Tag: Vermont

  • Quietly Quebec: French Canadians in Vermont

    Quietly Quebec: French Canadians in Vermont

    I’ve been thinking lately about two seemingly unconnected conversations. The first was with a friend, an immigration lawyer, who said that since Canada passed Law C-3 her business has been overrun with Americans applying for Canadian citizenship (C-3 eliminates the “first-generation limit”). The second conversation was with another friend who is married to a rural-born Quebecer who grew up in a lively farm family. She was observing how his family events were centred around the kitchen, not the living-room or parlor. Meals were served on the kitchen table and after a big feast, like Easter, everyone would push back their chairs to the walls and then the afternoon would be filled with conversation. For me there was a resonance in what she was saying.

    In the 1950s, in the hills of central Vermont, I was told I was growing up in “Yankee” country. The word rolled easily off adult tongues, summoning a picture of stone walls, maple sugaring, town meetings, and old leathery New England families who had been there forever. I hadn’t been, but that’s incidental to this story. When I think back, when I really replay what went on in those school corridors, walk into those kitchen-shed entrances, and sit at the kitchen tables in my mind, what I see and hear feels far less purely “Yankee” and much more like a quiet, unacknowledged extension of rural Quebec.

    An amusing (and unlikely) pair – a Peugot 504 (vintage 1950s) and a much earlier Ford truck – placeholders for French/Yankee duality – in the apple orchard of an old Vermont hill-farm (photo taken 1972).

    Many of my classmates were not Yankees at all. They were the children of Quebecers, families who had moved south over the border in search of work, trading rocky Quebec farm fields and the poor economy for Vermont’s mills and small factories. Their parents still spoke French at home, still had filet crocheted bible scenes on their walls, still crossed themselves instinctively, still held onto Catholic feast days and family rituals, even as their children sat beside me behind desks reciting the Pledge of Allegiance in English.

    The geography encouraged a kind of illusion. Compared with Quebec, with its broad St. Lawrence valley and wide fields, most of Vermont is hill country. The farms that still existed in those days were small and coughed up a lot of rocks, more a patchwork of cleared land between forests than the sweeping agricultural vistas one imagines when one says “farm.” Yet many of the people working those small farms, or supplying labor for the mills, had roots that ran straight back to Quebec. On paper, in town histories and news-stories, it might have been called “Yankee Vermont.” On the ground, it was something more complicated: a hybrid of old New England and transplanted rural Quebec, stitched together by rivers, roads, and the hum of machinery.

    The mills were the real magnets. They were scattered along Vermont’s rivers, some still visibly tied to the old water power era with raceways and old brick, others already retooled and electrified. In those years, they wove cotton and wool cloth, most of it rough, and a little further south (along the larger rivers) manufactured industrial parts. They were not glamorous places, but the work was steady, and they needed hands. Hands came from the hills and from across the border.

    So, in my grade school classroom, many of the desks were filled with kids whose grandparents had been farmers in Quebec, whose parents now worked for businesses in the town or the mills that bordered it. Many of them bore names that had been smoothed into English, as if the crossing of the border had required passing through a kind of linguistic customs warp. A “Leblanc” became “White.” Sometimes the change was deliberate. Other times, it seemed to have been imposed by immigration bureaucrats who simply wrote what they could pronounce. It was as if the name itself had to be pushed into shape to fit the idea of America. I knew the drill.

    Late spring and scrounging up the dregs of the woodpile.

    Some of my friends embraced that shaping. They practised their English carefully, and worked hard, as I did, to appear fully “American.” When you’re a child, you are acutely aware of the small signals that mark you as different, and you quickly learn to sand down those edges. When we were older we learned to call it racism. Others, though, held on to more of their ancestral life. They disappeared from play on certain feast days, learned their catechism, and later, in adolescence, you might see them slipping off to the large Catholic church that we never entered. Their houses felt different when you stepped inside: religious images on the walls, perhaps a rosary hanging from a nail, and often a sense that English was something you spoke for the outside world, not in the kitchen.

    Coming back to the kitchen and my friend’s description of her husband’s family gatherings. To me it always felt like the kitchen was the next room after the shed. First you went through the shed, a kind of transition area that had the sweet smell of split drying wood, moist earth, and wet wool. Then the was the warm kitchen, with a stove crackling and the smell of food being cooked.

    But what really registered with me was pushing the chairs back, making a ring of people rather than a scattered group. I always liked being there. At the time, I understood those families as simply “farm families,” (though that wasn’t the way my parents described them). Only later did I understand how many of them were not just “country people,” but Quebecois by origin, bringing with them patterns of family life shaped north of the border.

    Of course, we did not have the language of “Franco-Americans” or “diaspora” for this; the word that floated around instead was “Frenchies,” often used with a derisive and mean edge. It was the sort of racist nickname that passed as normal in those days. The implication was that the “real” Vermonters, the real Americans (which I felt excluded from too), were the Yankees, and the “Frenchies” were a kind of tolerated, but alien, presence. Yet, in reality, Quebec immigrants made up a large portion of the local population – fifteen to twenty-five percent, by some estimates – and their influence seeped into the “Yankee” culture.

    As a child, I absorbed both the prejudice and the intimacy without fully understanding either. I heard the jokes and the slurs, but I also knew that the kid sitting next to me with a “funny name” (like mine!) was the one I skied with after school, or the one whose mother handed me a plate of food when I was a visitor. The contradiction was simply part of the air we breathed. We were caught between the received story – Vermont as a bastion of old Yankee stock – and the lived reality of a mixed, evolving community where Quebec was a silent but important part of the mix.

    Lately, hearing about law C‑3 and how it has opened the door for Americans with a Canadian parent or grandparent (or even further back) to claim Canadian citizenship, I find myself thinking about those classmates and their families. Many of them, I suspect, would now qualify to move back up here with little trouble. What strikes me is how, in the 1950s, the direction of movement was almost entirely one way: people came from Quebec to Vermont to work, to be American, to give their children a future “down south.” The border itself felt more like a one-way bridge than a shared threshold. Now, that’s changed.

    With C‑3, the current is running the other way. Americans are trying to reclaim or confirm a Canadian identity they only vaguely knew they had before, or even tried to conceal. Underneath the legal arguments – who qualifies, what documents are needed, how far back descent can run – I sense an echo from my childhood days. The law is new, but the story is old: families shifting across the invisible line that cuts through the hills and fields, children caught between languages and loyalties, names bending to fit whichever side of the border they find themselves on.

    For me I’m much more aware now that the most striking realization is not just that Vermont in the 1950s was more French Canadian than anyone wanted to admit, but that the ways people tried to appear “American” were often layered on top of habits and values that remained stubbornly, quietly Quebecois. The kitchen as the centre of family life. The chairs pushed back to make room for talk. The insistence on gathering everyone around a table, not just for the meal, but for the hours afterwards, when stories and teasing and small arguments stitched a family and friends together.

    In retrospect, that gesture of pushing back the chairs feels almost like a metaphor for the whole period. Publicly, the chairs of identity were lined up neatly: Yankee, American, English-speaking. Privately, inside the kitchens, they were rearranged, pushed back to the walls, making space for another way of being together – more communal, more rooted in the rhythms of Quebec than the official story would allow. I grew up in that in-between space, in some ways wanting to believe I was part of “Yankee Vermont” while actually feeling more comfortable sitting in kitchens surrounded by people whose lives had been shaped by the culture of where is my home now.

    Now, as Americans look north for citizenship rights and legal recognition, I find myself looking back instead – back to those kitchens and classrooms full of children with anglicized names and hidden bilingual homes. The border that seemed so definitive on maps was far more porous than we were taught. We didn’t then have the words or the awareness to describe it.

  • The Administrator’s Year: Running Vermont’s Most Radical CETA Arts Program

    The Administrator’s Year: Running Vermont’s Most Radical CETA Arts Program

    The history of American federal spending is littered with contradictions — moments when even unlikely leaders championed programs that would have lasting cultural impact. Such was the case with the Comprehensive Employment and Training Act (CETA), signed into law by President Richard Nixon in December 1973, not out of any particular regard for artists, but as part of a broader effort to combat unemployment during an economic downturn.

    Even in 1978 it was obvious that Ron Hadley was going to have a career as a jazz keyboard player. Almost 50 years later, he has, but the CETA job helped him at the early part of his career with some stability and a time to focus on his own compositions.

    Yet between 1974 and 1981, CETA would prove to be a transformative lifeline for the American arts community. More than 20,000 artists received full-time employment through the program — the largest federal support initiative for creative workers since the Depression-era Works Progress Administration. What distinguished CETA from its 1930s predecessor was its fundamentally decentralized structure: rather than operating as a centralized federal program, CETA distributed funds through more than 500 local entities, allowing individual communities to shape arts employment according to local needs and priorities.

    In Vermont, the state’s Arts Council became one such recipient, directing CETA funds towards organizations across the state for arts-related projects. At its peak, the program supported about 70 (exact number unknown) Vermont artists, paying them $10 per hour as teachers, radio stations producers, arts administrators/programmers embedded in community organizations, and ensemble performers — meaningful work that sustained a generation of creative workers in a state not known for deep pockets in the arts, and helped the organizations they were employed by. It also contributed to a rural ethos where Vermont drew radical artistic organizations and artists, such as the Bread and Puppet Theater, which moved to Glover and became a fixture in the state.

    How I Became an Arts Administrator

    In February 1977, I was hired to administer a program unique in Vermont and most likely in federal CETA history. The position came my way almost by accident. When Fonda Joy Segal, the renegade CETA administrator who had conceived and pushed through the program, began interviewing candidates, I lived nearby and was the first to walk through the door. Segal, a Brooklyn-born iconoclast who had met her husband while modeling at the School of Visual Arts in Manhattan and later moved to Vermont to open a health food store in Woodstock, saw something in me — or perhaps simply recognized that I was willing to take on the work.

    Fonda Segal and Bill Schubert (owner of Philo Records) reviewing portfolios during the artist selection process. Ferrisburg, Vermont, January 1978.
    Fonda in the program’s “administrative office”, shared with Pentangle Arts in Woodstock, Vermont.

    She offered me the job on the spot. I accepted, grateful for the steady income and intrigued with the prospect of traveling across Vermont to meet working artists. I had no way of knowing, in that moment, that this program would be one of the most experimental and short-lived arts programs launched by the arts “establishment” of the state.

    “Vermont Images” was Segal’s brainchild, and it represented a radical departure from how CETA funds were typically deployed. While other CETA programs paid artists to teach in schools or participate in cultural organizations, Vermont Images took a different approach entirely: it provided direct financial support to seven selected artists to pursue their own creative work, without any obligation to teach, exhibit, or serve institutional needs. It was unconditional support — a rarity in the bureaucratic world of government arts funding.

    My job was to make it work. As administrator, I was responsible for periodically meeting with each of the seven artists, monitoring the program’s progress, and coordinating the logistics of what was, in many ways, an act of faith in artistic practice itself.

    A Year Traversing the State

    Over the course of the program’s single year of operation, I traveled the length and breadth of the small state of Vermont. I crossed the Green Mountains. I drove through villages and rural hamlets. I found myself in the private creative spaces of serious working artists — people who had committed themselves to their practice despite the economic precarity that typically defines artistic life.

    Mary Azarian lived (and lives) on a family hilltop farm in Vermont. Her woodcuts are widely published and have won many awards. She also publishes books through the Farmhouse Press.

    What I witnessed, from studio to studio, was the tangible impact of unconditional support. These seven artists — selected by Segal with an advising committee — represented the kind of working creatives who sustained Vermont’s cultural life but rarely received institutional recognition or steady income. For them, Vermont Images was not a stepping stone or a credential-building opportunity. It was a lifeline. The support I helped administer allowed them to continue their work, to deepen their practice, and to remain in Vermont rather than perhaps migrating to larger cultural centers where opportunities for artists were more abundant.

    I learned something during that year that bureaucrats and institutional administrators often miss: the direct correlation between financial security and artistic flourishing. I saw how steady income removed the constant anxiety that forces artists to abandon their studios for survival jobs. I understood, from conversations and studio visits, how meaningful the program’s support had been in these artists’ lives.

    Carlos Richardson used negatives taken with an 8×10 view camera in making platinum prints. He had a career as a teacher and a photographer.

    The Clash Between Vision and Institution

    But Vermont Images existed in tension with the institution that housed it. The Vermont Arts Council itself was run by Ellen McCulloch-Lovell, an establishment-oriented administrator more at home navigating institutional relations and political support than thorny artist questions. McCulloch-Lovell deserves credit for building up Vermont’s arts infrastructure and contributing substantially to the state’s cultural development. But her orientation was fundamentally different from Segal’s — and mine, by extension.

    Where McCulloch-Lovell thought in terms of institutions, infrastructure, and sustainability, Segal thought in terms of artists and creative need. Vermont Images represented that artist-centered philosophy taken to its logical conclusion: direct support, no strings attached, no institutional mediation.

    It was too free-form for the Vermont Arts Council. The program was not renewed.

    Robert Caswell was a poet and professor in Burlington Vermont. He taught at the University of Vermont in the English department and is remembered for his book Exiled from North Street. He died in 2014.

    In any case, nationally the CETA program was winding down. When Ronald Reagan took office in 1981, he moved quickly to terminate CETA altogether, abruptly ending a decade of federal arts employment support. The remaining CETA programs in Vermont, which had continued to support artists working with cultural institutions, were shuttered. The experiment was over.

    A Glimpse of What Was Possible

    My year as administrator of Vermont Images offered a rare window into what federal arts support could look like when bureaucracy stepped back and trust stepped in. It had a modest budget and seven artists to support — not enough to transform the state’s cultural landscape, but enough to change the lives of those seven people, and myself. I had traversed Vermont’s back roads and witnessed creative practice in its most authentic form, unmediated by institutional necessity.

    The program lasted only a year. It never grew. It was deemed too unconventional to continue. But for those seven artists, and for me, it represented something exceedingly rare in American life: a government program designed not to serve the state’s interests, not to build institutions, not to create measurable outcomes — but simply to support artists in doing their work.

    That simplicity, that directness, that trust in creative practice itself — these things made Vermont Images worth remembering, even fifty years later.

    Ernestine Pannes was a cross-dispciplinary researcher and writer, and was always exceedingly hard to pigeonhole. The committee decided that her research as a sociologist met the test for artistic work and supported her project studying the Vermont town of Weston. Her work was published under the title Waters of the Lonely Way.