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 ("We're Still Here").
Jeanne Brink first became interested in basketmaking when she was little while watching her grandmother make baskets ("Voices of Vermont Women: Jeanne Brink"). 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 click here 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").
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 ("New Hampshire Traditional Arts & Folklife Listing"). 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 ("New Hampshire Traditional Arts & Folklife Listing"). 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.
Bruchac, Jesse Bowman, Elie Alfred Joseph Joubert, and Jeanne Brink. L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basket Making. New York: Greenfield Center, 2010. Print.
"New Hampshire Traditional Arts & Folklife Listing." New Hampshire State Council on the Arts. State of New Hampshire, n.d. Web. 3 Feb. 2013.
Pouliot, Paul. Abenaki Artisan Collaborative." Aln8bak News Oct-Nov-Dec. 2009: 6.
---."Abenaki Language Camp." Aln8bak News April-May-June. 2010: 6.
"Voices of Vermont Women: Jeanne Brink." Womenspeak: Voices of Vermont Women. Vermont Folklife Center, n.d. Web. 3 Feb. 2013.
"We're Still Here" Online Exhibit. Center For New England Culture. University of New Hampshire. N.d. Web.
Photograph Copyright 2005, University of New Hampshire Photographic Services
]]>New Familiar Abenakis and English Dialogues begins with the Abenakis alphabet, and then goes into the vowels, diphthongs, and syllables. The pronunciation key gets you ready to delve into the vocabulary that is broken up into sections; the first being “Of God’s Attributes” with words like Deity, Mercy, and Spirit. From the heavens, to the winds and seasons the reader is brought down from what is bigger than any single human to the very words used to describe the kinds people who inhabit this earth. The sections of words continue to take the reader back out of their own skin and into the very soil they walk on, and all the gratitude it deserves. The more difficult verbal translations and conjugations are at the end of the dictionary.
The structure of Laurent’s dictionary is also what widely sets it apart from others. His translations are set up as a journey through their land as opposed to a standard list. He takes the reader on a trip from Quebec and throughout New England through linguistics, and language education.Despite Laurent's upbringing of speaking fluent Abenaki and French,he created the substantial text in an effort to preserve the Abenaki language and culture. Laurent’s preface describes his intentions, along with a suggestion of how to read the book without criticism:
The primary intention, the chief aim of the Editor in publishing this book, is to aid the younger generation of the Abenakis tribe in learning English. It is also intended to preserve the uncultivated Abenakis language.
May this little volume, which will learn the white man how the Abenakis vocal organs express God’s attributes, the names of the various objects of the various objects of the creation; beasts, birds, fishes, trees, fruits, etc., etc., and how extended are the modifications of the Abenakis verb, be welcomed by the white as well as by the red man, and its errors and defects overlooked with indulgence.
(Signed) Sozap Lolu, alias, Jos. Laurent.
Aside from his work with language, Joseph Laurent was also an entrepreneur. He built a trading post and camp in Intervale, New Hampshire. It was erected in the same years as the publication of Laurent’s dictionary, 1884. The camp was located in a grove of white pines known as Cathedral Woods, across from the scenic overlook that resides on the border of North Conway and Intervale. A local hotel owner allowed Laurent to build on his land thinking the Abenaki business would benefit both men. It consisted of an Abenaki gift shop, five cabins, a wigwam, flagpole, and totem pole. Laurent purchased goods from Odanak members and took them to his trading post to sell to Euro-American tourists. They sold things like Victorian goods and miniatures, but their primary source of income was the sale of handmade ash-splint baskets. Tourists, who stayed at the hotel while traveling through the White Mountains could visit Laurent and his family, watch them make baskets and purchase goods. It was not only a business opportunity, but was also a way for his family to practice speaking English. After Laurent’s death in 1917 a monument was placed on a large stone in memory of him. The trading post remained for thirty-three years, and was maintained after Laurent's death until 1960 by his wife and son Stephen Laurent who was also an accomplished writer/linguist, and resided in Intervale until his death in 2001.
The camp in Intervale was more than a store. It symbolized the return of Abenaki people to their ancestral homeland. New England based nations were forced out of New England and into Canada during colonial settlement. The creation of the trading post gave the Abenakis the opportunity to reconnect to their original roots. With the future Abenaki generations on his mind, Laurent’s impact was one of the greatest of his people. The now historical site of his trading post remains today with the memorial to Laurent and the remains of a cabin or two, and New Familiar Abenakis and English Dialogues is still widely used as their language is being revived faster than ever. His memorial in Intervale ends with a quote from St. Mark 6:1:
“Ni Odzi Modzen Nidali Ta Wdali Paion Agmatta Wdakik”
“And he left that place and returned to his own country”
References:
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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.
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, 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.
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).
“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.
]]>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
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" (Mohawk Tribal Website). 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” (Mohawk Tribal Website).
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.
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 Wedding Cake Basket and for the Pope Basket that has various smaller baskets (over 150) attached all around the rim.
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 North Country Public Radio, 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 mentoring project: "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).
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).
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.
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.
]]>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).
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).
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 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).
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.
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.
This basket, by Denise Pouliot, showcases a combination of sweetgrass and ash splint. Behind its deceptively simple yet beautiful design is the story of Abenaki basketmaking tradition. Abenaki basketmaking is more than a hobby, it is a way of life that emphasizes various aspects of Abenaki culture: family and friends, the teaching of the next generation, and sustainability. As an Abenaki basket maker, Denise Pouliot embodies all three.
Denise Pouliot is treasurer and member of the Cowasuck Band of the Pennacook Abenaki ("Band Council Leaders"). Through their newsletters and educational programs, the band seeks to serve their people while informing the broader public about accurate indigenous history ("Goals Statement."). In 2009, Denise and Paul Pouliot began to learn Abenaki basketmaking under Sherry and Bill Gould (Pouliot, "Basket Apprentice Program" 9). While Denise Pouliot focused on basketmaking with Sherry Gould, Paul Pouliot focused on four aspects of preparing the material: "how to identify black or brown 'basket' ash in the forest, how to prepare and pound the log, split the splint, and to prepare the finished splint for the basket maker" (9). Together, Denise and Paul Pouliot illustrate the communal process of basketmaking (9). There are many steps to preparing a finished basket and each one is as necessary as the next (9). As part of the apprenticeship, Denise Pouliot learned to make various natural splint dyes:
Black Walnut Husks - Brown Dye
Pokeberries - Fuchsia
Blackberries - Light Purple
Goldenrod - Light Yellow (Pouliot, "Basket Apprentice Program Continued" 7)
Denise Pouliot often demonstrates her basketmaking at various events, such as at the Mt. Kearsage Indian Museum and at various craft fairs (Pouliot, "Basket making Activities" 5). At the 2010 Mt. Kearsarge Indian Museum Winter Celebration, "Denise Pouliot had a Christmas tree decoration demonstration with a tree setup with a dozen or so traditionally made ornaments with a large ash tree topping star" ("Mt. Kearsarge Indian Museum" 5). The attendees were able to make their own ornaments to take home, which encouraged them to appreciate the skill and effort required to make a basket (5). These types of events continue the basketmaking tradition while also bringing attention to Abenaki culture.
Like the ash splints of a basket, each individual basket maker is important but their strength is only increased through collaboration with others. As each ash splint is woven together to increase its strength and durability, so too do basket makers collaborate with others to strengthen their bonds and perpetuate Abenaki culture.
Denise and Paul Pouliot often collaborate with other Abenaki artisans and have even spoken of creating an Abenaki Artisan Collaborative ("Abenaki Artisan Collaborative."). The collaboration also includes other areas of Abenaki culture. The cover (Shown Below) of the language book, L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basket Making by Jesse Bruchac, is a photograph of one of Denise Pouliot's baskets who was honored to have it included ("Book Review" 14). Pouliot has also participated in various Abenaki language camps that combine both language and baskets: "As part of the language camp, each afternoon was dedicated to ash splint basket making ("Abenaki Language Camp" 6). The students of the language camp also learned various basket making terms. For example, ida ni aln8ba8dwa means basket making and abaznodaal means a basket made of ash (Bruchac 12). By using basketmaking terms in Abenaki, the language camps combine two aspects of Abenaki culture that were once in danger of being lost. The many Abenaki basket makers and students of language that go to these events make that no longer the case. These language camps accomplish a variety of goals. First, they generate an interest in speaking the Abenaki language (Pouliot, "Abenaki Language Camp" 6). Second, they bring attention to basketmaking as a way of learning a language and illustrate that they are both linked together in Abenaki culture (6). Third, they foster a sense of community amongst those of Abenaki heritage and encourage the younger generations to get excited about their culture (6).
As important as it is to make baskets and learn Abenaki, it is far more important to demonstrate the process of basket making and teach the language so as "to pass on these traditions to our next seven generations" ("The Speaker Speaks" 14). Events and demonstrations help to ensure that various Abenaki traditions and the language will not be lost.
"Band Council Leaders." Cowasuck Band of the Pennacook Abenaki People. Cowass North America, n.d. Web. 3 Feb. 2013.
Bruchac, Jesse. "Say That in Abenaki." Aln8bak News Jan-Feb-March. 2010: 12.
"Goals Statement." Cowasuck Band of the Pennacook Abenaki People. Cowass North America, n.d. Web. 3 Feb. 2013.
Pouliot, Paul. "Abenaki Artisan Collaborative." Aln8bak News Oct-Nov-Dec. 2009: 6.
---. "Abenaki Language Camp." Aln8bak News April-May-June. 2010: 6.
---. "Basket Apprentice Program." Aln8bak News July-Aug-Sept. 2009: 9.
---. "Basket Apprentice Program Continued." Aln8bak News Oct-Nov-Dec. 2009: 7.
---. "Basket Making Activities." Aln8bak News April-May-June. 2010: 5.
---. "Book Review." Aln8bak News Jan-Feb-March. 2010: 14.
---. "Mt. Kearsarge Indian Museum." Aln8bak News Oct-Nov-Dec. 2010: 5.
---. "The Speaker Speaks." Aln8bak News July-Aug-Sept. 2009: 14.
Photographs by Joshua Trott
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