The Sacred Waterways of Black and Indigenous Communities

MYSTIC, Conn. — In a groundbreaking exhibition at the Mystic Seaport Museum, the deep-rooted Indigenous and African connections to waterways are celebrated in Entwined: Freedom, Sovereignty, and the Sea. This exhibit takes guests on a captivating voyage through centuries of intertwined maritime traditions of Black and Indigenous cultures, illuminating stories often overlooked in mainstream narratives.

Situated in the Stillman building, a historic Greek Revival structure within the museum’s sprawling 19-acre grounds, Entwined welcomes visitors with brilliant sunlight streaming through large windows that overlook the Mystic River. This very river has served as a vital lifeline for generations of Black and Indigenous peoples in the region, known as the “Dawnland.” The exhibition is not merely a collection of artifacts; it is a collaborative celebration of the vibrant cultures that continue to thrive in Africa and North America. The curatorial approach emphasizes the maritime stories of ancestral and descendant voices, making them central to the exhibition’s artistic and cultural exploration.

At the heart of the first gallery lies “Mishoon/Aklo” (2023), an extraordinary canoe born from a collective effort by artists Sika Foyer (Togo), Alvin Ashiatey (Ghana), Hartman Deetz (Mashpee Wampanoag), and Gary Carter Jr. (Mashantucket Pequot). Forged from tree trunks through a unique blend of fire and water techniques, this type of “dugout” canoe is a legacy shared from Pequot territories to shores in Africa, crucial for navigating waterways, fishing, and fostering essential community ties. Nearby, the exhibit also showcases the oldest object on display, a 500 BCE Aboriginal cooking pot, demonstrating ancient shell-tempering techniques indicative of global Indigenous and African craftsmanship.

As guests progress through two galleries filled with maritime artifacts crafted by skilled Black and Indigenous artisans, they encounter a striking structure designed to evoke historic domestic environments. This building mimics a traditional Wampanoag wetu, a dome-shaped abode created from local materials like cedar saplings. Although positioned at ground level, the interior emulates a colonial-era attic—often a site of confinement for enslaved Africans and Indigenous indentured servants. Dimly lit, this intimate space evokes feelings of isolation, lined with the sacred remnants of a historic “Nkisi Bundle” from the 18th century. This bundle, comprising cowrie shells, beads, and fabric snippets, served as a conduit for prayer and connection to ancestry for its former owner, Cardardo Wanton, who concealed it beneath an attic floorboard for privacy during his spiritual practices.

Emerging from the subdued confines of the attic, visitors are greeted by an expansive gallery showcasing contemporary art. Here, Indigenous fashion comes to life with pieces like “The Rainbow Regalia” (2016) by Sherenté Mishitashin Harris (Narragansett), a Two-Spirit activist celebrated for intricate beadwork and vibrant portrayals of tradition. Nearby, Elizabeth James-Perry (Aquinnah Wampanoag) presents stunning creations made from Quahog shells in 2023, including “Maushop’s Earrings” and the “Constellation Wampum Belt,” which honors Wampanoag folklore and reflects an enduring artistic lineage of shell-beaded adornments.

The gallery features additional contemporary works celebrating the resilience and beauty inherent in Black and Indigenous cultural expressions. Felandus Thames’s “Wail on Whalers, a Portrait of Amos Haskins” (2024) pays tribute to fugitive slaves who participated in the whaling industry during the 19th century. Haskins (from the Wampanoag Tribe of Gay Head), who achieved a captaincy in this domain, represents a figure of autonomy and kinship, further ingrained by his marriage to Elizabeth P. Farmer and the legacy of their mixed-race family. Alongside, Nafis M. White’s “TideLine” (2023–24), a captivating wall sculpture, intricately woven from colorful hair into forms that mimic the flow of tides, echoes ancestral legacies, merging aesthetics with significant cultural narratives.

Entwined charts a journey through centuries of cultural survival and resilience amid colonialism and slavery. Through art and material culture, visitors witness the connections that bind Africans and Indigenous peoples, illustrating a rich tapestry of identity and heritage that has flourished despite adversity. Notably, this exhibition in Connecticut highlights narratives from the Dawnland, a state often associated with wealthy elites and colonial legacies, calling attention to the overlooked presence of Indigenous peoples even as the Mashantucket Pequot Museum and Research Center—home to the world’s largest Native American history and culture collection—is located less than thirty minutes away.

Entwined: Freedom, Sovereignty, and the Sea is open at the Mystic Seaport Museum (75 Greenmanville Avenue, Mystic, Connecticut) until April 19, 2026. Curated by Akeia de Barros Gomes, this exhibition is supported by a committee of Black and Indigenous elders, teachers, and community members.