More on land acknowledgements

A recent news story got me thinking about land acknowledgements.

On Friday 15 November, Brown University transferred possession of 255 acres of land in Bristol, Rhode Island, to a preservation trust established by the Pokanoket Indian Tribe. The land was the ancestral home of Metacom, known by English settlers in the 17th century as King Phillip; it was he whom King Phillip’s War was named after. This transfer of land had its origins in a 2017 encampment by people who were descended from the 17th century Pokanoket village.

There are some details that make this land transfer especially interesting.

First, the land is being transferred to a preservation trust, not to a specific tribal entity. The agreement specifically states that the land “shall at all times and in perpetuity provide and maintain access to the lands and waters of the Property to all members of all Tribes historically part of the Pokanoket Nation/Confederacy, and to all members of the Wampanoag Tribe of Gay Head (Aquinnah), the Mashpee Wampanoag Tribe, the Assonet Band of the Wampanoag Nation, the Herring Pond Wampanoag Tribe and the Pocasset Tribe of the Pokanoket Nation.”

Second, the Pokanoket Tribe is not recognized by the federal government, nor by the state of Rhode Island. A Providence Journal article from 2017, written right after the 2017 encampment, pointed out that even other Indian tribes don’t necessarily recognize the Pokanoket Indians: “It is not just the U.S. government that doesn’t recognize the Pokanokets. The Narragansett Indian Tribe, the only federally-recognized tribe in Rhode Island, also maintains that the Pokanokets lack any standing under the law.” And other Wampanoag tribes apparently remain skeptical; not surprising, given that the territory claimed by the Pokanokets seems to include some lands currently administered by other Wampanoag groups.

Honestly, this kind of thing should be expected here in southern New England. We have a legacy of four hundred years of erasing Indian presence here. This has been well documented, e.g. in Jean O’Brien’s scholarly book First and Lasting: Writing Indians Out of Existence in New England (Univ. of Minnesota Press, 2010).

But this also raises challenges to Unitarian Universalist congregations in our area who would like to adopt a land acknowledgement. Here in Cohasset, we could offer land acknowledgements to at least three tribal entities. We’re probably in the historic lands of the Massachusett, so perhaps it would make sense to acknowledge the Massachusett Tribe at Ponkapoag, based in Bridgewater. However, there’s another Massachusett group, the Praying Indians of Natick and Ponkapoag, based in Stoughton; and since we’re pretty sure that an Indian woman who became a member of the Cohasset church in 1736 later settled in Natick, maybe it makes sense for us to acknowledge this tribal entity. Or maybe we should acknowledge both. And now that I’ve learned from researching the land transfer initiated by the Pokanoket Tribe that they identify Cohasset as being part of their traditional lands, maybe we should acknowledge them, too.

I suspect many people facing this kind of challenge would simply ignore the current tribal entities, and go with the historic record at the moment of European contact. If we did that here, we’d acknowledge Cohasset belonged to the Massachusett Indians in 1620 (probably; there’s some debate among historians). But in this part of the world, that kind of land acknowledgement can result in writing Indians out of existence, because it glosses over the fact that Indians continued to live on these lands for the past four hundred years, and continue to live here today.

This brings me back to the land transfer that Brown is undertaking. The home of Metacomet has significance for all Indians in southeastern New England. Four hundred years of colonialism make it difficult to know who — which tribal entity — should be the appropriate stewards of the land. Thus the university chose to set up a permanent trust that allows access to more than one tribal entity. This is by no means an ideal solution, but given the history of our region, it does make sense. The university did not try to adjudicate which are the “real” Indians who should have access to the land.

If we’re going to do land acknowledgements, maybe that’s the kind of thing we need to do in our region. We don’t want to erase today’s Indians from the New England landscape. We do want to recognize that descendants of those seventeenth century Indians are still living around here (some of them may even come into our congregations now and again), and they may have their own opinions about whose land it is. Above all, we don’t want to pretend that we get to adjudicate who are the “real” Indians in our area.

Trash art

Our congregation’s Ecojustice Camp, a week-long summer camp, just finished its overnight. We left no trash ourselves, but we scoured our campsite for trash that might have been left by others. The campers carefully arranged the trash on a picnic table. Here’s a photo of all the trash we found:

A collection of trash on a picnic table, with hands of children pointing at it.

When they saw this photo, the campers said, “Hey, it looks like art!” (Shades of Kurt Schwitters and Robert Rauschenberg….)

Anyway. There you have it…trash art.

New edition of the “Ecojustice Class” curriculum

Not many blog posts recently, as my spare time has been taken up with revising religious education curriculum.

I just completed a version of my full-year middle school “Ecojustice Class” curriculum for southern New England. Congregations in similar climates in the eastern U.S. should probably be able to use this curriculum as well. This is a beta test version — entirely teachable, but the curriculum is still a little rough around the edges.

Much of this is adapted from the northern California version of the curriculum, which we developed over ten years at the UU Church of Palo Alto. For New Englanders, I adapted this curriculum to a four-season climate. I added several proven session plans which have been adapted from Ecojustice Camp, as well as from my summer eco-spirituality workshops that I’ve led off and on since 2006 (mostly at Ferry Beach Conference Center).

Read about the Ecojustice Class concept on my curriculum website. Then if the concept works for your congregation, you can click through to Ecojustice Class Southern New England.

Online journal: Urban Naturalist

Today I discovered a peer-reviewed journal, Urban Naturalist: Natural History Science of Urban Areas Worldwide (Eagle Hill Publications). This journal offers free and open access to all articles.

So far I’ve read two articles:

“Effect of the Edge on Eastern Cottontail Density: Urban Edges are Harder than Agricultural” studies Eastern Cottontail density in urban preserves in Mexico City, and concludes that this species of rabbit avoids the edges of urban preserves (perhaps due to noise, light, etc.). This effectively reduces the amount of land habitable by these rabbits in an urban preserve.

“The Bee (Hymenoptera: Apoidea) Fauna of a Transmission Right-of-Way in a
Highly Developed and Fragmented Landscape of Central New Jersey”
sampled bee populations in a power line right-of-way. The authors conclude that power line rights-of-way probably offer habitat for bees that would otherwise be lacking in a highly developed landscape. Unfortunately, 13% of the species found by the researchers were introduced or invasive bees. I was also struck by the observation that highways result in high bee mortality: “Roads can be substantial barriers to the movement of bees, and can cause high mortality that increases as roadway speed and traffic volume rises….”

As urban areas increasingly dominate our landscapes, obviously this kind of research is increasingly important. Since most of you reading this live in an urban or suburban area, it’s worth dipping into this journal to learn about some of the unforeseen effects our urbanized lifestyle has on other organisms…if we’re gonna feel guilty about eating meat, maybe we should also feel guilty about contributing to worldwide bee decline every time we drive on a highway.

Cyanotype…notes to myself

The past couple of weeks, I’ve been experimenting with cyanotype as a way to get people to look more closely at plants. This post is some notes to myself about cyanotype resources.

Cyanotype print of plant material.
Cyanotype of grasses and rushes (actual size 4 inches square)

Cyanotype in the classroom

Lawrence Hall of Science sells “Sunprint Kits” with 12 pieces of 4 inch square cyanotype paper and a clear acrylic overlay sheet. Cost buying direct from them is US$5.99 per kit (do not buy from Amazon where the price is higher).

Lawrence Hall of Science also sells refill packs of 12 sheets of cyanotype paper for US$3.99. The kits and refills are ideal for class use — inexpensive enough to allow people to experiment. You can also purchase kits and refills with 8-1/2 by 11 inch cyanotype paper from them. The larger sheets are more expensive (about US$1 per sheet), but if your class gets serious about cyanotypes the larger size allows for more possibilities.

Cyanotype supplies

Chemistry

Jacquard Products sells cyanotype sets — two plastic bottles with cyanotype chemicals that you fill with water, then mix the resulting solutions 1 to 1 when you’re ready to coat your paper. (I bought my set at an independent art supply store, but haven’t yet used it. You have to coat the paper in a low light setting, and dry the paper in darkness. I haven’t yet figured out a place where I can dry the paper.)

Kit for an alternative cyanotype process — this is a different chemistry, and supposed to be a superior process.

Paper

Finding paper that’s good for cyanotype can be a c allenge, since not only must the paper stand up well to repeated wetting, but the pH of the paper is also important. Christina’s Anderson’s 2018 article on paper choices is probably dated by now (paper companies change things over time), but worth reading. Freestyle Photography sells Hahnemuhle Platinum Rag, which both Anderson and Annettee Golaz (see below) mention as one of the best heavy papers for cyanotype. Dick Blick sells Hahnemuhle Sumi-e, which both Anderson Golaz say is an excellent lightweight paper.

Cyanotype books

Be warned: many of the books on cyanotype available online are self-published. But here are two books from a reputable publisher.

Cyanotype Toning: Using Botanicals To Tone Blueprints Naturally by Annette Golaz (Routledge, 2021), part of Routledge’s Contemporary Practices in Alternative Process Photography series, is an excellent introduction to toning cyanotype. It also contains an entire chapter on the basic cyanotype process. It’s expensive — US$66.99 — but for me it was worth the price.

I haven’t yet seen Cyanotype: The Blueprint in Contemporary Practice by Christina Anderson (Focal Press, 2019), but Annette Golaz refers to it repeatedly in her book.

Cyanotype websites

Many of the cyanotype websites appear to be “AI”-generated slime. Others are too basic (“Expose the cyanotype paper, put it water, look at the result!”). But I found these websites to be well worth visiting:

Cyanotype by Angela Chalmers, a PDF, gives instructions on making cyanotype photograms using plants. Great ideas, and the author’s photograms are gorgeous.

“How To Make Cyanotypes of Flowers” on the Nature TTL website includes very useful instructions on a specific form of wet cyanotype process.

A digitized version of Anna Atkins’s book of botanical cyanotypes is online at London’s Natural History Museum website. A scholarly article with an analysis of Atkins’s book from the point of view literary analysis can be found here.

Atlas Obscura has samples of a 12 year old’s botanical cyanotypes here. Interesting for educators to look at.

Jacquard has a guide on toning cyanotypes to produce different colors here.

Vinegar-developed cyanotypes on the Alternative Photography website describes how to develop in vinegar so that your cyanotypes are less contrast-y. Alternative Photography has other articles on cyanotype, which I haven’t had time to explore yet.

Ecojustice education resource

A team at the University of California in Davis, headed by Tom Maiorana, has developed a game that models evacuations in the face of wildfires. (Apparently there was a story about this game on National Public Radio (NPR), but I don’t listen to NPR and read about this online somewhere.) They’ve set up “Prototyping Resilience,” a website for the game.

As someone who has been doing ecojustice education on the side for nearly two decades now, as soon as I heard about this game my gut response was: Wow, what a great teaching resource. Then I has to stop and think about why this would be such a great teaching resource. First, the game raises awareness of a new phenomenon, massive wildfires, which result from climate change and to a certain extent from land use change. Second, the game empowers people to know what to do in case of a wildfire (i.e., it’s akin to the tabletop exercises long used in emergency prep circles). Third, the game educates people about community cooperation. Raising awareness, empowering, building community — all key precepts for ecojustice education.

Detail of a sheet of game instructions showing game tokens representing a wildfire.
Detail of the visual instructions for the game.

The current iterations of the game are specific to actual communities in California. But the game developers plan to have a generic “Evacuation Boardgame” ready by October, 2024. I signed up for the generic game using the “Game Request Form” link at the bottom of this webpage.

Garlic Mustard song

The invasive species problem remains one of the top threats to Earth’s life-sustaining systems. Yes, global climate change is scary, especially now that it looks like we’re now on track for a 2.5 degree increase. Sigh. But it’s also scary to watch familiar landscapes rapidly lose their biodiversity as they are overrun by invasives — native trees literally being pulled down by Oriental Bittersweet, native songbirds being driven out their nesting sites by invasive House Sparrows, native plants being killed off by the chemicals released into the soil by invasive Garlic Mustard…. Anyway, I decided to write a song about what we can do to Garlic Mustard.

Image of sheet music

(Yes I claim copyright, but I hereby grant you permission to sing it, reproduce it, record it, etc.)

Recipe for Garlic Mustard Pesto.

Ecojustice and music education

I’ve started reading an article about combining ecojustice education with music education. It’s kind of theoretical, but there’s good content buried beneath the academic prose style. I’m fascinated with the topic, because our ecojustice camp curriculum includes singing and natural soundscapes as crucial curriculum components.

Below is the abstract of the article (followed by a full citation and a link to the full article):

“Children who are supported throughout childhood and adolescence to both
maintain their sense of wonder in nature, and honor and explore their
wild human nature, are well positioned to mature into soulcentric adults
capable of living into their purpose in service to both their culture
and the whole of life. However, our society’s ecocidal culture and
unjust institutions often replicate oppressions and promote egocentric
behaviors that preclude thriving. Additionally, many children are
alienated from nature and are thought to have nature-deficit disorder,
which can include both mental and physical maladies. In this article I
explore conceptions of ecojustice education to further illustrate
pathways for curriculum development in music education that might
encourage children and adolescents to maintain their sense of wonder in
nature, fully develop their sensory capacities, support their mental and
emotional wellbeing, attune more carefully to their wild nature and
soul’s purpose, and contribute to the environmental and social
commons — all which might support human flourishing and the continued
survival of our species.”

Citation: “Music Education for Surviving and Thriving: Cultivating Children’s Wonder, Senses, Emotional Wellbeing, and Wild Nature as a Means to Discover and Fulfill Their Life’s Purpose,” by Tawnya D. Smith, Music Education, School of Music, College of Fine Arts, Boston University, Boston, MA, United States. Frontiers in Education, 16 April 2021, Sec. Educational Psychology, vol. 6, 2021 — https://doi.org/10.3389/feduc.2021.648799 — Link to the article.

Cheap pocket plant press

Photo of the materials listed, laid out on a work table.

(1) This pocket plant press is made from a stack of 3 x 5 index cards, salvaged corrugated cardboard, cheap watercolor paper, and rubber bands. Cut two pieces of corrugated cardboard to 3 x 5 inches. Cut two pieces of cheap watercolor paper to the same size. Find a flower, and blot it dry with paper towels.

A flower arranged on the open plant press

(2) Place one piece of corrugated cardboard down. Stack half the file cards on top of it. Place a piece of watercolor paper on top of that. Arrange the flower on this stack. Then make another stack of corrugated cardboard, file cards, and watercolor paper.

The completed stack, the flower is in the middle with its stem sticking out.

(3) Assemble the stack with the corrugated cardboard on the outside. Wrap the assembly with the rubber bands. If the stem of the flower is sticking out, you can trim it off with scissors.

Side view of the assembled stack, showing the layers.

Now let it dry for at least a week. Longer if the weather is humid, or the flower is especially moist. If you want the flower really flat, stack some heavy books on top of the plant press.

The watercolor paper takes the place of blotter paper in a real plant press. In some cases, the pressed flower may leave a colored image on the watercolor paper, so with some experimentation you should be able to use this technique to make pressed flower monoprints.

The stack of file cards makes the plant press stiffer, and helps spread the pressure of the rubber bands out evenly. You can also press several flowers in this plant press by using alternating layers of file cards, watercolor paper, and flowers.

(This is a follow up to this post. And for the finished product, see this post.)

Plant presses and nature collage art

I’m in the process of developing curriculum for a couple of different eco-spirituality programs I’ll be co-leading this summer. One of the people I’ll be working with, Jessica, a former environmental educator who’s now the DRE at the Northhampton UU congregation, floated the idea of pressing plants.

Now, plant pressing is usually done to prepare specimens for an herbarium. But Jessica found a lesson plan in the Project Wild Aquatic curriculum book which uses a plant press for a process art project. You assemble a collage of aquatic plants (or really, any kind of plant) between sheets of porous paper, and press in a plant press. As the plant is pressed, the paper absorbs some of the colors of the plant. Wait a week till it’s dry, and you have a cool collage.

This activity kind of resembles flower pounding (see lesson plan #24 on this webpage). It also introduces participants to the use of a plant press — a standard botanical tool/process — which is a nice addition.

Still working on refining this activity for use with kids in a summer camp setting. We’ll see where this leads. In the mean time, a couple of resources: Plant presses for the classroom | Herbarium Supply Co.


Update, later the same day:

Here are my instructions for a cheapo plant press, cobbled together from several online sites:

You’ll need fifty 3×5 file cards, two pieces of corrugated carboard cut to 3×5 inches, and two strong rubber bands. Place a flower in the middle of the stack of file cards. Put the rubber bands around everything (see the drawing). Let dry for a week or more. When dry, glue the dried flower to the index card using white glue.

Sketch of the flower press described in the text

Snowdrops are starting to bloom outside our front door, so in a couple of days I’ll be able to give this a try in the real world.

(And here’s the follow up post where I actually make one of these.)