By Tia Alexi Roberts (Narragansett, CS Staff)
If I’m sharing a pair of woven earrings, I’m doing that because it’s a piece of our culture as old as time. I want to do something that shows the culture over and over again, even if it’s as simple as a woven keychain,” says Brittney Peauwe Wunnepog Walley (Nipmuc), a Cultural Survival Bazaar artist and artisan who makes woven goods and wearable art. Nipmuc weaving is both an art form and a living record of history. Centered in her Nipmuc culture and the teachings of her father and community, Walley’s work prioritizes education, cultural continuity, and future generations. Her art has been featured in various museums in the Northeast and beyond.
Walley first learned Northeastern Woodland–style weaving from Kerry Helme (Mashpee Wampanoag). “The type of weaving that I do is a soft form of twining, which is different from a lot of the existing woodsplint baskets that people from my Tribe have made in the past,” she explains. “One material central to my older pieces is hemp cord. Now I’m using a lot of cotton cord. I try to be responsible for the Earth and use plant materials as much as possible.”
In addition to weaving, Walley is involved in Indigenous advocacy as the Anti-Mascot Representative for the Chaubunagungamaug and Hassanamisco Nipmuc. She works to support Indigenous studies initiatives and is also a board member of Mass Humanities and a collaborator on Indigenous Peoples Day campaigns. She earned a master’s degree from the University of Massachusetts, Boston, in Critical Ethnic Community Studies, with a concentration in historical archaeology. “I’ve always been drawn to making things right, but I officially began advocating against mascots in 2020. This brought me into groups working on multiple statewide Indigenous-focused bills. It’s about self-representation, about the ability to share your own story and share your own images about what you think best represents you, not something that’s been put on top of you by an outside force,” she says.
Walley practices another form of Indigenous advocacy by carrying Nipmuc traditions forward through her art. “Keeping on with weaving is so important for our cultural sustainability,” she says. “There’s already been an increase in Nipmuc weavers, and I’ve been able to share my knowledge with them. A few years ago, my chief said that I was the only Nipmuc basket weaver, and that was not a good feeling. I don’t want to be the only one.” To ensure she wouldn’t be the only—or the last—Walley has organized weaving workshops in her community and with intertribal communities. “It’s been a pleasure to teach and to really bring my present into the future that way. Exactly seven generations ago, my fifth or sixth great grandmother wove chair parts. I just see myself as a drop in the ocean.”
Beyond the critical work of furthering her People’s cultural traditions, Walley’s weaving is a form of storytelling. “A pattern in a basket can tell a story and depict something that has happened. When I’m in the right position to read the baskets, I can look at them and understand them as if they’re a text. Sometimes it can be very literal, but the act of weaving can also be a touchstone for talking about stories,” she says. “I’m doing my best to represent myself and the culture. . . thinking about how we can take back this power to represent ourselves, speak for ourselves, and share our own stories. As a Native artist, I can connect with other Native Peoples on a much deeper level. I’ve learned that there is an endless amount of talent and creativity.”
Due to the limited outlets that support Native talent and creativity, Walley appreciates the opportunity afforded by the Bazaars: “It’s not just about buying, it’s about caring and talking about it. That word of mouth is so powerful. If you go to something like a Bazaar, you can share that experience. You might meet someone, pick up a business card, make a connection, and experience a beautiful dance that moves you. There’s endless opportunity to make a connection.”
All photos courtesy of Brittney Walley.
Come to the Cultural Survival Bazaar: July 24–26, Tiverton, RI & August 1-2, Providence, RI. bazaar.cs.org
