The components of an Abenaki basket are not as simple as they appear to be. The amount of physical labor hiding behind even small baskets is immense, perhaps overwhelming for those not familiar with the process (Occaso). Among the multitude of patterns, shapes, and dyes, Brown Ash splints function as the backbone of many traditional Abenaki baskets (Bruchac). Because of the Ash tree’s vital role in the production of durable and beautiful baskets, the material must be treated as purely and sensibly as possible.
Few remaining individuals are able to complete the total basket making process, from Ash pounding to basket weaving. One of these individuals, Vermont resident Jesse Larocque, has illuminated the process of traditional native basketmaking, especially for those who lack a background in the material production ever-present behind the decorative result (Larocque, Interview). He has made the process of his work accessible and understandable, revealing the high degree of physical labor that Ash pounding entails. His subtle knowledge of the Brown Ash and its characteristics makes Jesse’s remarks on Ash pounding and splitting extremely important– both to the process of basket making, and for the preservation of traditional technique (Larocque, Interview). Through examining the Ash pounding process and what the tree produces, one can make sense of the various bare components that end up in a specific basket. To understand the Ash tree is to understand the backbone of each basket. And to understand Jesse’s work is to understand the Brown Ash.
The Brown Ash (or Black Ash) is extremely common and abundant throughout the Northeastern United States. Still, the species’ abundance does not ensure its preservation and protection. Keeping with perhaps the most sustainable practice possible, Jesse requests the harvest of individual trees from various landowners, as to maintain the original density of nearby forests (Larocque, Interview). These trees are most commonly found in swamps, though variations in water supply will produce slightly different internal characteristics, from hue to hardness (Larocque, Interview).
Once the tree is harvested, it must be cut into segments that ultimately determine the circumference of the basket (Larocque, Interview). During pounding, the log segment will start to delaminate and reveal stacked layers of wood. Jesse is able to select individual splints from specific layers of the Brown Ash as he hammers each growth ring (Larocque, Interview). The composition of each specific Ash tree is unique, and the subsequent result of pounding the tree yields splints with consistently different variations. These variations, in turn, dictate the strength, color, and final usage of specific splints. Jesse explained this sorting and matching in further detail during a recent interview:
Age of tree, thickness of growth rings, dry ground or wet ground. White or brown Ash. Sometimes you’ll get five different shades of brown from the tree depending on where it grew. You have to grade the tree by color profile. The tree has to be graded for thickness. Splints must be graded for a specialized piece of the basket. Plan ahead and don’t get excited.
After the splints are harvested and graded, the color and hardness of each splint will determine what sort of basket is created. Harder interior wood will make a more rugged basket (Larocque, Interview). Light and pliable outer wood will go on to form fancy, decorative components (Larocque, Interview). When, and only when this preparation has taken place can the basket be visualized and crafted.
Jesse is an extremely patient individual who is led by his work. He allows the basket making process to carry him in an organic and subjective manner from start to finish. His continuing skill outside of Ash pounding is especially evident in his pack basket. Because no two trees are ever alike, no two baskets are ever quite the same, and the pack basket is undoubtedly the clearest example of this dissimilarity. In fact, it is woven to fit the wearer: “I take the measurements for each person and build the basket around them” (Larocque, Interview). Each pack basket is roughly 20 inches tall and by no coincidence, one would find the same height upon measuring his or her own back. In this sense the product tells the story of the wearer and the craftsman. Furthermore, the pack basket is a reflection of Jesse’s skill for choosing appropriate material that will even outlive its ownership. These choices are evident in the pack’s construction: “The basket has a combination of continual weaves and regular stack weaves. The rim has a double lashing around the top. The entire basket uses thicker splints. It’s more durable that way” (Larocque, Interview). Because so many unpredictable factors enter Jesse’s approach, he must remain committed to his work, and prevent himself from doing more work than necessary. Even this excellent photograph does not offer a complete example of this basket’s true intricacy. When working with individually unique materials, frustration can easily arise out of the smallest problem.
To create such masterpieces like the pack basket, Jesse streamlines his splint collection through the use of simple tools that, in essence, reduce the probability of a bad outcome. In an exercise that places equal emphasis on process and product, care and simplification are two of the most important factors in baskets that are indeed “made by hand.” The result of this work-six full days to be exact-is a soundly woven pack that gently fits the slope of each wearer’s back with uncanny precision (Larocque). The tack-sharp accuracy and beauty of Jesse’s pack basket only hints at his tireless dedication to an increasingly esoteric craft.
In Jesse’s work and in Abenaki basketry, even the most decorated products are often grounded in practicality. That is, the function of each basket always tends to dictate its basic form. The stories and methods that reside in these products are a display of cultural ingenuity, emotion, and traditional sensibility. The function of these baskets, from an artifactual standpoint, is extremely rational and use-driven. This basket (though some would say it is too beautiful to use), would last countless years in the wilderness when treated properly. This same idea fits in all other cases: Berry baskets are, by nature of their shape, perfect for holding berries. An eel trap encroaches on a perfectly sized hole for just the desired catch.
Above all imaginable forms and uses, these baskets serve the amazingly larger purpose of explaining cultural subtleties: ideas and visions that simply can’t be communicated effectively through any other medium. They are physical illustrations of cultural traits that could not otherwise be explained. Therefore, each basket serves as a component of the Abenaki tradition and lifestyle. In continuing to pound ash and weave baskets, Jesse perpetuates his culture through a medium that transcends language boundaries. The basket can be held, examined, even sent to distant regions in hopes that others will understand its history. The basket is alive, and its life will inspire a sustainable cultural attitude, as long as we are willing to listen for its story.
Larocque, Jesse. “Abenaki Baskets by Jesse Larocque.” Abenakibaskets.com Black Ash Baskets, Hand Made by Abenaki Indian Jesse Larocque. N.p., n.d. Web. 15 Oct. 2012.
Larocque, Jesse. “Jesse Larocque: The Ash Pounding Process.” Telephone interview. 4 Oct. 2012.
“The NH-VT Abenaki Basketmakers Alliance.” Vermonters Concerned on Native American Affairs. N.p., 17 Jan. 2011. Web. 18 Oct. 2012.
Occaso, Carla. “Basket Maker Shares Traditional Native American Skills.” Vermonter.com. Vermonter.com, n.d. Web. 15 Oct. 2012.
Bruchac, Jesse Bowman., Joseph Alfred Elie. Joubert, and Jeanne A. Brink. L8dwaw8gan Wji Abaznodakaw8gan: The Language of Basket Making. Greenfield Center, NY: Bowman, 2010. Print.
The following videos are included as resources for those seeking additional illustration of the Ash pounding process. All videos courtesy of Jesse Larocque.
Video 1: Preparing a Black Ash log segment for pounding.
Video 2: Pounding the Ash tree segment and preparing raw splints.
Video 3: A close-up of splints delaminating as the Ash is pounded.
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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”
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At first glance this basket might seem like a beautiful decoration or a cherished household item. While the basket is both of these things, there is a history and story behind it that is not immediately visible. Made by Abenaki Basketmaker, Liz Charlebois, out of sweet grass and ash splints, this basket represents generations of skilled Abenaki artisans that have perpetuated their culture through the traditional making of baskets (Charlebois). In fact, Abenaki women have been practicing the art of making baskets for hundreds of years (Calloway 37). Baskets became a necessary part of Abenaki culture because women had to travel long distances to pick and gather berries; baskets allowed the women to carry more supplies with less work. However, baskets became much more than carrying items, it became an important part of Abenaki economy and history (37). Although basket styles have changed throughout the years, their significance within Abenaki culture has not (Day).
Baskets are important to Abenaki culture not just because of their practicality and their value as an art form, but because of the stories that they hold (Charlebois). Whether these stories are of a personal nature or of a historical one, the basket serves as a record of friendship or of the past. While a basketmaker's materials of choice are ash splints, a storyteller's materials of choice are words that are woven together to form stories, histories, and records of relationships that exemplify their culture. In this way, storytellers and basketmakers are very similar. Along with being an accomplished basketmaker, Liz Charlebois is a storyteller that understands the connection between baskets, stories, and culture (Charlebois). One of the many stories that she tells emphasizes the relationship between the Abenaki, baskets, and nature:
In the old days life was very hard for the women within all of the villages. The women had to gather firewood, food, and medicinals with nothing but their hands and arms to carry with. They toiled long and hard and every working hour was devoted to these tasks. It took much effort and many trips from the village to the forest and back again before the women could rest for the night and they were always exhausted at the end of the day from all the toil and the repeated distances they had to travel with their goods. All the birds, beasts, trees, and all living things saw how hard the women worked. After a time on a very hot day a woman sat in the shade of an ash tree. The ash tree took pity and spoke to the woman, told her the certain way to make baskets and how to be grateful for this great gift to help the women with their work. The ash tree told the woman to always remember to be grateful for all that was given and taught her a song of thanks to sing. This woman taught the other women of the village how to make baskets to help carry their burdens and she taught them all how to sing the song of thanks. For many years afterwards the women were grateful and remembered the song to sing. The work became much easier and the women were happy for a time with their gift. Anyone could look out through the forest or the fields and they would see the women were happily gathering and singing as the baskets followed along behind carrying all of the women's burdens. After a time, the women began to take the great gift of the baskets for granted, they stopped singing the songs of thanks. The baskets began to think that their gift was no longer appreciated and they stopped following the women at their work. From that time until this time baskets have remained a true gift from the ash tree but no longer do they simply follow a woman at work but the women now carry the baskets, burden and all.
This story is a cautionary tale that underscores the importance of the appreciation of nature. The story attributes the first creation of a basket to the ash tree: an act that underscores the role of the ash tree in basketmaking (Charlebois). Without the ash tree, there are no baskets. The story encourages the Abenaki to be respectful to nature. Furthermore, it emphasizes the importance of sustainability within Abenaki culture. Nothing must be taken for granted. The Abenaki continue to keep sustainability an important part of their culture. In fact, as Joseph Bruchac explains, "it is important to remember the old stories when we consider the relationship today of Abenaki people to the land" (Bruchac 2). The land must be respected or there will be consequences. Even those who have not heard of this story understand that sustainability and basketmaking go hand in hand, whether by preserving ash trees or by using different materials all together.
In addition to the importance of sustainability, the story asserts that baskets have the power to archive a set of tenets for a culture. In other words, by looking at baskets we can understand a part of Abenaki culture. In many cultures, storytelling is used as a way of teaching children about nature, their heritage, and what has happened in their history. This is just as true in Abenaki culture.
This particular basket was made by Charlebois as a present for her brother. It expresses friendship and care. This simple act of giving a gift is one way to continue on the tradition of baskets. Charlebois also passes on the art of basketmaking to her daughter. Charlebois' daughter enjoys making bookmarks and baskets (Goff).
The story also makes a comment on the act of passing on stories and other traditions. For example, when the ash tree teaches the woman basketmaking, the tree also teachers her "a song of thanks" (Charlebois). The baskets only do the work for the women as long as they give thanks. However, as soon as they take the baskets for granted and forget to sing the song, they must once again carry their burden. By passing on cultural beliefs and other traditions, the Abenaki remember to always be thankful. The participation of the younger generation is imperative in preserving culture.
As Liz Charlebois explains, baskets are a prominent part of Abenaki history and contribute to culture by telling the story of that history (Goff). Stories can bring people closer together because it is a way of sharing feelings and stories of the past. Like stories, baskets also bring people of different backgrounds together through demonstrations, apprenticeships, and the stories that are attached to them.
Bruchac, Joseph. Rooted Like the Ash Trees: New England Indians and the Land. Ed. Richard G. Carlson. Naugatuck, Conn.: Eagle Wing, 1987. Print.
Calloway, Colin G., and Frank W. Porter. The Abenaki: Indians of North America. N.p.: Chelsea House, 1989. Print.
Charlebois, Liz. “Basket Making.” Message to Stephanie Gilkenson. 12 Apr. 2012. E-mail.
Day, Gordon M. In Search of New England’s Native Past: Selected Essays by Gordon M. Day. Univ of Massachusetts Pr, 1999. Print.
Goff, John. “Abenaki Basket-making.” http://www.wickedlocal.com/salem. Salem Gazette, n.d. Web. 19 Oct. 2012.
Ramsdell, Jared. Charlebois Baskets – 1. 2012. Photograph. Charlebois Baskets. Jared Ramsdell Photography. Jared Ramsdell, 2012. Web. 8 Oct. 2012.
Photo courtesy of Jared Ramsdell.
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