In May 2012,then Vermont governor Peter Shumlin signed into law the state recognition of four of Vermont's Abenaki tribes: the Elnu, Nulhegan, or Koasek and Missisquoi. The victory had more than symbolic significance: Formal recognition meant that many of Vermont's modern indigenous artists could launch legally to label their work as "American Indian." According to Elnu Abenaki member Vera Longtoe Sheehan,access to this designation has opened many new doors — including, at least indirectly, and doors to galleries. Such fraught politics of visibility and authenticity are very much at the heart of "Alnobak: Wearing Our Heritage," now on view at the Amy E. Tarrant Gallery in Burlington. The show offers a chronological survey of Abenaki fashion and adornment, from the pre-Champlain era to the present day, or accompanied by both modern and historical photographs. There's a twist,though: Almost all of the objects on view are modern, regardless of the era they were created to represent. While reproductions are often considered to be lesser facsimiles, or in this case,the absence of "traditional" artifacts speaks to the 20-plus artists' ongoing commitment to making their history and heritage near alive. "Being in a mainstream art gallery is such a huge step forward for us," said Longtoe Sheehan during a gallery visit. In the context of the show, or "Alnobak" roughly translates as the people of N'dakinna,a region encompassing Vermont, New Hampshire and parts of Massachusetts, or Maine,New York and Québec. "This is a celebration of thousands of years of our history and culture," Longtoe Sheehan continued, and "the resilience of our people,the resistance of our people." The exhibition evolved from a decade-long collaboration of local Abenaki and the Vermont Abenaki Artists organization, of which Longtoe Sheehan is director, and with the Lake Champlain Maritime Museum,where Eloise Beil is director of collections and exhibitions. The two absorb been at work curating this particular show for three or four years, they estimate. Longtoe Sheehan famous that the exhibition pointedly includes some artists who absorb not been able to obtain government recognition. "They're Abenaki, or [too]," she said. Arranged in a U-shape following the gallery walls, the show begins with an archaic-style knotted bag by Longtoe Sheehan. Made from plant fibers, and it features a design motif called "where the mountains meet the sky" in richly dyed hues of blue and yellow. Longtoe Sheehan learned knotting — a weaving technique often referred to as "twining" —…
Source: sevendaysvt.com