Upcoming Film

Contrary Warrior

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Just read about an upcoming documentary called Contrary Warrior about Adam Fortunate Eagle, who organized the takeover of Alcatraz in 1969. He has written several books, including Heart of the Rock: The Indian Invasion of Alcatraz (with Tom Findley). For those of you interested in the occupation (legitimated by the Sioux Treaty of 1868, also known as the Treaty of Fort Laramie, which stipulated that surplus federal property could be awarded to the Sioux), I thought I’d mention that John Garvey’s book review mentions the seminal (but often overlooked) role that a native woman named Belva Cottier had on the first occupation of Alcatraz in 1964.

It’s interesting that even though Fortunate Eagle organized the second occupation, I was unable to find an encyclopedia entry on him on one of my library’s online encyclopedias. This was the case even when I used his former name, Adam Norwall. I’m going to see if there are any print reference books that have an entry on him.

Fortunate Eagle’s activist work is noted for its poignancy through humor and he has been called a great storyteller so it looks like the documentary would be interesting to check out. Thanks to Kendra Kennedy on H-AMINDIAN for posting the article about the documentary!

References

Mullen, Frank X. Jr. “Fallon Artist and Native Activist in New Film.” San Jose Mercury News June 27, 2009.

Garvey, J.  “Heart of the Rock: The Indian Invasion of Alcatraz.” American Indian Culture and Research Journal 27, no. 1 (2003): 148-50.

“Heart of the Rock: The Indian Invasion of Alcatraz.” Publishers Weekly 249, no. 9 (March 4, 2002): 71.

Film Review, Film Screening, Q&A

Barking Water, Silly Me

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I went to the NMAI Heye Center on July 9, 2009 for the screening of Barking Water, a film by Sterlin Harjo, whose NMAI Film + Video Festival panel discussion I attended back in March. Harjo was on hand for questions after the screening.

Barking Water is the story of old flames, Irene and Frankie, who reunite for a road trip after Frankie learns that he is dying. Harjo noted that he has a big family and has been a pall bearer enough times that it has led him to contemplate the connection between life and death a lot. He noted that his previous film, Four Sheets to the Wind, begins with a funeral. The film’s road is paved with funny and touching moments with friends and family and with the memories of Irene and Frank’s past together. Perhaps because this is an unconventional love story – between older characters, between ex-partners, in dire circumstances – we are able to see that despite past hurt, love endures. During the Q&A, Harjo noted that he specifically sought out the actors who play Irene (Casey Camp-Horinek) and Frankie (Richard Ray Whitman) because he wanted to film a romance with an older couple. I thought that was pretty cool because you don’t see it often and because in this movie, you get a sense of the trials that real life relationships go through, not just the neatly packaged happily-ever-after stories I grew up on.

Never one to miss an opportunity to show his good sense of humor, Harjo also noted that he wanted those actors because he had seen them portray a spirit and a warrior, respectively, and (or but) knew their potential as actors. I took this as a comical reference to the fact that this movie didn’t cast the actors in stereotypical Indian roles. The movie was an authentic and sweet story about contemporary Native people. My use of the word authentic is strange since I don’t mean it in the way that it has often been used in the past (and maybe even the present) to denote an authentic vision of static Indians. I specify authentic because of the moving moments in the film but also because the NMAI staffer who introduced the film (I apologize because I can’t remember her name) was raised in Oklahoma and noted that Harjo did a great job of capturing the spirit of the place and giving the moviegoers an authentic feel for the place.

Harjo’s comment about spirits and warriors left a particular impression on me because it related to what I wanted to ask him about the film and with bigger issues about Native film. There were several scenes in the movie that I thought might have deeper significance to Seminole/Creek people (Harjo is Seminole/Creek). I am still working on my shyness when it comes to asking questions during Q&A so I didn’t ask what I wanted to which was a question I have for all Native filmmakers and that is: who is their target audience and if it is a mainstream audience, how do they approach the portrayal of Native culture without being too didactic about it? Although Latin American indigenous film and video includes feature films, many of the ones I’ve seen are documentaries and focus on cultural and political issues so there is no concern about imparting cultural knowledge in subtle ways. Since filmmaker communities’ target audience is their own … and other native communities, not the mainstream public or academics, there may be a reason to explain traditions in order to carry them on into the future. Or, there may not be a need to be explicit since most people in that community will understand the significance of a certain detail or act. But when a film like Barking Water comes along that seems to be directed at a general audience (although he didn’t get into specifics, Harjo happily noted that someone had picked it up for distribution — which in turn made me think of his remark about bootlegging in the last panel and whether this changed his mind about it), I wondered what I, because I am not from this community, was I missing? (I almost said, “I, as a non-Native” but caught myself because someone from the Hopi or Navajo community might miss the reference, too; although we tend to group people into groups like “Native American” or “Latino”, there are so many differences. There’s lots more to say about that, but I digress…) Were there scenes that had a bigger cultural significance but which were going over my head because they were not more explicitly explained? Or was that the intent? If you’re from the community you’ll get it and if you don’t, that’s okay? Okay, so why was I silly (see my post title)? Because, after listening to the responses to the questions asked I found out that … [insert train whistle music here] all the scenes I thought had deeper meanings were actually included for aesthetic purposes and/or by chance. Ha! The two times I’ve heard Harjo speak, he has made me laugh but I can just hear him laughing at me this time (I don’t know Harjo; I’m just using that “friend in my head” reference that radio host – and now talk show host – Wendy Williams likes to use. Oh, we have a ‘lil bit o’ everything in this blog, baby! That was George Costanza style.)

And then again, maybe it’s not so funny. Why? Because, like the spirits and warriors comment: why was I seeking some more profound meaning? Am I still caught up in that “authentic” in a backwards kind of way view of things? I don’t know. I’d actually be interested in the bigger significance of something I would have caught on Dynasty way back when, having not been born with a silver spoon in my mouth… But, you get my point. (And also, on a, wait just a minute there level, an audience member commented on a scene in the movie that makes reference to America belonging to Native Americans which I thought was interesting because the way that it was phrased in the movie, it felt like it could be read that way or be read on a romantic level. But, since Harjo thanked her for her comment, without saying that it wasn’t how he’d intended it, I was sitting there wondering, is he just being polite or was it really meant that way? Then I thought, well if that was indeed what was implied by that scene in the movie, then there was another political or social element to it that I had not even read into so maybe I don’t always do that? Guess you’d have to see the movie to see what I’m even talking about. I don’t want to spoil your interpretation of the scene.)  In any event, I have to ask these things in order to decolonize my brain and eyes.

I’m also uncomfortable even asking who native filmmakers’ target audience is because firstly, why should it be any different than any other movie? The implication of asking this question might be that Native films are somehow in their own category or a little different. And yet, we do categorize them as Native, right? I think I’ll revisit all these issues in more length as the blog progresses and with hopefully more insight as I go along.

So, it was a good movie and the discussion afterward even better since it got me thinking about these other questions I have. Also, on a more technical note, the way the film was shot, with a documentary style/road trip feel, as Harjo put it, and using certain visual techniques (random or not) – well, I liked it a lot visually. Also, just thought you’d like to know that this movie must be in the running for some type of record; it was shot in 17 days! (Another funny thing that came out of an audience member’s question is that in real life, that road trip which in the movie spanned several days would have only taken 3 ½ hours! Maybe not a profound bigger picture but definitely something insiders would have chuckled about.) I liked the soundtrack as well. I liked how some songs were paired with scenes that evoked a totally different type of feeling and the fact that the songs were very soulful (particularly the native language song in the church scene). I think several of us in the audience liked it enough that we would seek it out. I think someone in the audience said it may have been “line singing.” So, keep a look out for distribution and for the soundtrack; I will post when I hear about them. And, check the trailer out here. Until next time…

Panels

2009 Native American Film + Video Festival Panel 2

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At the 2009 festival, I was also able to attend the second panel called “Creating the Alternative: a Conversation with Four Directors.” I enjoyed this panel so much because the directors came through as very accessible and down-to-earth.

Moderator Jason Silverman asked the panelists why they make films and Georgina Lightning’s response pulled me in right away. Although her father was not the type to wear his emotions on his sleeves, she was deeply impressed when one night, a movie was able to stir his emotions to the point that he teared up. The power that film had on him and the potential it had to tap into human emotions was a huge influence on her decision to become a filmmaker. Her reply was particularly poigniant since Lightning’s father committed suicide when she was 18.

Chris Eyre’s answer was similarly personal. He noted that because he had not grown up with his biological parents, the reunion was a big theme in his films. (I understood this to mean that he became a director, in part, as a way for him to effect that reunion with his blood relatives in many ways through his films). When asked about the differences between mainstream and independent or native film, Eyre (Cheynne/Arapaho) noted, “our work is about personal things.” He told an anecdote (which it seemed he might not appreciate being repeated so I won’t) about mainstream actors feeling unchallenged and forceably (perhaps sadly) creating situations that would personally challenge them.

Sterlin Harjo’s response made me break out into a big grin. I can’t actually remember his response to the question but I can remember him saying that he is actually okay with people bootlegging his film because he won’t make money off of it anyway.  Success is not predominantly measured on an economic scale. When asked if the stakes are high for him, his reply was similary laid back and indicative of a different type of worldview. “My grandmother’s proud of me,” he said. And, after all, isn’t that what really counts?

When Silverman asked if the directors are trying to present counternarratives, Harjo (Seminole/Creek) said that if he did that, he would be taking someone else’s interpretation of him and responding to them. (I was glad he said that because I was just writing a paper about native dress and made a similar point about how too much emphasis is placed on counternarratives rather than different starting points.) I first heard about Harjo’s film Barking Water during that panel. I looked it up online and it doesn’t appear to be for sale yet and since I’m not into bootlegging — although your dubious permission is appreciated, Mr. Harjo : ) — I’m glad they’re screening it at the NMAI this coming Thursday. I worked extra hours last week so that I could take off early to see it! Harjo and one of the producrs will be there, too, which is cool because I really enjoyed his down-to-earth take on things.

Harjo and Lightning (Cree) both noted being nervous when their films were screened for their own communities. I was too shy to ask but I wondered how this differs from the experience of Eyre whose movie, Smoke Signals, reached a mainstream audience.

Pavel Rodríguez, who is P’urhepecha, noted that in Mexico, the films natives make are usually communal efforts. Even though his name is the one listed in the credits as director, the effort is communal one. The films are made with the tools available and not for a film industry. While researching for my paper, I found out that this is one of the reasons it is difficult for libraries to acquire these videos and films for our collections. Figuring out remuneration for an entire community and distributing is not so easy as it is with American (as in U.S.) films that are sold within an economic framework that is similar to mainstream movies.

Film Festivals

All Roads 2009 International Showcase in Los Angeles

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If you are in Los Angeles on July 18, check out the All Roads 2009 International Showcase in Los Angeles. The first film is 2501 Migrants: A Journey, directed by Yolanda Cruz of Petate Productions where you can find other clips by this director (this website has gotten a lot more interactive and cooler since the last time I visited so look for a posting on it soon). Also included are Regalo de la Pachamama, Barking Water (which will also be playing in New York at the NMAI’s George Gustav Heye Center in New York on July 9 at 6pm with director Sterlin Harjo) and Older Than America which was screened at the 2009 Native American Film + Video Festival.

Film Festivals, Panels

2009 Native American Film + Video Festival

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I attended the Native Networks Symposium held on Friday, March 24 at the 2009 Native American Film + Video Festival. Since this blog was born several months later, I am only just now posting my thoughts. I’ll put this out in three installments, one for each panel I attended and one for the film screening I was able to attend. But before I do, I’d like to wish the Film & Video Festival a very Happy 30th Anniversary!

The “Mobilizing for Survival” featured panelists Mario Murillo, of WBAI and associate professor at Hofstra University, who discussed ACIN, the Northern Cauca Indigenous Association and the Colombian government’s divisive tactics toward indigenous groups. As an example of the power of grassroots media, Murillo noted how community video broadcast on CNN countered governmental arguments that people were not getting killed during clashes in Colombia (see article and video at 46:23). There are 87 indigenous groups in Colombia.

Elias Paillán (Mapuche), who began his talk by playing a musical instrument and noting the importance of the Mapuche language and instruments as conveyors of information, spoke about invasions into Mapuche territory historically and the principles of duality/complementarity.

Paul M. Rickard (Cree), executive producer of the “Finding Our Talk” series discussed the importance of preserving native languages and how non-confrontational filmmaking on culture is also a way to make an impact. He noted that a 2001 study predicted that in a century, only 3 of 50 native languages would survive in Canada (Ojibway, Cree and Inuktitut). He discussed how difficult it is to get funding for programs on (not to mention official recognition of) native languages in the United States and Canada. One example of this is a Mohawk show that is dubbed, rather than subtitled, in English and French. He also acknowledged the difficulty of reaching a broad audience since shows are aired early in the morning. (This brought to mind how Latino shows on American television are also broadcast very early in the morning and how there is sometimes a call for more people to tune in in order to increase ratings and both maintain shows and bump them into better timeslots.)

Tonya Gonnella Frichner (Onondaga), President of the American Indian Law Alliance, noted how Canada supports native programming via funding more than the United States does. She also noted that the United States has a limited presence in the UN Permanent Forum on Indigenous Issues (the Eighth Session was held this May 18-29, 2009). Mario Murillo noted that if the United States gives little, Latin American governments give no support to native programming. They are mostly funded from abroad.

Next time, I’ll post some thoughts on the “Creating the Alternative: A Conversation with Four Directors” panel.

Blog Message

Alli Shamushca!

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Welcome! A few years ago, I presented a paper on indigenous film and video in Latin America (Domínguez, Daisy. “Indigenous Film and Video in Latin America: Starting Points for  Collection Development.” In Women in Latin American Studies: Reshaping the Boundaries, edited by Angela M. Carreño, 81-108. Tulane  University: Seminar on the Acquisition of Latin American Library Materials Papers XLIX, 2008). My paper was geared toward librarians who want to build Latin American indigenous film and video collections. (Although “indigenous film and video” can be strictly interpreted as film and video created by Indian people, I also include films that feature native people.) Since then, the appendix listing producers, distributors, catalogs and festivals has become outdated. I began this blog in order to pick up where I left off, creating a more current and expanded version of that appendix and linking to it from this blog. So what will this blog do?

Indigenous film and video is still not part of the mainstream viewing experience of most Americans (throughout all of the Americas) and probably other parts of the world as well. Since I live in the NYC area, I have been lucky enough to view some pretty cool indigenous films and videos at the National Museum of the American Indian that others might not have had the opportunity to view. Then there are other movies that I hear about through different grapevines and which are more accessible to all. I thought I could help get the word out about these animations, documentaries and feature films by reviewing them. I really like to watch them so I figure you may be motivated to seek them out for yourself or for your library as a result. I am not a cinema major, just love film and seeing more representation of native cultures on the screen. In addition to reviews, I will also post summaries of related scholarly literature and information on related happenings and issues. So … I hope it’s helpful and helps spread the word about indigenous productions (and I hope I continue to have access to the films so I can keep reviewing).

On a totally unrelated note, I want to give a shout out to Steve Ovadia who took pity on yours truly and helped guide me to my hosting service and my Word Press installation (they actually had a theme called Atahualpa so you know – or will know – that I will choose that one; the link to Ecuador sealed the deal). Thanks, man!