History of Maine Indian Basketmakers Alliance

When the Maine Arts Commission launched its Traditional Arts Apprenticeship Program in 1990, it was something new for the state—a way to help master artists pass down traditional skills to the next generation. Funded by the National Endowment for the Arts, Folk Arts Program, the early days of the program, focused on Wabanaki ash basketmaking. Within its first decade, more than 50 apprenticeships had supported traditional basketmakers from the Penobscot, Passamaquoddy, Micmac and Maliseet tribes, passing on the art of weaving and preparing brown ash to the next generation.

Among the first to take part was Penobscot elder and basketmaker Madeline Shay. She was interested in teaching but had other concerns including the dwindling supplies of Brown Ash, low prices for baskets, and the increasing difficulty in finding younger students. As the Traditional Arts Associate at the Maine Arts Commission, Kathleen Mundell was listening. In her role as program director, she recognized how basketmakers like Shay wanted to keep the centuries-old tradition alive. To bring greater attention to their work, Mundell secured additional funding from the NEA Folk Arts Program—one grant to create a traveling exhibit highlighting Wabanaki basketmaking in tribal communities, and another to organize statewide gatherings of basketmakers.

Those gatherings, became a turning point. Modeled after successful  organizing efforts among South Carolina and California basketmakers, the gatherings offered Wabanaki basketmakers a chance to meet face-to-face, exchange techniques, and talk about the future of their tradition. Penobcot basketmaker Theresa Secord, was hired as the project coordinator, helping bring everyone together—basketmakers, tribal leaders, folklorists, foresters—to discuss two urgent issues: the decline of the ash tree and the need to reach new markets for ash baskets.

The traveling exhibit, Basket Tree/Basket Makers, was another catalyst. Accompanied by photographs and quotes from the basketmakers, it opened at the University of Maine at Presque Isle and soon began to tour the state. The exhibit became a gathering place in itself, eventually bringing together basketmakers from all four Wabanaki tribes - many meeting for the first time. From these early conversations and collaborations, the Maine Indian Basketmakers Alliance (MIBA) was born. The organization gave Wabanaki basketmakers a collective voice, a stronger network, and a platform to advocate for their art. 

To explore this story further, read the article "Culture and Science Join to Save Maine Indian Basketry," (page 38) from the 1993 publication from the National Assembly of State Art Agencies. Learn more about the Traditional Arts and Folk Arts Program here.