#nanticoke

Knoxville? Check. San Francisco? Check. Nanticoke?

Crawling into a hole, in the wall of a basement, in an abandoned apartment building, labeled ‘Death Door’, was an absolute no-brainer.

Interview by Cleo Hereford ‘09

A Delaware native and member of the Nanticoke tribe, Courtney Streett ‘09 is currently the President and Executive Director of the Native Roots Farm Foundation (NRFF). NRFF is a non-profit organization “dedicated to celebrating Native American cultures, protecting open space, cultivating a public garden, and practicing sustainable agriculture.” Prior to founding NRFF, Courtney was previously an associate producer at CBS News working on both the CBS Evening News and 60 Minutes and was also a senior news producer for the Business Insider. 

I was super excited to catch up with my friend and classmate about her exciting new work with the NRFF. 

Cleo: Thanks for chatting with me, Courtney! Before we talk specifically about the Native Roots Farm Foundation, you say NRFF’s story starts with your great-grandparents. Tell us a little bit about them and also your family’s Delaware roots.

Courtney: Thanks, Cleo, for inviting me to share my journey with the Wellesley Underground community!

My family has been in Delaware…since time immemorial. Through my father, I’m a member of the Nanticoke Indian Association and our family tree goes back several hundred years in lower Delaware (since European records were taken). The Nanticokes’ first contact with Europeans was in 1608 with Captain John Smith, yup, the man who kidnapped Pocahontas. The community has survived since then by assimilating into the mainstream, but many aspects of our culture were lost. That includes our relationships with food and nature – rather than seasonally moving between fishing, hunting/foraging, and growing regionally adapted crops, the Nanticoke had to adjust to the European practices of private land ownership and farming in one place year round.

At the turn of the 20th century, my Nanticoke great-grandparents bought a farm. It was unusual for people of color to own property at that time, but they cultivated the land and sold produce like strawberries, raspberries, peas, and tomatoes to passersby at the beach. Through hard work, dedication, and tenacity that property passed down through generations of my family and is now owned by my father’s cousins. I grew up visiting the farm and it’s provided a connection to both the natural world and to my ancestors.

Cleo: Native American communities, like all minoritized communities, are not monolithic. What would you like WU readers to know about the Nanticoke, the tribe that your great-grandparents were members of?

Courtney: We can thank Hollywood for creating the stereotype that all Native American communities live on reservations, have long straight hair, have tepees, and operate casinos.

Indigenous communities have been largely erased from American history – today Pennsylvania doesn’t even recognize any tribal communities. But we know the Lenape, Susquehanna, and Iroquois were some of the area’s first inhabitants.

We are still here! The Nanticoke have a Powwow every September that’s open to the public. Mark your calendar: September 10 and 11, 2022! It’s a celebration of our culture and community and an affirmation of our roots in Delaware.

Cleo: Let’s talk about NRFF. You previously worked as a producer for CBS News and the Business Insider. What made you take the leap into establishing a non-profit organization? Why focus on a public garden and farm?

Courtney: I was living in Brooklyn and working my dream job; and then my dream changed.

After Powwow in 2018, I saw that the farm my great-grandparents had nurtured was for sale. I knew this cultural and agricultural history couldn’t be lost – and I also knew that my partner and I couldn’t afford to buy 100 acres, 10 minutes from the beach.

I had nightmares about the farm disappearing. Because in this area, the crops have been replaced by condos. Lower Delaware has been one of the fastest developing regions of the country. After months of conversations and research, we realized our limitations as individuals,  but that as a collective, we could make a difference. So, we created Native Roots Farm Foundation (NRFF).

Why plants? When creating NRFF, we wanted to celebrate Indigenous communities, the farm’s agricultural history, and also native plants. So, NRFF has a few different components to its mission. We’re working to celebrate local Indigneous communities by protecting open space, creating a public garden with native plants and highlighting what they’re called by the Nanticoke and Lenape, and cultivating a farm that feeds the community using Indigenous agricultural techniques.

I also love plants and getting my hands in the soil – I did research in the Wellesley’s Greenhouses my junior year and presented at the Ruhlman Conference. I didn’t know how that would manifest in my life, but it was a building block for NRFF. Sibs, while on campus (as students or alums) check out the new greenhouse, explore the edible ecosystem, and walk one of the many beautiful trails! You never know how it’ll change your life!

Cleo: Building an organization in the best of times is not easy. How has it been attempting to establish and grow NRFF during the ongoing (never ending) pandemic?

Courtney: Hahaha what an interesting question. We launched NRFF in January 2020…and the rest is history. Lockdown meant we had the time to sit on the computer, file paperwork, and really build a strong foundation for NRFF.

It also meant that events we had planned couldn’t happen. So, we pivoted and started building an online community which has continued to grow and flourish during this never ending pandemic. Every week, we post on social media about native plants, food systems, and Indigenous communities.

(Shameless plug—follow us on Instagram and Facebook!)

Cleo: In addition to protecting land at risk of development, how does climate change factor into your goals for establishing NRFF?

Courtney: Right now, the buzz words in food production are “regenerative agriculture”. Regenerative agriculture is *Indigenous Agriculture*. But, of course, the Indigenous roots of this land stewardship practice are rarely recognized. Instead, regenerative agriculture is celebrated as a brand new way to farm.

Why are we hearing about this now? Most food is grown using industrial agricultural practices that have been linked to pollution, soil erosion, intensive water use, reduced biodiversity, chronic illness, and greenhouse gas emissions which are causing climate change.

Regenerative agriculture differs because it’s a holistic approach to land management. It recognizes the interconnectedness of soil, plants, water, animals, and people without centering humans. In practice, regenerative agriculture focuses on nurturing soil health, because that determines the health of both people and the planet.

Most importantly, regenerative agriculture is about community and equity – principles and approaches NRFF celebrates. Let’s get back to the roots and work with nature to address climate change.

Cleo: In addition to posting about sustainable farming and plant life, you have also posted about rejecting blood quantum and have highlighted those with both Black and Native ancestry on the Native Roots IG page. As someone who is both Black and Native, why has it been important for you to post about those topics?

Courtney: My mother’s parents were from the Caribbean and I always saw my two cultures, Indigenous and Caribbean, as being separate. With mom you eat flying fish and callaloo. With dad you eat fry bread and succotash.

But then I heard a song that stopped me. It was “Ba Na Na” a blend of Caribbean beats and Native drumming (by the Indiegnous group The Halluci Nation). The lyrics are: “...Carnival season, this life for the books / I jump and I wave and I wine and I juke…” Just like this song mixes genres, I can and other people can, too. It’s time for all of us to embrace our full cultures and identities.

Cleo: What are your long and short-term plans for NRFF? Where do you see the organization in 5 years?

Courtney: In five years, I see NRFF welcoming the Wellesley family to its fully operational public garden and sustainable farm!

More immediately, we have our first big event of 2022 next weekend and I’m looking forward to continuing to build community, making Tehim Juice which has become an NRFF staple (Tehim is Nanticoke for strawberry), and meeting new people! We’re also hoping to have an intern this summer and just submitted a Hive Internship Project.

Cleo: Finally, how can your Wellesley sibs and WU readers support you and your organization?

We’re still a new organization, in the startup phase, and I’m so grateful for the support of the Wellesley family!

You can help uplift NRFF’s message by following us on social media, sharing the organization with your community, grabbing our signature shirt that says “This shirt saves farms”, or making a donation.

But don’t stop with NRFF, get to know your native plants! Plant them in your yard, window box, or planter. Learn what they’re called in the Indigenous language where you live. And foster a love for your local ecology.

____

For more information on NRFF or to support the organization: https://www.nativerootsde.org

New Jersey Flag Redesign based on the Nanticoke Lenni Lenape

It’s back to school season around the nation, and here at the Hagley Library, we’re sending the children off with this 1939 group photograph. Titled ‘Nanticoke scholars’, the students in this photograph are believed to be Nanticoke honor students from the Millsboro area. The Nanticoke people are a indigenous Algonquian population from the Chesapeake Bay region; their name is a variation of the original Nantaquak, meaning 'tidewater people’ or ‘people of the tidewaters’. In Delaware, the population has been associated with Millsboro since 1744, when a coalition settled there to form the Nanticoke Indian Association.

Hello, Agents, and welcome to the show notes!

As always, you can listen to this week’s episodes while you read along with the show notes by clicking here for 105 A and clicking here for 105 B. You can also click play on the embedded player below, if it appears for you.

I am aware that some content—embedded players, gifs, etc.—is not showing up on some versions of the post that are automatically cross-posted to Tumblr. The main issue seems to arise on Tumblr mobile. If you have issues with that, please let me know! I’m working on fixes, and I want to make this content easy to access for everyone. In the meantime, please know that you can always access any show notes directly on our website.

More important than any commentary or analysis regarding the themes in this week’s episode are the lives of the people that cultural misappropriation affects…

…so we’re putting the link to the Lenape non-profit organization that this week’s expert recommended right here at the top.

There were a whole lot of ~heavy themes~ this week.

But we were so grateful to be able to shine a light on not only general issues of cultural misappropriation but also the misrepresentation and homogenized representation of Native and Indigenous people in media, which is something that is rarely discussed or even addressed in mainstream discourse.

These show notes will address all of the issues we touched on, but don’t worry. It’s not all heavy! We still love Warehouse 13 and appreciate the lighter moments in the episode as well as the ways the episode helped to grow Pete and Myka as a team and as individual characters.

Let’s kick it off.

We started 105 A with an excerpt from the Tracks by Louise Erdrich. The excerpt is copied below. (The chapter is widely available online from many sources, so I feel comfortable posting it here also. Especially as it is for the purposes of quotation, criticism, and review.

C H A P T E R  O N E

Winter 1912

Manitou-geezisohns

Little Spirit Sun

--

NANAPUSH

We started dying before the snow, and like the snow, we continued to fall. It was surprising there were so many of us left to die. For those who survived the spotted sickness from the south, our long fight west to the Nadouissioux land where we signed the treaty, and then a wind from the east, bringing exile in a storm of government papers, what descended from he north in 1912 seemed impossible.

By then, we thought disaster must surely have spent its force, that disease must have claimed all of the disaster must surely have spent its force, that disease must have claimed all of the Anishinabe that the earth could hold and bury.

But the earth is limitless. And so is luck and so were our people once. Granddaughter, you are the child of the invisible, the ones who disappeared when, along with the first bitter punishments of early winter, a new sickness swept down.

To iterate what I already said in the podcast, I highly recommend that you read Tracks. It is fascinating, important, and beautifully written. Also, from a linguistic standpoint (for those interested in such things), it often applies some elements of Ojibwe language in astounding ways to Nanapush’s English-language narrations, which creates a really refreshing and new perspective on language than one would typically find in a novel with influences from only western/European languages. 

While I do recommend it as a standalone novel—and you do not need to read any of the other novels to understand it (because it is set in the earliest part of the timeline of the series)-it is part of a tetralogy of novels. Here’s more information on the novels and writings of Louise Erdrich.

Despite an embarrassing amount of time spent researching this for you, I was unable to find an electronic version of the book to share with you. But it’s worth spending money on this truly excellent novel. Here it is for purchase as a paperback. You can also download it from Audible (with or without a membership) as part of a pair of audiobooks. The other audiobook is Louise Erdrich’s Four Souls, a standalone novel.

So, why include this specific excerpt in our podcast? Well, in addition to the reasons we discussed near the end of our discussion in 105 B, we felt that the points in this excerpt were deeply relevant to the issues we brought up in our own discussion and—more importantly—the issues that our brilliant and generous expert, Dr. John Norwood, brought up.

Let’s break this down.

“We started dying before the snow,” but the rest of the paragraph goes on to describe that they didn’t all die. Nanapush’s people—the Anishinabe—survived illness, Eurocentric colonization, and American Westward expansion. It brought heavy losses, but the Anishinabe (and indeed, native cultures more broadly) continue to survive. That’s one of the things that Miranda and I agreed was among the most vital to impress upon our listeners:

Native cultures continue to exist. It is harmful to treat native cultures as if they are relics of the past.

(Note: I know I spell Anishinabe without the double-a. I went with the spelling in Tracks. If the other is preferred, please let me know)

One important way you can take this to heart is by educating yourself about what native cultures exit in or around your area.

Because I promise there are native cultures that exist around you.

Here is the Wikipedia page detailing indigenous peoples around the world that may help contextualize more specific information that is linked below.

For the United States of America…

Here is a list of federally recognized tribal nations.

For Canada…

Here is a list of Canadian First Nations and their associated languages.

For Mexico…

Here’s what info I could find on Mexico’s indigenous population as well as a thorough Wikipedia page on the subject.

Moving on to South America…

Here is a list of the indigenous people of South America.

Now for Australia and New Zealand…

Here is information on the history and modern life of the indigenous people of Australia and New Zealand.

There are also indigenous populations in Europe!

That’s a complex subject that I can’t provide a single comprehensive page for, but here is the link to the entire Wikipedia category on the topic.

Two-thirds of the worlds 370 million indigenous people live in Asia…

…but they still face widespread non-recognition and marginalization. While I couldn’t find a separate page of information detailing the indigenous groups of Asia, there is a wealth of information on the page of indigenous peoples around the world at the top of this section.  And here is an article about some of the issues facing those communities.

And in Africa…

I’ve gathered a few sources of information on the indigenous cultures of Africa [Link 1, Link 2].

And of course we haven’t forgotten about Island Nations!

There are indigenous people from island nations, as well

Finally, it’s also important to note that many native cultures don’t have official federal recognition, but that does not mean that they don’t exist.

Here is a list of those (for the United States).

This is why we say it is so important to recognize that indigenous and native peoples are still here, living, surviving all around us. It is so, so vital that we do not contribute to a culture that makes them feel invisible, when clearly there are so, so many people who deserve to be seen and heard. 

This week, our Writer Appreciation Corner focused on Dana Baratta. Interestingly, this episode is her only “written by” credit for Warehouse 13. However, she remained a co-executive producer on the series for seven episodes.

We talked about how having so many writers credited for story and teleplay didn’t necessarily do this particular episode of television any favors. However, we also mentioned that seeing multiple people credited for writing an episode isn’t necessarily a negative thing. We mentioned Season 7 of Buffy the Vampire Slayer, as it provides many examples of well-written episodes with a lot of hands involved in crafting the script.

Those episodes are:

707 "Conversations with Dead People” (written by Jane Espenson and Drew Goddard)

708 "Sleeper” (written by David Fury and Jane Espenson)

710 “Bring on the Night” (written by Marti Noxon and Douglas Petrie)

717 “Lies My Parents Told Me” (written by David Fury and Drew Goddard)

and 721 “End of Days” (written by Douglas Petrie and Jane Espenson)

Other notable episodes of the show that remain fan-favorites include (but are not limited to): 111 “Nightmares” (Story by Joss Whedon; Teleplay by David Greenwalt); 311 “Gingerbread” (Story by Thania St. John and Jane Espenson; Teleplay by Jane Espenson); and 221 “What’s My Line (Part 1)” (written by Howard Gordon and Marti Noxon).

Moral of the story? It’s tempting to think there’s too many cooks in the kitchen, but having many hands on a project is not a reliable indicator of poor quality. It’s all a matter of the writers’ ability to share a vision and work as a team.

We weren’t sure if the language in the opener was accurate (and based on the rest of the episode’s level of cultural accuracy, I highly doubt it would be), but here is some information about Lenape and Delaware languages.

Dr. Norwood also mentioned that many Algonkian tribes came from the Lenape people. There are many Algonkian tribes—among them the Ojibwe-speaking Anishinabe people featured in Tracks—but I’m unsure which amongst them are related to or descended from the Lenape. From what I am able to gather, an Algonkian tribal nation refers to those native groups and cultures that speak Algonkian languages.

When talking about the flute trills in the opening scenes of the episode, Miranda referenced that this is a common pan-Indian filmic trope about which she learned from the podcast Metis in Space—a podcast about indigenous representation in science fiction.

Shifting gears a bit…

I mentioned seeing a piece of art that I really liked sitting in a chair in Leena’s Bed and Breakfast. I tried to screenshot it for you all only to find that—as it turns out—its impossible to screenshot anything from Amazon prime on any device! If you try, you just get a big black square or rectangle saved as a picture! Thank goodness for you, dear listeners—for many reasons—but specifically at this time for coming together to solve this problem for me!

Thanks to the teamwork of @AslamChoudhury and @Zincstoat I can now tell you that the picture looks like this:

The picture is “Ophelia,” by Lyse Marion of Imagine Studio, Montreal, Canada.

Unfortunately for me and for anyone who shares my ~aesthetic~ the picture is no longer available for sale, but many other works from that artist are. Click their Etsy shop to find something that speaks to your soul.

Thanks again to @AslamChoudhury and @Zincstoat! I looked for hours to find that piece of art and couldn’t find anything. For your extraordinary retrieval of this artifact and for allowing me to catalogue it, I’m naming you Agents of the Month!

Speaking of art, Miranda references not understanding modern art and being a pre-Raphaelite type of lady. As for myself, I’m divided. I absolutely love art of all kinds and can spend hours looking at anything from antiquity through to the age of impressionism and surrealism…at which point my brain kind of breaks. I love half of modern art—especially paintings and half don’t understand it at all. I went to the MoMA once and had a great time until I was standing in a room where the lights were dimmed and there was a pole in the middle of the room with lots of heavy cannon-ball sized orbs scattered across the ground. I…did not understand what was happening. I still don’t understand what was happening. Art is vast and ever changing. It’s okay not to understand it all. If you’re interested in learning more about Modern Art, here’s some information straight from MoMA itself! And, from The Art Story, here are some terms to know.

Think that might be too much for you and you might be a Pre-Raphaelite kind of bloke? That’s chill. Here’s some information on what Pre-Raphaelite art is from the Tate Museum! Interestingly, the Tate’s first example of Pre-Raphaelite art is this painting:

This painting is also called Ophelia and is a work of Sir John Everett Millais

This is interesting not only because of the parallel to the painting from the B&B linked above, but also because of the connection to Myka that we’ll see in a future episode. This, my friends, is what we call a motif.

In the episode, Pete mentions wanting to see a Broadway show. As a theater fan myself, I can relate. If you’re one of the lucky people who can afford tickets to a Broadway show (or live close enough to wait in lines for more affordable rush tickets) here’s a list of the shows currently playing on Broadway.

In New York, Pete locks eyes with Lacell for the first time. We can’t blame ya, Pete. We also both found Lacell (or, rather, the actor who plays him) quite attractive. That actor’s name is Caleb Verzyden, and he does…not have an extensive filmography. Now, initially, Miranda and I tried researching him further to see if he was an actual Lenape person cast as a Lenape character. We were unable to find this information, but we did find something awesome, and in the episode we promised to share it with you:

Y’all, he runs a lumberjack company now!!!!! His current hobbies include cutting down trees and sitting in front of the big pile of wood while smiling and wearing a suit. Go on, Caleb. Live your best life! 

That was a fun interlude, but unfortunately, it’s time to return to the rather serious matters in the show.

Dr. Norwood talked about Powwow culture representing a specific cultural exchange within American tribal nations and not representing Native culture as a whole. Here is some information from the Nanticoke tribal nation on the matter and information from the Lenape people on the same matter.

For more information on the Nanticoke Lenni-Lenape Tribal Nation outside of powwow culture check out their online learning center and museum and their official website.

We also talk a little bit about now the Warehouse itself participates in the oppression of native peoples. Here is some information on the Native history of the South Dakota badlands on which Warehouse 13 resides.

There is a great joke about the band Earth Wind & Fire in the show.

But you know what’s not a joke? The way Artie conflates all Native creation myths as if they’re one thing. Here is some information on the real and multiple creation stories of the Lenape people.

Moving forward, we address the issue that is Jeff Weaver. On Jeff Weaver, I have this to say: Money isn’t a personality and Jeff is boring as heck. Thanks for coming to my Ted Talk.

Miranda wonders in the episode if Jeff is supposed to be some kind of White Savior figure. For those unfamiliar with the term, here’s what that means in relation to filmic and televisual storytelling.

In the Warehouse, Claudia solves Artie’s chess conundrum and Miranda and I talk about the deeply impressive nature of a person who understands chess. There is a beautiful film called The Dark Horse that I saw a few years ago that is deeply relevant to this episode. The movie is based on a real-life man named Genesis Potini who was a man of Maori (Native culture of New Zealand) descent who taught chess to underprivileged teens in Auckland New Zealand while homeless. It is moving and highly worth a watch.

We pick up in the hospital with Pete recovering and Myka dutifully standing watch over him. Myka mentions Jeff asked her on a date…

…and Pete tells Myka she’s pretty when she smiles.

It was a sweet moment (and a funny one when he calls her scary right after).

Miranda and I use the moment to talk about the problem of men telling women to smile (even though Pete was loopy and totally wasn’t the kind of bad guy we’re talking about in this particular situation). Here’s one of many, many think pieces on the subject.

After that, we get back to our super uncomfortable but necessary to talk about ~heavy themes~ where Artie tells Leena that the Lenape “sold Manhattan for $24 of arts and crafts.” The episode talks a lot about why this is such a problem. Here’s some more information on how indigenous understandings of land ownership differed from European views and lead to these kinds of insensitive summaries of complex histories.

Moving on to 105 B (Yes, those were ALL notes from 105 A, but don’t worry! The first part of 105 B involves a lot me talking about how much I dislike Jeff Weaver and—while important, because he’s really, really boring—it isn’t a subject that lends itself to extensive show notes.)

Let’s give Pete a big shout out for pulling himself out of his hospital bed to get to work. Poor guy. In the show, he rips out his IV. Don’t do that. It’s a bad idea. It hurts and is super bad for you.

They talk about an artist named Walter Burleigh in the episode. The one in the episode is fictional for the show. But there was actually a real Walter Burleigh who is relevant, but he’s not an artist.  

Spoiler alert: he was TERRIBLE.

The real dude lived after the dates relevant to this episode and he lived in a different area, but he did deal with native populations in the Dakota Territory and the native populations with whom he interacted hated him. I wonder if that was more of a plot point and was more accurately portrayed in an earlier draft of the episode and, if so, why, how, and when in the writing process it was changed.

In lighter news, Pete made a great I Love Lucy reference.

Fun fact about the famous “You’ve got some ‘splainin’ to do” line from Ricky Ricardo in I Love Lucy: No character was ever allowed to make fun of or imitate Desi Arnaz’s accent aside from Lucy herself (for those who don’t know, the two were married in real life). This is because they were mindful even back then of allowing there to be a real joke that would exist in the lives of interracial romantic partners but also not allowing it to become an excuse to treat the minority character as a joke or a stereotype. You can find out more about that and other aspects of Lucille Ball’s life with Desi Arnaz (and without him) in Episodes 82 and 83 of The History Chicks.

Finally, Miranda and I talked a little bit about ley lines and telegraph lines. If listeners are interested in a great fantasy novel about ley lines, Miranda recommends The Raven Boys by Maggie Stiefvater. Bonus! It's queer. Second, the source of her information about telegraph cables and Australia having bad internet is a book called The Undersea Network by Nicole Starosielski.

That’s all I have for this episode.