for making contributions to the resource Indigenous Resources Collaborative Siobhan Senier Rights Information about rights held in and over the resource Joan Tavares Avant. Used with permission. Language A language of the resource English Type The nature or genre of the resource Document Source A related resource from which the described resource is derived Mashpee Wampanoag People of the First Light Annual Powwow flyer Date A point or period of time associated with an event in the lifecycle of the resource Unknown Date Created Date of creation of the resource. June 2016 Format The file format, physical medium, or dimensions of the resource pdf Identifier An unambiguous reference to the resource within a given context DV-348 https://dawnlandvoices.org/collections/files/original/0a1b71698c46fe8e8f3cf71f92c87002.pdf c1a19b7c2299e237de79e94267b146b5 PDF Text Text An Indian Side of the Christopher Columbus Story X By J oa n Avant Tavares M ashpee W ampanocig There are two aides to every story. The story of proclaimed hero Christopher Co lumbus. who historians say discovered Amer ica. Is no exception. Here I dwell not on his glorified voyages but on the atrocities Inflicted upon Native Americans during his voyages and conquests throughout the New World. How many people are familiar with the story of Anacaona? What happened to her and her people, the Arawak Indians, when they resisted the Invasion and conquest of their Island (Hlspafllola) by Columbus would shock Americans. Anacaona. her family and friends, had welcomed Columbus. His brutal war of extermination was suppressed and de leted from the literature by official Spanish censors. All of the First People were soon enslaved, tortured, or persecuted. "The great est extermination of a people In the history of the world, and few people know about tt,“ says Professor Walter Fox Tree, whose play about her Is dedicated to 100 million Native Nations people. the Sky": and the second was, “ Heaven-sent allies against our enemies." The tribes had no defensive posture because they saw no need for one. _ The whites did not have to divide and con quer because so many native leaders a s sumed that the strangers spoke the truth. Europeans had only to overcome the tribes one by one and they found plenty of native assistance for the task. A lack of Iron, gun powder. ships, and horses was not nearly as Im portant a handicap for Indians as was their own willingness to welcome Columbus and his followers as friends and benefactors rather than uniting against this horde erf Invaders, bent upon conquest, and driving them from the lands. Columbus by Jim mie Durham, Cherokee ... Greenrock Woman was the name Of that old lady who walked right up And spat In Columbus' face. We Must remember that, and remember Laughing Otter the Talno who tried to stop Columbus and was taken away as a slave. We never saw him again. In school I learned of heroic discoveries Made by liars and crooks. The courage Of millions of sweet and true people Was not commemorated. Let us then declare a holiday For ourselves, and make a parade that begins With Columbus' victims and continues Even to our grandchildren who will be named In their h on or. . .* The first Europeans were welcomed by natives with gilts ol food and tokens of honor until the moment came when these same gifts, and more, were demanded as perpetual hom age. Europeans brought nothing that would benefit those who already occupied the lands. Moreover, the Ideas and Institutions which motivated them were never designed to help native peoples. The philosophy and economics of colonization were designed to benefit only the conquerors. It was no more than Interna tional plundering. On a thousand frontiers the Europeans used the technology of superior ships and superior guns to gain territorial beachheads. They then Imposed on the Indige nous societies a brutal form o f servitude understood by the conquerors but totally alien to most natives. The two American continents contained many separate and distinct groups of Native people In 1492. In North America alone, at least 600 different tribes coexisted, speaking 200 different languages and following ways of life that were as richly diverse as the many geographic regions they occupied. Isolated from the Eastern Hemisphere. Native America was unprepared for the massive Invasion that Columbus began. No Indian nation was even remotely aware of the vastness of the two continents. A few hundred miles away would have been a very long Journey for even the m ost well-traveled. There was nothing approaching a sentiment of racial solidarity. Almost every Indian tribe called Itself'We the People." Wherever Europe ans appeared for a century or more after 1492, the first thought of the Indians was "Men from 1. Beverly Slapln and Doris Seale. B ooks With out Bias: Through Indian E yes (Berkeley. Calif.: Ovate Press. 1987). Christopher Columbus was a Catholic who felt he must convert Aslan heathens to Christi anity. but In the end the "heathens" he met. Native American people, were much more likely to be killed or enslaved than to be truly con verted In the Christian sense. In 1492, a loan of over $7,000 enabled him to obtain three caravels (small ships) and a royal letter of passport from King Ferdinand and Queen Isabella of Spain. In return for bringing back gold and spices, they promised Columbus 10 percent of the profits, a personal governorship over new-found lands, and the fame that would go with the title Admiral of the Ocean Sea. When he finally approached land. Colum bus was met by the Arawaks who swam out to greet him. The Arawaks lived In village communes and had long before developed keen agricultural skills. They cultivated com, yams, and cassava. They had no Iron, but they wore tiny gold ornaments In their ears. This led Colum bus to take some of them aboard ship as prisoners. He Insisted that they guide him to the source of their gold. He then sailed to Cuba and later to Hlspafllola. Columbus built the first military base tn the Western Hemisphere. He left thirty-nine crew members with Instructions to find and store gold. He took more Indian prisoners and put them aboard two remaining ships (the Santa Marla was shipwrecked). Even though Columbus had time and again asserted that the Arawaks were the most kindly, peaceful and generous people In the world, during his second trip he and his brother collected 1500 o f them for shipment back to Spain as slaves. His four available ships, however, could only carry 500. Colum bus allowed Spanish settlers and officers to help themselves to those that remained. After this selection process, those few Indians left were told to flee. Mothers were forced to aban don infants In their desperate fear. Many of those slaves shipped to Spain died en route. In the province of Clcao. on Hispafllola. Columbus and his officers ordered all Arawaks fourteen years or older to collect a certain quantity of gold every three months. When they succeeded they were given copper tokens to hang around their necks. Indians who had not reached their quota of gold and were found without these copper tokens often had their hands cut off. Many bled to death as a result. When It became clear that there was no gold left, the Indians were used as slave labor and died by the thousands. By 1515, there were no more than 50,000 Arawak Indians left. A report In 1650 showed that none of the original Arawaks or their descendants were left on the Island. Columbus had promised "mountains of gold" to his backers and his effort to squeeze this wealth out of the simple native society of the Island caused death to half of Its population between 1492 and 1500—estimates vary from 125.000 to 500,000. Within two generations the entire Indian society was wiped out. None of Its people were converted to Christianity. There Is not one recorded moment of Joy, of love, or a smile. The Indian” an idea invented by la the white man to distinguish him from the Eu ropean. He is depicted as the person on the shore, outside o f the boat. In actuality, the Americas are filled with groups of people as different from each other as they are different from the Chinese people. There are hundreds o f religions, cultures, languages, and ways of life among the Native peoples of the Americas. The land was a model of diversity long before the arrival of Columbus. Europeans did not choose to see this diversity. They created the concept of one Indian nation to make what they saw as an entity with which they could deal From that time until now. the white man has. tn fact, molded the Indian In an image which has always been m ost expeditious and most profitable for the white man himself. There came a new force, and it was this force which decided what was going to happen to America's original Inhabitants. If others didn't agree, this force used the sword, chopped off heads, and asked If there was anyone else who disagreed. For American Indians, this force has always appeared as a single Individual. "One man. one sword, one vote."1 From the time of Columbus to the 2 present the white society has done little to change that view. 2. Joh n Mohawk. "Looking for Columbus," Native N ations 1:2 (February 1991). Afterwards they came swimming to the ships’ boats . . . and brought us parrots and cotton thread in balls, and spears and many other things, and we exchanged for them other things, such as small glass beads and hawks' bells, which we gave to them.... They were very well built, with very handsome bodies and very good faces.... They do not bear arms or know them, for I showed to them swords and they took them by the blade and cut themselves through ig n o r a n c e . T h e y are all generally fairly tall, good look ing, and well proportioned--- They should be good servants and o f quick intelligence, since I see they very soon say all that is said to them, and I believe that they would easily be made Chris tians. The people also are very gentle.... All that they do possess, they give for anything which is given to them. — Excerpts from entries in Christo pher Colum bus'journal fo r the month o f O ctober 1492 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wampanoag Description An account of the resource Traditional Wampanoag territory encompasses a wide swath of southern New England--much of what is now southeastern Massachusetts, including Martha's Vineyard and Nantucket. Today, there are two federally recognized communities: one at Mashpee, Cape Cod; the other at Aquinnah (Gay Head), Martha's Vineyard. Wampanoag people were among the first indigenous people regionally to begin writing and published a Wampanoag-language bible as early as 1663--a text that has been useful in contemporary language revival efforts. Wampanoag people have also been devoted writers of their own history, as evidenced by the detailed timelines that appear even on the official tribal websites. Resources <a href="http://mashpeewampanoagtribe.com/" target="_blank">Mashpee</a> Wampanoag Tribe <a href="http://www.wampanoagtribe.net/Pages/index" target="_blank">Wampanoag Tribe of Gay Head</a> (Aquinnah) <a href="http://www.wlrp.org/" target="_blank">Wopanaak Language Reclamation Project</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "An Indian Side of the Christopher Columbus Story" by Joan Tavares Avant Description An account of the resource Avant has had a long career as a columnist for area newspapers. This article survives in her personal collections as a clipping; it may have appeared in The Mashpee Enterprise, to which she was a frequent contributor. The year is unknown. The article exemplifies the continuing efforts of Avant and other Wampanoag writers to tell history from their tribal perspectives. Creator An entity primarily responsible for making the resource Avant, Joan Tavares Contributor An entity responsible for making contributions to the resource Indigenous Resources Collaborative Siobhan Senier Rights Information about rights held in and over the resource Joan Tavares Avant. Used with permission. Type The nature or genre of the resource Document Date A point or period of time associated with an event in the lifecycle of the resource n.d. Language A language of the resource English Date Created Date of creation of the resource. June 2016 Identifier An unambiguous reference to the resource within a given context DV-349 Format The file format, physical medium, or dimensions of the resource pdf https://dawnlandvoices.org/collections/files/original/082e65c5285f46bfc363bbd4d0768f57.pdf 4d0733b0e30e459219f3e7191f8d6dc0 PDF Text Text WELCOME TO MASHPEE - LAND OP THE WAMPANOAGS Once again we gather here on Wampanoag land to cele brate the coming together and sharing of our heritage with our sisters and brothers from neighboring tribes and from tribes throughout the land. MASHPEE WAMPANOAG INDIANS For the "People of the First Light," the Annual Powwow is a time for meeting old and new friends, strengthening the ties of our Native American heritage, passing on knowledge from our elders to our youth, and a time to thank the Great Spirit for letting us come together. The Powwow gives Native Americans a chance to show unity and to share traditional and contemporary talents with those who join us on this occasion. This is also an occasion for remembering events that have come to pass over the past 300 years. Our ancestors welcomed the Europeans to these shores, taught them to survive, and suffered for their kindness. We, their descendants, are still fighting for recognition of what is rightfully ours. Not only is this a time for remembering, but it is also a time for giving thanks to the many people who have supported Wampanoag concerns over the past years. We thank those who want to learn more about Native Americans and who support our customs and traditions that we strive to keep alive. We thank all who are celebrating with the People of the First Light at this Annual Powwow. Ho! Peace, President, Mashpee Wampanoag Indian Tribal Council, Inc. Director, Title IV, Part A, Mashpee Public School, Indian Education Program. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wampanoag Description An account of the resource Traditional Wampanoag territory encompasses a wide swath of southern New England--much of what is now southeastern Massachusetts, including Martha's Vineyard and Nantucket. Today, there are two federally recognized communities: one at Mashpee, Cape Cod; the other at Aquinnah (Gay Head), Martha's Vineyard. Wampanoag people were among the first indigenous people regionally to begin writing and published a Wampanoag-language bible as early as 1663--a text that has been useful in contemporary language revival efforts. Wampanoag people have also been devoted writers of their own history, as evidenced by the detailed timelines that appear even on the official tribal websites. Resources <a href="http://mashpeewampanoagtribe.com/" target="_blank">Mashpee</a> Wampanoag Tribe <a href="http://www.wampanoagtribe.net/Pages/index" target="_blank">Wampanoag Tribe of Gay Head</a> (Aquinnah) <a href="http://www.wlrp.org/" target="_blank">Wopanaak Language Reclamation Project</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Welcome to Mashpee" by Joan Tavares Avant Creator An entity primarily responsible for making the resource Avant, Joan Tavares Contributor An entity responsible for making contributions to the resource Indigenous Resources Collaborative Siobhan Senier Rights Information about rights held in and over the resource Joan Tavares Avant. Used with permission. Language A language of the resource English Type The nature or genre of the resource Document Description An account of the resource Avant wrote this piece while she was President of the Mashpee Wampanoag Tribal Council and Director of Mashpee's Indian Education Program, and published it in the tribe's annual powwow flyer. The Mashpee powwow flyers have been an important source of Wampanoag writing and self-representation, as they address both Wampanoag people and non-Native visitors to the powwow. Source A related resource from which the described resource is derived Mashpee Wampanoag People of the First Light Annual Powwow flyer. Date A point or period of time associated with an event in the lifecycle of the resource Unknown Date Created Date of creation of the resource. June 2016 Format The file format, physical medium, or dimensions of the resource pdf Identifier An unambiguous reference to the resource within a given context DV-352 https://dawnlandvoices.org/collections/files/original/1855df4dd95110afa1b65d4850e32ff0.jpg ae094735eff93e4600486d2bc5e08dbf https://dawnlandvoices.org/collections/files/original/de31fb94ba75683045501161d08b1887.pdf c914e98d942d9bcb8f5c4c09b50f1dce PDF Text Text Trenching Alice Azure Unexpectedly they arrived by mail—baby saplings wrapped in woodsy moss ready to be planted, watered, nourished there and then— but we were packed to go away that day, headed south for a few weeks of fun. I examined labels attached to tender stems— tiny rhododendrons mixed with wee azaleas destined to be all the spring colors I imagined— deep rose reds, bright, bright whites, pinks, lavender— and as instructions read, a shallow trench I dug, laid the saplings on their sides, covered roots with coarse peat and dirt to hold them until my return. That was the best that I could do like our mother— when she put us in the Cromwell Children’s Home. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mi'kmaq Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Trenching" by Alice Azure Description An account of the resource Alice Azure was born July 30, 1940 in North Adams, Massachusetts. Her father, Joseph Alfred Hatfield, was born in Yarmouth, Nova Scotia, but grew up in northern Maine and New Hampshire. He was of French, Dutch, and Mi'kmaq descent. Azure's mother, Catherine Pedersen, was born in West Springfield, Massachusetts, but spent her formative years in Mandal, Norway from about 1924 to 1934. She was of Norwegian descent. At the age of seven, family strife sent Azure and her siblings to live in the Cromwell Children’s Home in Connecticut. Azure lived there from 1951 to 1959. She attended the University of Iowa, earning an M.A. degree in urban and regional planning. <h4> Ancestry </h4> Azure was long unclear about her familial roots, and did not know to which tribe she belonged. After searching for 35 years, she wrote a memoir, Along Came a Spider, about her life and the struggles she went through to discover her ancestry. The title of this memoir comes from Azure’s discovery of her spiritual guide, Grandmother Spider. Azure speaks with Grandmother Spider throughout her memoir, who provides inspiration and tranquility. After years of research, a visit to Canada, and alliances with Metis groups in Nova Scotia, Azure was finally able to discover many of her old ancestors, dating as far back as the 17th century. She can officially say that she is of Mi’kmaq Metis descent, and her roots are in the Kespu'kwitk District of Nova Scotia. Azure has also been granted recognition of aboriginal status as an Acadian descendant in Nova Scotia by the Association des Acadiens Metis-Sourquois (salt water people), who are located in Saulnierville, Digby County, Nova Scotia. <h4> Personal Life </h4> Azure has been married twice. She met her first husband, Tom Liljegren, at North Park College, where Azure attended as an undergrad. Though they did not have a lot in common, they were still able to fall in love, and were married in 1960. They had three children, Kathryn, Michael, and Patti. After twenty years of marriage, their busy schedules caused too much stress and indifference, which led to their divorce. Azure met her second husband, Alec Azure, many years before they married. They had been merely friends, visiting each other every so often. Over time, their relationship grew more serious, and they married in July of 1990. Unfortunately, Alec passed away after only two and a half years of marriage. Through her grief, Alice devoted more of her time to writing. <h4> Work and Writing </h4> Before she began writing, Azure worked in the United Way movement, starting as a volunteer in 1975, then as a professional in 1979. Except for a four-year period from mid-1990 to 1994, she remained a community planner in various local United Ways until her retirement in January 2005. She currently lives in Maryville, Illinois near her three grandchildren, where she is a member of the <a title="Wordcraft Circle of Native Writers and Storytellers" href="http://www.wordcraftcircle.org/">Wordcraft Circle of Native Writers and Storytellers</a> and the <a title="St. Louis Poetry Center" href="http://www.stlouispoetrycenter.org/">St. Louis Poetry Center.</a> Azure now focuses strongly on her poetry and writing. She now has her own <a title="website" href="aliceazure.com">website</a> where she keeps up with her blog. Aside from Along Came a Spider, she has published two other books, In Mik’maq Country: selected poems and stories, and Games of Transformation, (which won the 2012 Poetry award from the Worldcraft Circle of Native Writers and Storytellers). Azure’s poetry consistently delves into her past, and typically voices her wonders about the mysteries of her ancestry. This allows for the reader to engage with Azure, and understand the hardships and confusions that she has gone through. Yet in all of her poetry, there is never a strong sense of anger or resentment. It's always a reflection that is told through delicate descriptions, which makes her poetry very enjoyable to read. <h4> Literary Analysis </h4> One of Azure's strongest poems is Trenching (featured below). This poem is stunning on so many different levels. It is so hard hitting with it's unexpected ending that is incorporated perfectly. For Azure to drop the reader off like that she forces them to feel very much how she felt when she was left at an orphanage – to go from enjoying an ordinary, beautiful life, to taking a dramatic turn for a reason that is very hard to grasp. Azure’s best attribute in her writing is her attention to detail. In Trenching specifically, her descriptions of the small, delicate flowers are so vivid, which draws the reader’s attention, pulling them into a comfortable space that then gets yanked away. Azure’s attention to these small details is very similar to the description of her hands in Along Came a Spider, “I couldn’t help but notice how aged my hands and skin looked. All my life, it seems, I’ve had grandmotherly looking hands—brown, vieny, big and boney. An artist would have quite a time drawing my hands, catching the play of light on the branched, protruding veins, the prominent bones. The skin of my lower arms is so textured and leathery-looking, too, a busy network of lines all connected to pores—like the geodesic domes designed by R. Buckminister Fuller.” (83) Lastly, Azure’s emphasis on the flower’s future colors is very interesting, since she pays great attention to the “bright, bright whites.” Why are the whites brighter than the other colors? Perhaps this is an inclination to white Americans who repress Native Indians and feel as though they should grow up like a white person. Many Indian children were taken from their homes and placed into orphanages and boarding schools in order to be raised as a white child, in the hopes that this would eradicate the Native Indian population. This arouses the question; did Azure feel as if she was one of these children in the Cromwell Home? She has not directly addressed this, but she does not look at her time in the Children’s Home as a negative experience, and she is very proud of her native ancestry. <h4> References</h4> "35.1." The Florida Review. Retrieved 10 April 2013. Adams, Faye. "<a title="Interview: Alice M. Azure" href="http://www.stlbooks.com/bookscape/?p=1581">Interview: Alice M. Azure</a>". STLbooks. Retrieved 4/2/13. Along Came A Spider. Bowman Books, Mayville, IL, 2011. Azure, Alice (2007). In Mi'kmaq County: selected poems & stories. Chicago, IL: Albatross Press. p. inside cover. "Contributors." Past and Current Contributors. Native Literatures. Retrieved 10 April 2013. Francis, Lee (January 1994). Word Trails: Wordcraft Circle Quarterly Journal 1 (1): 6. "<a title="Honors and Awards 2012" href="http://www.wordcraftcircle.org/honors-and-awards/">Honors and Awards 2012.</a>" Wordcraft Circle of Native Writers and Storytellers. Retrieved 17 April 2013. Micmac Maliseet Nations News: 18, 22, 23, 25,. August - November 1995. Moore, MariJo (2006). Eating Fire, Tasting Blood: An Anthology of the American Indian Holocaust. Pegasus 1960: The North Park Literature and Arts Review 31: 10. 1960. Rankovic, Catherine. "<a title="Talking with: Alice Azure, Native American Author" href="http://www.bookeval.com/2011-blog/item/170-talking-with-alice-azure-native-american-poet-and-author">Talking With:Alice Azure, Native American Author</a>". Interview with Alice Azure. Book Eval. Retrieved 10 April 2013. Smith, R.T. (January 2004). Shenandoah: The Washington and Lee University Review 54 (3). Straus, Terry; E. Donald Two Rivers (1994). Skins: Drumbeats from City: 12–13. Straus, Terry; Grant P. Amdt (1998). The Native Chicago. Zoominfo. "<a title="Alice M. Azure" href="http://www.zoominfo.com/p/Alice-Azure/1255906831">Alice. M. Azure</a>". Web references. zoominfo.com. Retrieved 5 April 2013. Contributor An entity responsible for making contributions to the resource Jessica Goudreault, UNH '14 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North Adams, Massachusetts Creator An entity primarily responsible for making the resource Azure, Alice Date A point or period of time associated with an event in the lifecycle of the resource n.d. Language A language of the resource English Type The nature or genre of the resource Still Image, Document Format The file format, physical medium, or dimensions of the resource jpeg, pdf Identifier An unambiguous reference to the resource within a given context DV-299 https://dawnlandvoices.org/collections/files/original/0988745307fc118a6a75639960010e68.jpg b71fffec80ed998a1eeb0e0d294886a5 https://dawnlandvoices.org/collections/files/original/2e4731d075891666a1e37d297e9b6b64.pdf 13526631faab1364c5c5ccd0b2166574 https://dawnlandvoices.org/collections/files/original/eee01f0bf1888194da364442fb0c13b7.pdf a0d3904e008fa932fa1232f454302fbf https://dawnlandvoices.org/collections/files/original/b2eec4ea8906f9f8cf1e734a67c0974b.pdf 0713ba8e61fe42dbe3094c0e4831c8fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abenaki Description An account of the resource Traditional Abenaki territory encompasses what is now New Hampshire and Vermont, as well as parts of western Maine, western Massachusetts, and Quebec. The Abenaki people comprise numerous bands and communities. In the United States, at this time, none of those groups is federally recognized. The Canadian government formally recognizes two reserves, at Odanak (St. Francis) and Wolinak (Becancour). Resources <a href="http://tribal.abenakination.com/" target="_blank">Mississquoi Abenaki Tribal Council</a> (VT) <a href="http://www.elnuabenakitribe.org/" target="_blank">Elnu Abenaki Tribe</a> (VT) <a href="http://www.abenakitribe.org/" target="_blank">Nulhegan Abenaki Tribe</a> (VT) <a href="http://koasek-abenaki.com/" target="_blank">Koasek Traditional Band</a> (VT) <a href="http://www.cowasuck.org/" target="_blank">Cowasuck Band of the Pennacook Abenaki</a> (NH) Subject The topic of the resource Abenaki Indians Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "To the Women Poets of Kandahar" (2003) and "Polaris" (2009) by Carol Bachofner Description An account of the resource Carol Willette [Snow Moon] Bachofner is a Native American poet of Abenaki descent. She is a resident of Rockland, Maine. She has published several collections of her own poetry, includingNative Moons, Native Days, as well as Drink from Your Own Wells: a guide to richer writing. Carol is a native of Maine but has lived for many years elsewhere, including having resided in Germany and London for some time. She graduated from Vermont College with a Masters of Fine Arts in Poetry and has been a professor of college-level English at Victor Valley College and Taft College. She was previously a midwife and labor and delivery RN, and a free-land writer. One of her favorite ways to work with other poets, both new and emerging, is to offer poetry workshops in her local area and loves to travel to bring poetry workshops to people all over the country. A dream of hers is to spend time in Scotland translating the poetry of her Scots ancestor, William Dunbar. Bachofner recalls first becoming interested in writing poetry when she was six years old. She frequently read poems aloud to classes in her elementary years, encouraged by her teachers. This led to a “life in verse” as she tells it. <h4>Career </h4> Bachofner co-founded and edits the online literary journal, Pulse in 1997. She is dedicated to unveiling new poetic voices and art. She has published her own poems in countless literary journals since 1995. Becoming a runner-up in the 2006 Main Street Rag Poetry Chapbook Award Contest, encouraged Bachofner to publish her poems in collections as well as in a broader array of literary journals including Prairie Schooner Journal, Main Street Rag, The Comstock Review, and Naugatuck River Review, among many others. She has been nominated for several literary awards and honors, including Editor of the Year by the Wordcraft Circle of Writers & Storytellers in 1999 and Writer of the Year for her poetry by that same group in 2000. In 2007, Bachofner was a featured speaker at the Winter Wheat Conference at Bowling Green University, and in 2009, she was invited to be a presenter of poetry by indigenous writers at the Maine Literary Festival in Camden, Maine. She was also named in the 2009-10 publication of MarquisWho’s Who and made the short list (runner up) for individual works of poetry by the Maine Literary Festival in 2011. Carol’s poem Super-Hero won the First Place Portia Steele Memorial Award for Poetry in June 2007. In 2009, she was named “A Poet of Merit” by the Florence Poets Society. In April of 2012, the City of Rockland, Maine named her Rockland, ME Poet Laureate. She launched her latest collection, Native Moons, Native Days (2012) at the Three Poets Book Launch, hosted by the Camden Public Library. Bachofner’s poem, We Speak the White Man’s Language, will appear in the anthology, Unraveling the Spreading Cloth of Time, edited by MariJo Moore and Trace A. DeMeyer. Her poems will also be appearing in the anthology Dawnland Voices, edited by Siobhan Senier, associate professor of English at the University of New Hampshire. <h4>Writing Style and Themes</h4> Bachofner frequently writes themed collections. Her collection titled I Write in the Greenhouse includes poems about Maine and its people, including Edna St. Vincent Millay and Andrew Wyath. Her other poems often describe the traditions within Native American culture. When asked in an interview by Fringe magazine what her favorite milestone in her poetry career has been, Bachofner gave a very thoughtful yet direct reply. She said, “Getting published in Prairie Schooner. I was in my MFA program and had written a kind of quirky poem for me. My advisor told me to throw it away, but I started sending it out and Prairie Schooner took it. That was a turning point for me. I realized it wasn’t about somebody else’s point of view, it was about the writing and how I encountered language. Carol often writes with a strong sense of place as narrative, and enjoys writing in both traditional and free verse. Works Cited Rector, Leta. “<a href="http://indiancountrytodaymedianetwork.com/2004/02/12/may-i-suggest-genocide-mind-new-native-american-writing-89955" target="_blank">Genocide of the mind</a>.” News From Indian Country (Feb. 12, 2004). Ernest, Dagney. “<a href="http://knox.villagesoup.com/p/978522" target="_blank">Laureates Galore</a>." The Camden Herald (March 27, 2013). <a href="https://www.youtube.com/watch?v=cHMdDZUcLYI" target="_blank">Three Poets Book Launch</a>, Camden Library. June 22, 2011. YouTube. Carol Bachofner, personal interview. Contributor An entity responsible for making contributions to the resource Alyssa Taliaferro, UNH '13 Creator An entity primarily responsible for making the resource Bachofner, Carol W. Date A point or period of time associated with an event in the lifecycle of the resource 2003-09 Language A language of the resource English Type The nature or genre of the resource Still Image, Document Format The file format, physical medium, or dimensions of the resource jpeg, pdf Rights Information about rights held in and over the resource Carol W. Bachofner Identifier An unambiguous reference to the resource within a given context DV-292 https://dawnlandvoices.org/collections/files/original/06eb1a69ccf3ef916a8cdd55b255231f.jpg b686cb41e938eb628f8514b134786369 https://dawnlandvoices.org/collections/files/original/b2404f68d47e0994392d6bfc6f64d6e2.jpg 27bf436ec04a6aed28f4357cbee8d881 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abenaki Description An account of the resource Traditional Abenaki territory encompasses what is now New Hampshire and Vermont, as well as parts of western Maine, western Massachusetts, and Quebec. The Abenaki people comprise numerous bands and communities. In the United States, at this time, none of those groups is federally recognized. The Canadian government formally recognizes two reserves, at Odanak (St. Francis) and Wolinak (Becancour). Resources <a href="http://tribal.abenakination.com/" target="_blank">Mississquoi Abenaki Tribal Council</a> (VT) <a href="http://www.elnuabenakitribe.org/" target="_blank">Elnu Abenaki Tribe</a> (VT) <a href="http://www.abenakitribe.org/" target="_blank">Nulhegan Abenaki Tribe</a> (VT) <a href="http://koasek-abenaki.com/" target="_blank">Koasek Traditional Band</a> (VT) <a href="http://www.cowasuck.org/" target="_blank">Cowasuck Band of the Pennacook Abenaki</a> (NH) Subject The topic of the resource Abenaki Indians Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Signature, Treaty of Portsmouth" (1713) by Bomoseen Description An account of the resource The signature of Abenaki sachem Bomoseen is one of many attached to the Portsmouth Peace Treaty of July 13, 1713. Some of these signatures are printed in spiraled cursive while others are elaborate totems, emblems used by Native American leaders to represent their tribe (1). Most totems on the treaty are recognizable figures like turtles, birds, or deer, but Bomoseen’s is not as easily discernible. Some, like Mary Calvert, have speculated that “Bomoseen’s totem is a charming drawing of a girl’s head bringing to mind that he had a dearly loved daughter” (2). This claim can be argued however, mirroring the complicated and debatable legacy Bomoseen left behind. Known best for leading the attack on Oyster River Plantation in 1694, he was a man revered by his Abenaki tribesmen and loathed by the British. But to understand Bomoseen and his place in the Oyster River Massacre, one must look deep into history prior to the raid and the related Portsmouth Peace Treaty to see the conflicts that had driven the Abenaki’s to fight in a white man’s war. A two sentence summary of the Oyster River Massacre is etched into a plaque on the banks of Mill Pond in Durham, New Hampshire: <blockquote>“On July 18, 1694, a force of about 250 Indians under command of the French soldier, de Villieu, attacked settlements in this area on both sides of the Oyster River, killing or capturing approximately 100 settlers, destroying five garrison houses and numerous dwellings. It was the most devastating French and Indian raid in New Hampshire during King William's War.”</blockquote> While the dates and numbers are true, this memorial promotes the one-sided history that has been passed down for generations, retelling the event as an unprovoked attack on a sleepy New England colony. What is often excluded in these accounts is the expansionist culture of the British settlers, who had begun invading Abenaki territory many years earlier. While the Abenaki people witnessed the land they once knew drastically altered by colonization, they took action to save their tribe from devastation by adapting to European war customs and forming an alliance with the French. As historian Craig Brown explains, “the Abenaki regarded themselves as a military power on equal footing with the Europeans. The Indians were fighting primarily to recover kinsmen taken by the English and to push back English encroachment on their land” (3). For years, Abenakis struggled to continue their way of life as the British pushed them off their land in Eastern New Hampshire and Southern Maine, blocking their fishing sites and damaging their corn crops with loose cattle. The Abenaki view of land rights can be seen through Bomoseen’s own words as reported to the Council of Massachusetts by John Hill: “all those lands belonged to his uncle Moxis the Chief Sachamor of that place, and [John Hill] saith that those Eastern Indians carry themselves very surly and insolently and do say, that the English shall not repossess and enjoy ye lands in ye province of Maine than by agreement with them” (<a href="http://books.google.com/books?id=XyIK3fBFzdsC&printsec=frontcover&dq=saliha+belmessous&hl=en&sa=X&ei=r_CfT4inDKTf0QHRs8GpAg&ved=0CDIQ6AEwAA#v=onepage&q&f=false" target="_blank">4</a>). The Abenaki realized that their best approach to dealing with these people was to follow European customs, including using treaties and agreements to come to compromises. Although Bomoseen’s request to respect Abenaki land should have come as a forewarning for future conflict to come, his words were often ignored by the British, who constantly “encroach[ed] on [Abenaki] territory creating much tension between the two peoples, which fed a continuing cycle of diplomatic negotiations and violent clashes” (4) including the Oyster River Massacre. During King William's War, fought from 1689 to 1697, French-Abenaki raids on British settlements were a common battle tactic. After the Treaty of Pemaquid was signed in 1693, outlining peace and trade conditions between the British and Abenaki, the French realized they had to keep their Abenaki allies on good terms if they wanted to win the war. Although thirteen Abenaki chiefs signed the document, "the English assumed that the signers of the treaty represented all the Indians, which reflected a dangerous lack of understanding of Indian politics and social structure" (3) Each smaller tribe had a chief, and any chief who did not sign the treaty did not feel like they had to listen to it. While some Abenaki clans agreed to these new acts of neutrality with the British, others remained loyal to the French. When the governor of New France, Louis de Bade Frontenac heard news of the Treaty of Pemaquid, he enlisted the French military and Abenaki allies to invade Oyster River Plantation, a small town some ten miles inland from the Atlantic Ocean. The French were led by Claude-Sebastian de Villieu and the Abenakis by Bomoseen. The 250 Frenchmen and Indians attacked Oyster River Plantation on July 18, 1694, killing 45 settlers, taking 49 captive, and burning 5 homes to the ground. Hezekiah Mills, an Indian who allied with the British testified his account of the raid, claiming he “saw Bomaseen in his canoe which was well-laden. There was four English captives, some scalps and a large pack of plunder brought in that canoe” (<a href="http://users.rcn.com/smartin.javanet/longley.htm" target="_blank">5</a>). This is one of very few first-person testimonies of the Oyster River Massacre, corroborating Bomoseen’s commanding presence at the raid. Due in part to his leadership during the raid, it was determined a French and Abenaki success as the attack resulted in death, famine and destitution for British survivors. Almost twenty years later, the French admitted defeat against the British in the War of Spanish Succession, which carried over into the New World territories. On January 19, 1712, the French signed the Treaty of Utrecht, establishing peace between the two powers and shifting control in many European nations. With command of New England, the British called Abenaki leaders to Portsmouth in July of 1713 to sign the Peace Treaty of Portsmouth, outlining the new rules tribes must follow under British command. These included but were not limited to: -Acknowledge themselves submissive, obedient subjects of Queen Anne -Cease acts of hostility towards subjects of Great Britain and their estates -Allow English settlers to return to their former settlements without molestation or claims by the Indians -Address grievances in English court, rather than in "private revenge" -Cast themselves upon Her Majesty for mercy and pardon for past rebellions, hostilities and violations of their promises The signatures of Bomoseen and other Abenaki tribal leaders on this document shows their acceptance to follow British customs in an attempt to conduct themselves as a respectable military power. Although their French allies had lost, the Abenaki were not willing to abandon their dignity and followed the treaty until the British broke their promises, encroaching on land they promised not to touch. Bomoseen remained loyal to his people while attempting to do what was best for them, whether during the Oyster River Massacre, the Peace Treaty of Portsmouth, or other events during the French and Indian War in later years. Works Cited: (1) Kidder, Frederic. The Abenaki Indians: Their Treaties of 1713 & 1717, and a Vocabulary. Portland: Brown Thurston, 1859. Page 25. (2) Calvert, Mary R. Black Robe on the Kennebec. Monmouth, 1991. (3) Brown, Craig J. "The Great Massacre of 1694': Understanding the Destruction of Oyster River Plantation." Historical New Hampshire 53 (1998): 69-91. (4) Belmessous, Saliha. Native Claims: Indigenous Laws Against Empire:1500-1920. New York: Oxford University Press, 2012. Page 108. (5) Farnsworth, Janice. <a href="http://users.rcn.com/smartin.javanet/longley.htm">"Testimony of Hezekiah Miles, Friendly Indian, on Preparations of Attack on Groton & Oyster River."</a> Northeast Captivity Stories. 3 April 2012. Creator An entity primarily responsible for making the resource Bomoseen (Bomazeen) Source A related resource from which the described resource is derived <a href="http://www.1713treatyofportsmouth.com/index.cfm">"Portsmouth Peace Treaty of 1713"</a> Levi Woodbury Papers, Library of Congress, Washington D.C. Date A point or period of time associated with an event in the lifecycle of the resource 1713-07-13 Contributor An entity responsible for making contributions to the resource Rebecca Howard, UNH Language A language of the resource English Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Identifier An unambiguous reference to the resource within a given context DV-266 https://dawnlandvoices.org/collections/files/original/f7171624e481b0f4cf3c0d06bcf0656f.jpg 12d3b248dec03991d9e91baeb015fe56 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Abenaki Description An account of the resource Traditional Abenaki territory encompasses what is now New Hampshire and Vermont, as well as parts of western Maine, western Massachusetts, and Quebec. The Abenaki people comprise numerous bands and communities. In the United States, at this time, none of those groups is federally recognized. The Canadian government formally recognizes two reserves, at Odanak (St. Francis) and Wolinak (Becancour). Resources <a href="http://tribal.abenakination.com/" target="_blank">Mississquoi Abenaki Tribal Council</a> (VT) <a href="http://www.elnuabenakitribe.org/" target="_blank">Elnu Abenaki Tribe</a> (VT) <a href="http://www.abenakitribe.org/" target="_blank">Nulhegan Abenaki Tribe</a> (VT) <a href="http://koasek-abenaki.com/" target="_blank">Koasek Traditional Band</a> (VT) <a href="http://www.cowasuck.org/" target="_blank">Cowasuck Band of the Pennacook Abenaki</a> (NH) Subject The topic of the resource Abenaki Indians Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Miniature Baskets by Jeanne Brink Description An account of the resource Miniature Baskets, Ash splint and Sweetgrass, Abenaki <h4>Jeanne Brink's Famous Abenaki Baskets</h4> Abenaki basketmaker, Jeanne Brink keeps her culture and her grandmother's spirit alive by weaving baskets (like the ones shown below) with traditional materials, such as brown ash and sweet grass. Known for her miniature fancy baskets, Jeanne Brink often uses sweetgrass as it is easily maneuverable when doing minute details (Bruchac 63-68). A basket often shows a basket maker's personality and Brink uses various techniques in her basketmaking that mark the basket as specifically hers (63-68). For example, she is known for using a green candy-stripe pattern in her baskets by incorporating sweetgrass to create a subtle swirl around a basket's lid and sides (63-68). The baskets shown below are made with a combination of sweetgrass and both dyed and un-dyed ash splints (<a href="http://neculture.org/exhibit1/brink.html">"We're Still Here"</a>). <h4>Learning The Tradition of Basket Making</h4> Jeanne Brink first became interested in basketmaking when she was little while watching her grandmother make baskets ("<a href="http://vermontfolklifecenter.org/multimedia/womenspeak/womenspeak_brink/">Voices of Vermont Women: Jeanne Brink</a>"). However, it was not until she grew into an adult that she realized that her grandmother represented a living history ("Voices of Vermont Women: Jeanne Brink."). Her grandmother, Elvine Obomsawin, told a story in Abenaki of the Abenaki version of "Rogers' Raid" ("Voices of Vermont Women: Jeanne Brink"). The story was recorded and then translated by Gordon Day and eventually became the basis of Malian's Song ("Voices of Vermont Women: Jeanne Brink"). Please <a href="http://vermontfolklifecenter.org/multimedia/womenspeak/womenspeak_brink/">click here</a> for various audio links of Jeanne Brink speaking about her grandmother. But it was her grandmother's dexterous weaving that sparked Jeanne Brink to investigate the tradition of basketmaking ("Voices of Vermont Women: Jeanne Brink"). Brink attended one basketmaking class from a non-native, only to return frustrated with an unfinished basket ("Voices of Vermont Women: Jeanne Brink"). After a visit with her mother, Brink discovered the Abenaki tradition of basketmaking students first starting by making hundreds of bookmarks to get the technique down before finally making a basket ("Voices of Vermont Women: Jeanne Brink"). Brink spent the next four years making bookmarks until she took an apprenticeship with a fellow Abenaki basketmaker, Sophie Nolette, from Odanak ("Voices of Vermont Women: Jeanne Brink"). <h4>Teaching The Tradition of Basket Making</h4> After mastering the art of basket making, Jeanne Brink began to give back to the community by teaching others what she knew. Brink takes on various apprentices to pass on the basketmaking tradition ("<a href="http://pierce.state.nh.us/nharts/artsandartists/tradroster/tradartistinfo.asp?artistid=228">New Hampshire Traditional Arts & Folklife Listing</a>"). One of her apprentices, Sherry Gould, is also featured in this exhibit. Education is very important to Jeanne Brink and does not limit her teaching to basketmaking. In fact, she serves as a Native American consultant to various schools and even participates in various Abenaki language camps ("<a>New Hampshire Traditional Arts & Folklife Listing"</a>). Language camps are very successful in preserving and reviving the Abenaki language and Brink does her part by hosting them at her home (Pouliot, "Abenaki Language Camps" 5). In addition to the language camps, Brink often collaborates with others of Abenaki heritage to preserve the culture (Pouliot, "Abenaki Artisan Collaborative" 6). In 2010, Brink contributed to L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basketmaking, a book by Jesse Bruchac that combines language and basketmaking as a way of sparking interest in the Abenaki language. It is through this cycle of teaching and learning that Abenaki culture and language is revived. <h4>Works Cited</h4> Bruchac, Jesse Bowman, Elie Alfred Joseph Joubert, and Jeanne Brink. L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basket Making. New York: Greenfield Center, 2010. Print. "<a href="http://pierce.state.nh.us/nharts/artsandartists/tradroster/tradartistinfo.asp?artistid=228">New Hampshire Traditional Arts & Folklife Listing.</a>" New Hampshire State Council on the Arts. State of New Hampshire, n.d. Web. 3 Feb. 2013. Pouliot, Paul. <a href="http://www.cowasuck.org/aln8bak/2009/issue_04/pdf/09_04.pdf">Abenaki Artisan Collaborative</a>." Aln8bak News Oct-Nov-Dec. 2009: 6. ---."<a href="http://www.cowasuck.org/aln8bak/2010/issue_02/pdf/10_02.pdf">Abenaki Language Camp</a>." Aln8bak News April-May-June. 2010: 6. "<a href="http://vermontfolklifecenter.org/multimedia/womenspeak/womenspeak_brink/">Voices of Vermont Women: Jeanne Brink.</a>" Womenspeak: Voices of Vermont Women. Vermont Folklife Center, n.d. Web. 3 Feb. 2013. "<a href="http://neculture.org/exhibit1/brink.html">We're Still Here</a>" Online Exhibit. Center For New England Culture. University of New Hampshire. N.d. Web. Photograph Copyright 2005, University of New Hampshire Photographic Services Creator An entity primarily responsible for making the resource Brink, Jeanne Date A point or period of time associated with an event in the lifecycle of the resource n.d. Type The nature or genre of the resource Still Image Format The file format, physical medium, or dimensions of the resource jpeg Identifier An unambiguous reference to the resource within a given context DV-289 https://dawnlandvoices.org/collections/files/original/28bd9a8cf04d3dd4a9d3d652c632fde1.pdf 7625a086d3536d283ebb837d3e785a4c PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Narragansett Description An account of the resource The Narragansett Indian Tribe has inhabited what is now the state of Rhode Island for over 30,000 years. Federally recognized in 1983, the tribe is now headquartered in Charlestown. In addition to many historic deeds and letters, Narragansett people produced what is probably the first tribal magazine in New England, The Narragansett Dawn, from 1935-36. Today, Narragansett writers include the award-winning journalist John Christian Hopkins, also an inventive novelist; the poet Ella (Brown) Sekatau; and storyteller/author Paulla Dove Jennings. To learn more about Narragansett history and people, visit the tribal website at narragansett-tribe.org, as well as the Tomaquag Indian Memorial Museum in Exeter, RI. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "A Niantic Review" by Fred V. Brown (1935) Description An account of the resource Fred V. Brown (Niantic/Narragansett) was a frequent contributor to The Narragansett Dawn, which Red Wing published and edited. This piece appeared in the June 1935 issue of the magazine. Creator An entity primarily responsible for making the resource Brown, Fred V. Date A point or period of time associated with an event in the lifecycle of the resource 1935-06 Contributor An entity responsible for making contributions to the resource Tomaquag Museum, Princess Red Wing Papers Rights Information about rights held in and over the resource Tomaquag Museum. Used with permission. Language A language of the resource English Type The nature or genre of the resource Document Format The file format, physical medium, or dimensions of the resource pdf Identifier An unambiguous reference to the resource within a given context DV-356 https://dawnlandvoices.org/collections/files/original/b892f91e7abe90af8d38676cfc993e5f.pdf 555323809a9bb2cf4b81aabee1b6894f PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Narragansett Description An account of the resource The Narragansett Indian Tribe has inhabited what is now the state of Rhode Island for over 30,000 years. Federally recognized in 1983, the tribe is now headquartered in Charlestown. In addition to many historic deeds and letters, Narragansett people produced what is probably the first tribal magazine in New England, The Narragansett Dawn, from 1935-36. Today, Narragansett writers include the award-winning journalist John Christian Hopkins, also an inventive novelist; the poet Ella (Brown) Sekatau; and storyteller/author Paulla Dove Jennings. To learn more about Narragansett history and people, visit the tribal website at narragansett-tribe.org, as well as the Tomaquag Indian Memorial Museum in Exeter, RI. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "To our Youth" by Cassius Champlin Description An account of the resource Cassius A. Champlin was President of the Tribal Council during the 1930s, when Red Wing was publishing The Narragansett Dawn. In this letter or speech to tribal youth he extols the values of education and caring for each other. Creator An entity primarily responsible for making the resource Champlin, Cassius A. Date A point or period of time associated with an event in the lifecycle of the resource Unknown Contributor An entity responsible for making contributions to the resource Tomaquag Museum, Princess Red Wing Papers Rights Information about rights held in and over the resource Tomaquag Museum. Used with permission. Language A language of the resource English Type The nature or genre of the resource Document Format The file format, physical medium, or dimensions of the resource pdf Identifier An unambiguous reference to the resource within a given context DV-354