BY MAT CLOUSER
BRANDON — From its charter in 1761 until a legislative change in 1784, Brandon was known as the town of Neshobe in reference to the name given to the area by the Abenaki or Alnôbak (meaning ‘real people’)—inhabitants of the area for thousands of years prior to the violent invasion of European colonialists who claimed the still unceded land as their own.
The word Neshobe has several meanings, one being “double water” and another being “keeper of the ceremonial fire,” and its use in the area is thought to signify spiritual importance.
On Saturday, Oct. 8, members of the Brandon Congregational Creatives (BCC) — a group of artists from the Brandon Congregational Church—sought to honor that spiritual importance—and the people to whom it belongs—by way of an art show entitled, “Whom We Honor” which was held in the ballroom of the Brandon Inn.
Today, indigenous people—Abenaki or otherwise—make up just 0.4% of Vermont’s population (according to 2020 census data) due primarily to centuries of attempted genocide—including state-run forced sterilization efforts within the last 100 years—on the part of European colonists and the local and federal governments that arose thereafter.
“These indigenous people have lived in Vermont for over 10,000 years,” said John Astone, whose photograph, “Neshobe Falls,” was part of the show. “However, they have met with attempts of annihilation… This is something that is missing from our history’s stories which have not always been truthful about the practice of stealing land and resources from indigenous people.”
Perhaps unsurprisingly, given our collective American history, the show—comprised primarily of works by BCC members—did not feature any works by indigenous artists. Still, it held to a theme of tribute, honor, and celebration that featured readings of work by indigenous writers and artists such as former US Poet Laureate Joy Harjo and Lyla June, among others, alongside the two dozen or so paintings, sculptures, and photographs by BCC’s contributors.
In this context, it is fair to question the efficacy of a tribute without representation, especially by a Christian church, given Christianity’s complicity in attempting to eradicate indigenous people throughout history.
“The church has a long history of harm done to indigenous populations starting with the Doctrine of Discovery, Conversion Schools, and the removal of our people from lands once occupied by indigenous people,” said Don Stevens, Chief of the Nulhegan Band of the Coosuk-Abenaki Nation. “The true creed that is taught in most churches is to help and uplift those who are less fortunate than others in the communities they serve, not to cause harm.”
“If that is still the mission of the church, they should find ways to uplift our people, right the wrongs of the past, and live out the meaning of God’s work,” Stevens continued. “Celebrating indigenous people without representation or opportunity to participate or give back to the people you honor is just another example of the continued work that needs to be done.”
There are a growing number of voices within progressive Christianity that feel churches are long overdue for a reckoning with their past, and it is clear that the earnestness of art exhibits such as “Whom We Honor” is viewed by many as but one step in what must be a long, arduous process of reconciliation and reparations.
“I believe that reckoning must begin with an honest recognition and expression of regret for the cruel injustices that are part of our shared history in this country with our indigenous people,” said Rev. Sara Rossigg of the Brandon Congressional Church. “Intentional efforts to increase our awareness and to honor and support surviving indigenous persons and communities is an important first step toward healing the painful wrongdoing of our past.”
“Fish, Eastern Oysters, and Tomato,” by Virginia Creighton was one of several paintings on display at “Whom We Honor.”
“I am so glad to support members of our faith community as they are taking steps on this journey and the Brandon Congregational Creatives Group as they use their shared artistic endeavors as a vehicle to share their efforts toward this end,” she continued.
Rossigg also mentioned that while the church has no concrete plans for reparations at this point, she felt they were in a stage of trying to raise awareness and gather information so that if and when they do take additional steps, they might be as informed as possible. “This [show] was just a step in that direction,” she said. “We’re starting on a journey.”
BCC’s curators made sure to avoid the depiction of indigenous people in the artwork itself, opting instead to focus on landscapes and nature rather than the people themselves, thinking that to do so would be to “take steps away from indigenous people rather than towards them,” adding that the reading of indigenous texts was an attempt to make space for indigenous voices in a way that they were able to in the present moment.
“The Lower Falls of Lana” by Wyatt Waterman was one of many photographs on display at the Brandon Congressional Creative’s “Whom We Honor” art show on Saturday at the Brandon Inn.
However—as Chief Stevens points out—if it is America’s collective desire to address and atone for the misdeeds of many of our ancestors, it’s clear that we must participate in that with the descendants of those who have been harmed—descendants who are still suffering all manner of pains as a result of the historical and present-day transgressions against them—and who still live and breathe among us every day despite it all.
There is no question that indigenous people everywhere possess a spirit and resilience that is more than worthy of honor. Still, they must not be honored in absentia, as to do so only further reinforces their relative cultural invisibility.
Virginia Creighton, one of the show’s primary organizers, said that while she did make attempts to include indigenous artists in the show, BCC was ultimately unable to do so, saying that BCC might go farther in the future to find Native American artists. “I envision the congregation taking part in this kind of search,” she said. “When the church strives for unity with all others, it is moving toward breaking a position of separateness and exclusivity.”
“The history we learned as children is not the history we are aware of today,” added Vicki Disorda, a contributing artist to the show who also read from Lyla June’s Indigenomics (which June can be seen reading here: https://www.youtube.com/watch?v=OShun3rQpiY).
“The show has expanded all of our thinking,” said Disorda.
