The NYC National Museum of the American Indian located at 1 Bowling Green will be hosting two events next week. First, they’ll screen the documentary Rebel Music: Native America on Thursday November 5 at 6pm which will include a discussion with journalist Simon-Moya Smith and documentary creator Nusrat Durrani and a musical performance by Frank Waln On Saturday November 7 at 6pm, they’ll screen the feature film Edge of America. Although you may have seen the film already, it will be a special event because director Chris Eyre, actress DeLanna Studi and actor Eddie Spears will be on hand for a discussion. The events are free but seating is on a first-come-first-served basis, so be sure to get there early!
Category Archives: Film Screening
MAY SUMAK: Quichwa Film Showcase in NYC
May Sumak / Quichwa Film Showcase: Indigenous Media from the Andes and Beyond is coming to New York City this week (March 26-28, 2015). It’s really great to see that the screenings and discussions will be hosted not only in three boroughs (Manhattan, the Bronx, and Queens), but also by several institutions: the National Museum of the American Indian, New York University, Lehman College of CUNY, and the Queens Museum. Please note that many of the films will be in Kichwa, the Ecuadorean dialect of Quechua, with English subtitles.
Star Wars in Navajo
If you are in the NYC or Washington D.C. area this week, you may want to check out Star Wars in a whole new light … or sound. The film has been dubbed into Navajo and will be showing at the NMAI in D.C. on Friday, November 1 at 7pm and at the NMAI in NYC on Sunday at 2pm. Also, if you dress as your favorite character at the NYC location, you may win a prize (call the Film and Video Center at 212-514-3737 or e-mail them at FVC@si.edu to place your reservation). Both screenings are free and open to the public, but those of you heading to the NYC screening should plan around the NYC Marathon that day!
CCNY/CATC Ethnographic Filmmaking Course in Oklahoma – Deadline: 4/30/13!
Yesterday, I attended a full screening of the documentary Spirit Road, the first of an eight-part series called “Becoming Indian in Oklahoma. ” The series will delve into the history and contemporary lives of peoples from the 39 different American Indian nations in Oklahoma. The screening and the accompanying panel discussion was one of the public’s first encounters with a project that has been years in the making, and which took concrete steps forward with the interdisciplinary collaboration started by City College of New York (CCNY) Prof. Campbell Dalglish of the Media and Communication Arts Program and Prof. Lotti Silber of the Anthropology Department. Last summer, Prof. Dalglish, Prof. Silber, and Mr. Robert Vetter traveled to Oklahoma to begin filmmaking and research and build more formal ties with the Cheyenne and Arapaho Tribal College (CATC) in Oklahoma. This summer, CATC students will work in collaboration with CCNY and other students who register for an Ethnographic Filmmaking course to take place June 3-28. There are four tracks, for 3-6 credits or no credits, and involve combinations of study both here in NYC and in Oklahoma. For more details, please contact Prof. Dalglish at cdalglish@ccny.cuny.edu and post and/or share widely to spread the word!
In the last two weeks, the City University of New York (CUNY), has hosted several conversations related to indigeneity and filmmaking. In attendance and dialog at yesterday’s screening were honored guest CATC President Henrietta Mann; CCNY President Lisa Staiano-Coico; Humanities Dean Eric D. Weitz; Anthropology Department Chair Prof. Diana Wall; Mr. John Haworth, Director of the NMAI Gustav Heye Center; Prof. Silber; Prof. Dalglish; and Mr. John Vetter, who has collaborated with Prof. Dalglish for some time and whose close relationship and work in Indian Country has opened many doors for the “Being Indian in Oklahoma” and other projects. Last Friday, April 19th, the City College of New York (CCNY) Center for Worker Education hosted “Indigeneity in the Americas: A Transnational Roundtable and Workshop” right across from the National Museum of the American Indian (NMAI) Gustav Heye Center to begin a formal discussion on creating an Indigenous Studies program at CUNY. Panelists included Prof. Circe Sturm, author of Becoming Indian: The Struggle over cherokee Identity in the Twenty First Century (2011, SAR Press); Mr. John Haworth; Prof. Marcia Esparza, author of the upcoming Silenced Communities in the Aftermath of War and Genocide in Guatemala; Prof. Erica Wortham, author of the forthcoming book, Indigenous Media in Mexico: Culture, Community and the State; Prof. Campbell Dalglish; and moderated by Prof. Silber. I missed the Monday, April 22nd Decolonizing Methodologies event, but suffice it to say that between all these events; the programming at the NMAI Gustav Heye Center; and the bigger focus on Andean Studies (not to mention “Quechua Nights”) at NYU, it’s been a good month for people interested in indigeneity in the NYC area.
I want to make sure that anyone out there reading meets the April 30th deadline for the Ethnographic Filmmaking class, so I won’t elaborate on the discussions at these events (although I hope to in future). Please share the call for registration. Remember, registration for credit is not required.
Tejiendo Sabiduria / We Women Warriors
Last Friday, I saw the premiere of We Women Warriors / Tejiendo Sabiduria at the IFC Center in the Village (NYC). This documentary, by Nicole Karsin, who was on hand for Q&A after the screening, followed three Colombian indigenous activists: Doris (Awá(, Ludis (Kankuamo), and Flor Ilva (Nasa). Their communities are caught between the military, FARC, and paramilitary forces and the attendant violence. Some of them have lost their husbands and are left as single parents, a situation they share with many women in their communities. While the killing of men has left many widows and fatherless children, women as well as children are also direct targets of violence. The film contains graphic content and shows how many people are so easily wrongly accused or framed. As female leaders, these three women are charged with making decisions on sensitive issues that affect their communities. They also work to find more sustainable working conditions. This includes a discussion about the irreconcilable positions of the protagonists of the war on drugs and (indigenous, in this case) farmers who have little alternatives to growing coca.
I often marvel at the footage that documentary filmmakers are able to capture given the risky circumstances they are filming. During the Q&A, I asked Karsin how she navigated the line between wanting to get these women’s (and people’s) stories to a greater audience, but also possibly putting them in danger as a result. Also, does having a film crew on hand help to temper a potentially violent situation? Karsin responded by noting that the Nasa themselves have better video equipment than she does and were on hand filming one of the events which I referred to (that could have taken a violent turn). Although I think that having a foreign filmmaker on hand at that particular event may have made a difference (although she did not, and with her experience, she would know better), the point is well taken that indigenous people are themselves protagonists in the documentation of these events. So, she was not putting them at greater risk than the community itself was taking in also filming. The time invested in documentaries also never ceases to impress me. In response to another moviegoer, Karsin noted that the film took 6 years to make, with varying degrees of time to gain the trust of the three women highlighted in the film, which has not yet been screened in Colombia.
This documentary would be useful for any class dealing with indigenous women in Latin America; the war on drugs and coca production; and the ongoing armed conflict in Colombia.
In signing off, I’d like to thank my cousin Yvonne who attended the film screening with me. I don’t think I gave her enough of an explanation about this film, so I think it was a rude awakening after having our quiet vegan dinner at Cafe Blossom a few blocks away! But she said she was glad to have attended because it’s good to see what’s going on out there in the rest of the world. Which would make a good slogan for a t-shirt for documentaries. And I couldn’t agree more. Until next time…
Âs Nutayuneân / We Still Live Here
Âs Nutayuneân / We Still live Here trailer, with beautiful animation.
A month ago, I attended the NYC NMAI’s “At the Movies – in the Language” screenings on Native languages.
The first short, called The Amendment, set up the significance of language loss by highlighting the 1895 Annual Report of the Department of Indian Affairs, which refers to language as the thing that makes a community a people. As long as they know their language, it explained, they will not be assimilated. The Amendment asks viewers to consider what it means when four generations of a family progressively loses its language. Next came Our First Voices which included several shorts: Spelling Bee, which I especially appreciated because of the subtle way that spellers’ question about “word origin” indicates the historical breadth of Native languages; Airplane, which deals with the translation of the safety announcements on planes to Bella Bella; Earl Smith, about a man who, after 12 years of living in a boarding school, where students would be hit or have their mouth washed out with soap for speaking their languages, was unable to speak Chinook; and Mom N Me, about a woman with a linguist mother and monolingual mother who attempts to learn her native language. These shorts were followed by the award-winning short Horse You See,about a horse named Ross who shares his inner thoughts (in Navajo). The audience loved this one!
These shorts were followed by the full length documentary Âs Nutayuneân / We Still Live Here. It was probably not a coincidence that I watched this film with a colleague who practices the Yoruba Lukumi faith, which emphasizes individuals’ connection to ancestors and spirit guides. I am not always in circles where people feel or openly discuss this connection, and so her comment helped situate my mind in another concept of space and time (no small feat in this bustling city). It was almost like she opened a door to this film, where the protagonist, a Wampanoag woman named Jessie Little Doe, begins her quest to revitalize the Wampanoag language when her ancestors reach out to her through visions and dreams. They ask if she would intercede for them and ask her people if they would like to welcome their language back. The Wampanoag story of language loss goes back to the early colonization of the U.S., when war, yellow fever, Christianization, and displacement decimated their population.
Besides being the fascinating story of an inspiring woman, the film does a beautiful job of unpacking how much of a culture resides in language. Jesse Little Doe seems never to have had an interest in pursuing academics before, but goes on to pursue a doctorate in linguistics at the venerable MIT and leads her community’s effort at language revitalization. During a lesson on animate and inanimate nouns in the Wampanoag language, Little Doe notes that the categorization of the sun as inanimate shows that the Wampanoag knew that the world was heliocentric even before they were introduced to Europeans.
This film was made all the more memorable to me for its goose bump inducing ironies. Like her awkward first encounter with her future beloved mentor at MIT, Ken Hale. Or the fact that a translation of the Bible (and texts in related Algonquian languages), which wass originally used to colonize her people, is what she uses to figure out pronunciations in Wamponoag. Or the fact that Hale’s ancestor was one of the Puritans who originally colonized the area, showing how some things really do come full circle.
During the Q&A with Little Doe, director Anne Makepeace, and co-producer Jennifer Weston, who also works at Cultural Survival, Little Doe noted her community had initial trepidation about being filmed because they did not want their culture to be commodified or disenfranchised by the experience. Her community is not allowed to use the Wamponoag language on objects for sale or accept money for language classes.
One Wamponoag audience member asked Little Doe if their community had been able to use colonial documents in land reclamation efforts and she replied that the language used to describe land in these documents has helped them trace what the territory was at the time of Contact.
In terms of the future of the Wamponoag language, in the film we learn that Little Doe’s daughter, Mae, is the first native speaker in generations. During the Q&A, Little Doe notes that there has been a spike in pregnancies among language apprentices in her community so they will probably have more native language speakers soon. She also noted the importance of parents setting an example in this endeavor; even if children know Wamponoag, they will switch to English as soon as it is spoken among the parents.
I really enjoyed this film, which besides being a great story also employed animation in a beautiful and meaningful way. I think the film would be great for scholars interested in language revitalization, linguistics, colonization, women, commodification, and self determination.
For those of you interested, producers Weston and Makepeace created Our Mother Tongues (ourmothertongues.org), a website which highlights several Native American language revitalization projects in the U.S.
Reseña de Huichol Journeys
Este pasado jueves, asisti la proyección de “Huichol Journeys” en el Museo Nacional del Indígena Americano en la ciudad de Nueva York (NMAI NYC) donde Amalia Córdova, la gerente de programación del Programa Latinoameriacno del Centro de Cine y Video del NMAI, presentó las tres películas sobre el pueblo mexicano Huichol/Wixaritari.
Yumakwaxa/The Drum Celebration es una animación hecha de arcilla por jóvenes estudiantes wixaritari en su idioma, wixárika, con subtítulos en inglés. La película demuestra cómo se da a cabo esta celebración del tambor. Aunque fue placentero, me pareció que la película se dirigía al pueblo huichol ya que no me recuerdo haber escuchado una clara definición sobre esta celebración. La clausura de la animación me pareció muy divertida y demostro la creatividad de estos cineastas jóvenes. (Si les gusta animación y la cultura wixaritari/huichol tal vez les gustaría la siguiente animation.)
Flores en el desierto es un documental bello sobre el pueblo wixaritari de San José que emprenden una peregrinación al espacio sagrado llamado Wirikuta para encontrar peyote. Durante la charla que siguió la proyección, un señor que asistió dijo que se había sentido transportado por la película, como si la cámera se había desvanecido. Uno de los organizadores de la noche, Carlos Gutierrez de Cinema Tropical, le contestó indicando que el director de fotografía, Pedro González Rubio (cineasta de Toro Negro y Alamar), suele hacer esto.Los comentarios me sorprendieron un poco porque a pesar de la hermosa cinematografía, estuve muy conciente de la cámera no tanto en un sentido técnico si no mas bien en el sentido en que interpreté a la película, puesto que los miembros de la comunidad preguntaban cómo se debería llamar la película, que se tenía que incluir y tambien decían que la película era para su porvenir. Todos estos detalles me dieron a entender que el cineasta consultó con la comunidad para asegurar que la película compaginaba con su imágen de si mismos. Córdova dijo que los cineastas indígenas latinoamericanos suelen trabajar en colectiva y suelen buscar entrenamiento como en cinematografía despues de haber trabajado en algun proyecto. Algunas partes de Flores en el desierto fueron grabadas por la comunidad. Uno se puede dar cuenta de esto porque en una escena, alguien le está capacitando a una persona. Tambien, hay escenas que se ven mas pequeñas y tienen un color distinto al resto de la película que mas bien parece que fue grabado en los años 70. Pensé que esto era por el uso de cámera de video o por falta de capacitación pero en realidad estas escenas fueron tambien bonitas y pienso que tal vez fueron hechas a propásito para evocar la idea de la memoria colectiva compartida entre los miembros de la comunidad. Que bueno que Córdova prognostico que no le sorprendería si estos pasos indican la germinación de una colectiva huichol.
El tema principal de Flores en el desierto fue la religión y la espiritualidad. En la película, se ve el sacrifico de un cordero, un toro y un benado que son actos dirigidos a establecer un balance en el mundo huichol.1 En la película se abre la posibilidad de un diálogo sobre la dificultad de practicar la religión indígena dado la dificultad de cazar a benados, que son sagradas para los huichol, en tierras ajenas y tambien el estigma del uso de peyote. Cuando una mujer hace una comparación entre la Biblia y el peyote, dando cuenta que el peyote ayuda al pueblo obtener sabiduría ancestral me recordé de una escena en la película The Border Crossed Us, cuando un jóven tambien compara como son vistas las religiones indígenas y occidentales. En Flores del desierto se ve que los huichol comen el peyote solamente despues de confesarse ya que de otra forma, esta planta les puede hacer mal. La espiritualidad asociada con el sacrificio tambien es manifiesto cuando una esposa dice que ella está en ayunas cuando su esposo caza benado porque ella sabe cuán dificil es el cazar a benados.
El documental In Defense of Wirikuta and the Sierra de Catorce trata sobre una compañía minera canadiense que está operando ilegalmente en Wirikuta, pese a que el gobierno lo ha prohibido desde 1994. Durante la charla, Jennifer Weston (Hunkpapa Lakota) de Cultural Survival dijo que a pedido de los huicholes, Cultural Survival inició una campaña para protestar a la minería en este espacio sagrado. Las cortes han hecho un mandato para que no sigan la minería.
Otro tema sobresaliente durante la charla fue la revitalización de los idiomas indígenas. Alguien dijo que le gustó escuchar el idioma Wixárika pero se preocupo cuando uno de los niños huichol cantó una canción entera en español porque tal vez indica que está perdiendo su idioma ancestral. La respuesta de Córdova dio a lucir los matices de este tema puesto que aunque la pérdida de los idiomas indígenas es real, al mismo tiempo algunos pueblos indígenas pasan dificultades por no saber o no tener oportunidades de aprender el español. Gutierrez fue optimista sobre el futuro de la revitalización de los idiomas indígenas despues de un paseo a México donde vio varios comerciales para las elecciones que están a pundo de darse en varios idiomas indígenas. Weston dijo que en México, las cortes proveen interpretadores en 18 idiomas indígenas! Otra persona en la audiencia que trabaja con junventud mixteca y de otros pueblos mexicanos que han inmigrado al Bronx dijo que estos niños atraviesan la dificultad de aprender dos idiomas colonizadores: el español para poder hablar con sus compatriotas mexicanos y el inglés para poder existir en los EEUU. Este proceso tambien a complicado cómo ellos se identifican . Tanto Hortensia Colorado of Coatlicue Theater Company (quien reconocí por un evento que organizé en 1997) como Weston dijeron que muchos pierden su idioma por la vergüenza que les han hecho sentir por hablar su idioma y han tenido que aprender sus idiomas nuevamente. Weston aconsejó al hombre del Bronx que incentiva a los jóvenes que vivan sus culturas a través de sus idiomas y no solamente como traducciones del inglés. Esta charla nos quedó al pelo ya que el NMAI NYC va a proyeccionar películas sobre idiomas indígenas el 31 de mayo y el 1ro de junio (no veo información sobre las películas ahorita pero en cuanto las vea, les he de avisar).
(Por otro lado, en la charla me enteré de otras películas que pueden ser de interés: una rarámuri llamada Cochochi y otra maori llamada Boy de Nueva Zelandia, que acaban de mencionar en el New York Times.)
Flowers of the Desert director José Alvarez’s new award-winning documentary entitled Canícula about the Totonac people.
Huichol Journeys Recap
On Thursday, I attended the NMAI NYC’s Huichol Journeys screening which featured three films by and about the Huichol/Wixaritari. Amalia Córdova, Latin American Program Manager at the Film and Video Center of the NMAI, presented the films.
Yumakwaxa/The Drum Celebration is a claymation made by young Wixaritari students in their native language, Wixárika, with English subtitles. The film documents how this celebration is carried out. While anyone can enjoy the animation, it seemed possibly geared toward Huichol viewers since I don’t remember the purpose of the celebration being clearly described. And although the animation was very nicely done, I was even more impressed by the humor and sophistication the students displayed during the animation’s closing credits. (If you are interested in animation and Wixaritari/Huichol culture, you may also enjoy this animation I posted a while back which I appreciated even more after the benefit of having watched the three films screened on Thursday.)
Flores en el desierto (Flowers of the Desert) is a beautifully shot documentary about the Wixaritari of the town of San José who make a pilgrimage to the sacred space called Wirikuta in order to hunt for peyote. During the Q&A discussion after the film, one audience member commented that he felt transported into the film, as if the camera had disappeared. One of the screening organizers, Carlos Gutierrez of Cinema Tropical, responded by praising the film’s director of photography, Pedro González Rubio (who directed the films Toro Negro and Alamar), who has a real talent for allowing the viewer to feel like an insider. This discussion was interesting to me because, although I, too, felt transported by the beautiful cinematography, I was also very conscious of the camera. I was mostly conscious of it not on a technical level, but on an interpretive one. At several points in the film, community members ask what the film should be called, what should be included in it, and they also note that the film is for their children – all indicating that they were actively consulted on how they were portrayed. Noting that indigenous Latin American filmmakers tend to work as collectives and that they seek training after actual experiences working on a film set, Córdova noted that a Huichol collective may not be far off. That said, certain sequences in the film are clearly shot by the community members. I say “clearly” because you hear them being instructed in how to record footage and the footage itself is shot in a different size frame and in a grainy way with a color scheme that is reminiscent of 1970s photography. At first I thought this may have been due to the use of a video camera or lack of training, but these shots were beautiful in their own way, and possibly used to evoke shared memory among the community members.
The film’s main theme was Huichol religion and spirituality. Flowers in the Desert included animal sacrifice and explained how it is used to establish balance in the Huichol world (a lamb, bull, and deer are sacrificed in this movie).1 The hunt for peyote and deer in particular, which are sacred to the Huichol, was contextualized by noting the complications which the community encounters as a result of hunting in other people’s property and their use of rifles and peyote. I was reminded of a scene in The Border Crossed Us, when a young man makes a strong comparison between how native and western religions are perceived, when a woman compares peyote to the bible, noting that eating it helps the Huichol gain wisdom and learn about their history. In fact, community members must confess before eating it because it may make them sick otherwise. And, a wife notes that she fasts while her husband hunts deer as a sacrifice because she knows the difficulty involved in the hunt.
The activist documentary In Defense of Wirikuta and the Sierra de Catorce deals with a Canadian mining company that is trespassing into Wirikuta despite the fact that the government has officially protected it since 1994. During the Q&A, Jennifer Weston (Hunkpapa Lakota) of Cultural Survival said that at the Huichol’s request, Cultural Survival initated a Global Response Campaign Alert so that the public could protest the mining and ask that this sacred space be protected. There is currently a court injunction against the mining.
Another strong theme during the Q&A was the revitalization of native languages. One audience member noted that she was pleased to be able to hear the Wixárika language spoken but concerned that one of the Huichol children sang an entire song in Spanish might indicate a loss of native language. Córdova provided the necessary context and nuance in her reply, indicating that while loss of native language fluency is an issue, there are also areas where indigenous people feel disenfranchised by not knowing or being able to learn Spanish, which allows them to get by in the world. Commenting on the future of native languages, Gutierrez noted with optimism that last week in Mexico, he saw television ads in several different native languages. Weston noted that in Mexico, court interpretation is provided in 18 different languages. Another audience member who works with Mixtec children as well as children from other Mexican indigenous communities who currently live in the Bronx said that these children experience the added difficulty of having to learn two colonial languages: Spanish in order to communicate with fellow Mexicans and then English to exist here in the U.S. This process has led to difficulty with self identification. Both Hortensia Colorado of Coatlicue Theater Company (who I recognized in the audience from an event I put together way back in 1997) and Weston noted that many people lose their language as a result of the historical shame they were made to feel when speaking their native tongue and have later had to re-learn it. Weston’s advice to the man from the Bronx was that he encourage the children to live their cultures through their languages and not via translation from English. This discussion on language was very timely as the NMAI in NYC will host several language-related screenings on May 31 and June 1 (I don’t see them on their calendar but when I do, I will post the information here)..
(On a side note, I also learned about other films and events that I look forward to checking out: one is the Rarámuri film Cochochi and the other is the Maori film Boy from New Zealand, recently reviewed in the New York Times.)
1 Cuando Córdova nos avisó que veríamos sacrificios de animales, me puse a pensar en la delicadez de conversar sobre los temas de religión, cultura y los derechos animales especialmente cuando se trata de etnias minoritarias que han perdido tanto durante el proceso traumatizante de la colonialización. / This is somewhat off topic, but when Córdova let the audience know that the film contained animal sacrifice, I started to think of the complexity of commenting on the intersecting issues of religion, culture and animal rights, especially in regard to ethnic minorities which have already been made to lose so much as a result of colonization.
Huichol Journeys at NMAI NYC 3/29 & 3/31
Tomorrow and Saturday, the National Museum of the American Indian in New York City will host a film screening called Huichol Journeys
, which will include two documentaries and an animation about the Huichol, or Wixaritari of Mexico. Thursday’s screenings will be followed by a discussion with Carlos Gutiérrez of CinemaTropical and Jennifer Weston of Cultural Survival. The NMAI in NYC is located at 1 Bowling Green New York, NY 10004. Admission is free!
Sikumi coming to NYC tomorrow
The Inuit thriller Sikumi/On the Ice has made a splash at Sundance and is coming to New York City tomorrow, and other venues soon after. Read more it and check out the interview with director Andrew Okpeaha Maclean.
Get Smokin’ and Movin’!
Smokin’ Fish trailer
For those of you in Sitka (AK), Whitehorse (Canada), Plymouth and Palm Springs, there’s a new documentary called Smokin’ Fish coming to a theater near you. The film revolves around Cory Mann, a Tlingit man, who returns to Alaska to smoke salmon the Tlingit way and it sounds like it covers a lot more besides. Tickets at the Plimouth Museum in Plymouth MA include a tasting, are $25 or $40 for couples. If you go, let me know how you like it! (It may be a while before I get a chance to see it since I missed the NYC screening in November and don’t see one on the upcoming screening list.)
I also just noticed that @nativemedia tweeted that Good Meat will be playing on air in Alaska this Sunday at 8pm. Good Meat follows an Oglala Lakota man as he returns to a traditional Lakota diet as a way to regain his health. Let me know what you think about both. If you are interested in more Native American books and films about diabetes and health, check out my recent tweets about the Eagle Series (also an animated series) and RezRobics!
Good Meat trailer
