Browse Titles - 236 results
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Acting Like a Thief
written by Shashwati Talukdar, fl. 1996 and P. Kerim Friedman, fl. 2006; directed by P. Kerim Friedman, fl. 2006 and Shashwati Talukdar, fl. 1996; produced by P. Kerim Friedman, fl. 2006 and Shashwati Talukdar, fl. 1996 (Watertown, MA: Documentary Educational Resources (DER), 2005), 15 mins
Acting Like a Thief is about a Chhara tribal theatre group in Ahmedabad, India. Starting with the arrest of playwright DaKxin Bajrange (Chhara), the documentary reveals how the Budhan Theatre has transformed the lives of adults and children within the community.
Sample
written by Shashwati Talukdar, fl. 1996 and P. Kerim Friedman, fl. 2006; directed by P. Kerim Friedman, fl. 2006 and Shashwati Talukdar, fl. 1996; produced by P. Kerim Friedman, fl. 2006 and Shashwati Talukdar, fl. 1996 (Watertown, MA: Documentary Educational Resources (DER), 2005), 15 mins
Description
Acting Like a Thief is about a Chhara tribal theatre group in Ahmedabad, India. Starting with the arrest of playwright DaKxin Bajrange (Chhara), the documentary reveals how the Budhan Theatre has transformed the lives of adults and children within the community. Acting Like a Thief is about a Chhara tribal theatre group in Ahmedabad, India. Starting with the arrest of playwright DaKxin Bajrange (Chhara), the documentary reveals how the Budhan The...
Acting Like a Thief is about a Chhara tribal theatre group in Ahmedabad, India. Starting with the arrest of playwright DaKxin Bajrange (Chhara), the documentary reveals how the Budhan Theatre has transformed the lives of adults and children within the community. Acting Like a Thief is about a Chhara tribal theatre group in Ahmedabad, India. Starting with the arrest of playwright DaKxin Bajrange (Chhara), the documentary reveals how the Budhan Theatre has transformed the lives of adults and children within the community. Chhara tribals were notified as "natural criminals" by the British in 1871 and imprisoned in a labor camp in Ahmedabad. After Indian independence, they were de-notified, but the stigma of being a "born criminal" follows them to this day. The Budhan Theatre was inspired by the activism work of Mahasweta Devi.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Shashwati Talukdar, fl. 1996, P. Kerim Friedman, fl. 2006, Dakxin Bajrange, fl. 2005
Author / Creator
Shashwati Talukdar, fl. 1996, P. Kerim Friedman, fl. 2006
Date Published / Released
2005
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Chhara, Politics, Theatrical productions, Tribal and national groups, Cultural change and history, Cultural identity, Ethnic relations, Indigenous peoples, Ethnography, Haryanvi
Copyright Message
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African Carving: A Dogon Kanaga Mask
written by Robert G. Gardner, 1925-2014, Eliot Elisofon, 1911-1973 and Thomas D. Blakely; directed by Thomas D. Blakely and Eliot Elisofon, 1911-1973 (Watertown, MA: Documentary Educational Resources (DER), 1974), 18 mins
The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used.
Sample
written by Robert G. Gardner, 1925-2014, Eliot Elisofon, 1911-1973 and Thomas D. Blakely; directed by Thomas D. Blakely and Eliot Elisofon, 1911-1973 (Watertown, MA: Documentary Educational Resources (DER), 1974), 18 mins
Description
The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used. The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used. The carver, a blacksmith, finds the proper tree and, in a secret cave outside the village, he shapes the mask with ges...
The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used. The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used. The carver, a blacksmith, finds the proper tree and, in a secret cave outside the village, he shapes the mask with gestures which repeat the movement of the dancers who will wear it. When a dancer wears the Kanaga mask he becomes the Creator symbolically. He touches the ground with his mask and directs a soul to Heaven. Although these dances are now frequently performed for the public, the meaning of Kanaga is retained by the Dogon who fear, respect and depend on the power of the mask.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Robert G. Gardner, 1925-2014, Eliot Elisofon, 1911-1973, Thomas D. Blakely
Author / Creator
Robert G. Gardner, 1925-2014, Eliot Elisofon, 1911-1973, Thomas D. Blakely
Date Published / Released
1974
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Dogon, Costumes, Crafts, Tribal and national groups, Religious faiths, Dance and dancing, Religious rites and ceremonies, Cultural identity, Ethnography
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Ajishama, The White Ibis
written by John Dickinson, 1946-; directed by John Dickinson, 1946-; produced by John Dickinson, 1946- (Watertown, MA: Documentary Educational Resources (DER), 2003), 1 hour 25 mins
Shot in Venezuela over a 30-year period, this documentary depicts the life and work of Jose Maria Korta, the controversial Jesuit Missionary with the indigenous people of the Amazon.
Sample
written by John Dickinson, 1946-; directed by John Dickinson, 1946-; produced by John Dickinson, 1946- (Watertown, MA: Documentary Educational Resources (DER), 2003), 1 hour 25 mins
Description
Shot in Venezuela over a 30-year period, this documentary depicts the life and work of Jose Maria Korta, the controversial Jesuit Missionary with the indigenous people of the Amazon. Shot in Venezuela over a 30-year period, this documentary depicts the life and work of Jose Maria Korta, the controversial Jesuit Missionary who joined the Makiritare tribe in the remote upper Ventuari Amazon Territory to initiate economic self-development projects i...
Shot in Venezuela over a 30-year period, this documentary depicts the life and work of Jose Maria Korta, the controversial Jesuit Missionary with the indigenous people of the Amazon. Shot in Venezuela over a 30-year period, this documentary depicts the life and work of Jose Maria Korta, the controversial Jesuit Missionary who joined the Makiritare tribe in the remote upper Ventuari Amazon Territory to initiate economic self-development projects in which Indians produced honey and meat, managed their own transport systems and participated in a broad based marketing co-op called CEPAI. The success of these ventures, and Korta's increasing dedication to economic development instead of proselytizing caused resentment among other missionaries. The Indians at times mismanaged their new resources as they found themselves unprepared for the increased contact with the outside world. In 1990 Korta realized that although CEPAI had gone a long way to solve some of the economic problems particularly in the Amazon basin, it had not addressed general cultural issues.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
John Dickinson, 1946-, Virgilio Sarmiento, Henry Quintero, José A. Colinas, Noel Rodriguez, Hector Cantele, Alberto Valdez, Ignacio Castellot, Alejandro Goñi, Antonio Rodriguez, Isaias Rodriguez, José Maria Korta, 1929-
Author / Creator
John Dickinson, 1946-
Date Published / Released
2003
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Yecuana, Cultural assimilation, Schools, Cultural identity, Economic development, Cultural change and history, Tribal and national groups, Missionaries, Indigenous peoples, Ethnography, Maquiritari
Copyright Message
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The Akha Way
written by Sharon Hainsfurther, fl. 1999 and Mary Flannery; directed by Sharon Hainsfurther, fl. 1999; produced by Sharon Hainsfurther, fl. 1999, Yellowcat Productions (Watertown, MA: Documentary Educational Resources (DER), 1999), 25 mins
For over a thousand years, the Akha people have inhabited the hills of Asia — mainly Southern China, Burma and Northern Thailand. The Akha Way or Akhazaunh, is the code by which they live. This documentary describes their origins and their culture.
Sample
written by Sharon Hainsfurther, fl. 1999 and Mary Flannery; directed by Sharon Hainsfurther, fl. 1999; produced by Sharon Hainsfurther, fl. 1999, Yellowcat Productions (Watertown, MA: Documentary Educational Resources (DER), 1999), 25 mins
Description
For over a thousand years, the Akha people have inhabited the hills of Asia — mainly Southern China, Burma and Northern Thailand. The Akha Way or Akhazaunh, is the code by which they live. This documentary describes their origins and their culture. For over a thousand years, the Akha people have inhabited the hills of Asia — mainly Southern China, Burma and Northern Thailand. The Akha Way or Akhazaunh, is the code by which they live. This doc...
For over a thousand years, the Akha people have inhabited the hills of Asia — mainly Southern China, Burma and Northern Thailand. The Akha Way or Akhazaunh, is the code by which they live. This documentary describes their origins and their culture. For over a thousand years, the Akha people have inhabited the hills of Asia — mainly Southern China, Burma and Northern Thailand. The Akha Way or Akhazaunh, is the code by which they live. This documentary describes their origins and their culture. It contains extraordinary footage of a shaman healing ceremony; a funeral, with the ritual sacrifice of a water buffalo; the reading of a pig's liver after a new house is built, and more. Today the Akha Way is fast disappearing. Forced migration, Christianity, money and drugs are eroding the cultural heritage of the Akha tribe.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Sharon Hainsfurther, fl. 1999, Mary Flannery, Yellowcat Productions
Author / Creator
Sharon Hainsfurther, fl. 1999, Mary Flannery
Date Published / Released
1999
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Mary Flannery
Topic / Theme
Akha, Cultural change and history, Religious beliefs, Cultural identity, Tribal and national groups, Indigenous peoples, Ethnography
Copyright Message
© Documentary Educational Resources
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Alaskan Eskimo, On the Spring Ice
directed by Leonard Kamerling, fl. 1974-2012 and Sarah Elder, fl. 1973-2015, in Alaskan Eskimo (Watertown, MA: Documentary Educational Resources (DER), 1975), 46 mins
Walrus as well as whales are hunted by the Eskimos of Gambell on St. Lawrence Island. As the film opens, an old man tells of the dangers of moving ice, how people used to drift on such ice and never return.
Sample
directed by Leonard Kamerling, fl. 1974-2012 and Sarah Elder, fl. 1973-2015, in Alaskan Eskimo (Watertown, MA: Documentary Educational Resources (DER), 1975), 46 mins
Description
Walrus as well as whales are hunted by the Eskimos of Gambell on St. Lawrence Island. As the film opens, an old man tells of the dangers of moving ice, how people used to drift on such ice and never return. Walrus as well as whales are hunted by the Eskimos of Gambell on St. Lawrence Island. As the film opens, an old man tells of the dangers of moving ice, how people used to drift on such ice and never return. A cluster of men stand on a snowy ro...
Walrus as well as whales are hunted by the Eskimos of Gambell on St. Lawrence Island. As the film opens, an old man tells of the dangers of moving ice, how people used to drift on such ice and never return. Walrus as well as whales are hunted by the Eskimos of Gambell on St. Lawrence Island. As the film opens, an old man tells of the dangers of moving ice, how people used to drift on such ice and never return. A cluster of men stand on a snowy rooftop, scanning the sea ice for walrus, when one spots a skin boat in distress far out on the ice. The crew had not come home the night before, and now were drifting toward Siberia. Long ago, there was nothing that could have been done to save them. Today, the men call the Coast Guard. The next day, preparations for another walrus hunt are made. The hunters load the boat and travel fifty miles out to sea, where they spot two walrus sunning themselves on an ice floe. "Don't move," one hunter tells the camera. The walrus are shot, admired, butchered on the ice, and loaded onto the boat. Back in the village, the meat is cut again and hung to dry.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Leonard Kamerling, fl. 1974-2012, Sarah Elder, fl. 1973-2015
Author / Creator
Leonard Kamerling, fl. 1974-2012, Sarah Elder, fl. 1973-2015
Date Published / Released
1975
Publisher
Documentary Educational Resources (DER)
Series
Alaskan Eskimo
Topic / Theme
Eskimo, Tribal and national groups, Ice floes, Hunting, Ethnography, Inuit
Copyright Message
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Alaskan Eskimo, The Drums of Winter (Uksuum Cauyai)
written by Sarah Elder, fl. 1973-2015 and Leonard Kamerling, fl. 1974-2012; directed by Sarah Elder, fl. 1973-2015 and Leonard Kamerling, fl. 1974-2012; produced by Leonard Kamerling, fl. 1974-2012 and Sarah Elder, fl. 1973-2015, in Alaskan Eskimo (Watertown, MA: Documentary Educational Resources (DER), 1988), 42 mins
This feature-length documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast.
Sample
written by Sarah Elder, fl. 1973-2015 and Leonard Kamerling, fl. 1974-2012; directed by Sarah Elder, fl. 1973-2015 and Leonard Kamerling, fl. 1974-2012; produced by Leonard Kamerling, fl. 1974-2012 and Sarah Elder, fl. 1973-2015, in Alaskan Eskimo (Watertown, MA: Documentary Educational Resources (DER), 1988), 42 mins
Description
This feature-length documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. This documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. In The Drums of Winter, the people of Emmonak tell us throu...
This feature-length documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. This documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. In The Drums of Winter, the people of Emmonak tell us through actualities and interviews how their history, social values and spiritual beliefs are woven around the songs and dances that have been handed down to them through the generations. It is not just old songs that are important; new songs and dance movements are created to reflect modern life with all its complexities. Each time a person gets up to dance, he is strengthening the continuity of the ages. The film follows the elders of Emmonak as they prepare for the coming ceremonial gathering (potlatch) with a neighboring village. In the Kashim (qasgiq or men's house), they practice their songs and painstakingly work out the motions of the dances. Each movement has meaning and plays a part in telling a story. In the days before television, radio, bingo and weekly basketball games, dance was the sole means of entertainment. Throughout the film, archival photographs and film footage accompany the words of early missionaries who brought Christianity to the area. These sequences provide a historical context for the film and give us a strong sense of the resilience of Yup'ik culture, having survived despite a century of missionary suppression.
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Date Written / Recorded
1977
Field of Study
Anthropology
Content Type
Documentary
Contributor
Sarah Elder, fl. 1973-2015, Leonard Kamerling, fl. 1974-2012
Author / Creator
Sarah Elder, fl. 1973-2015, Leonard Kamerling, fl. 1974-2012
Date Published / Released
1988
Publisher
Documentary Educational Resources (DER)
Series
Alaskan Eskimo
Topic / Theme
Folk music, Spirituality, Tribal and national groups, Cultural change and history, Cultural identity, Dance and dancing, Indigenous ethnic groups, Ethnography
Copyright Message
by Documentary Educational Resources
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Asking Ayahai: An Ayoreo Story
written by Lucas Bessire, fl. 2004; directed by Lucas Bessire, fl. 2004; produced by Lucas Bessire, fl. 2004 (Watertown, MA: Documentary Educational Resources (DER), 2004), 42 mins
The film focuses on the personal journey of Ayahai, an 80-year-old Ayoreo elder, whose life spans the period of dramatic transition for the Ayoreo of South America’s Gran Chaco as they moved from nomadic hunter/gatherers to wage laborers. Currently a part-time panhandler in Santa Cruz, his story is common to ma...
Sample
written by Lucas Bessire, fl. 2004; directed by Lucas Bessire, fl. 2004; produced by Lucas Bessire, fl. 2004 (Watertown, MA: Documentary Educational Resources (DER), 2004), 42 mins
Description
The film focuses on the personal journey of Ayahai, an 80-year-old Ayoreo elder, whose life spans the period of dramatic transition for the Ayoreo of South America’s Gran Chaco as they moved from nomadic hunter/gatherers to wage laborers. Currently a part-time panhandler in Santa Cruz, his story is common to many lowland indigenous peoples. Focuses on the personal journey of Ayahai, an 80-year-old Ayoreo elder and part-time panhandler in Santa...
The film focuses on the personal journey of Ayahai, an 80-year-old Ayoreo elder, whose life spans the period of dramatic transition for the Ayoreo of South America’s Gran Chaco as they moved from nomadic hunter/gatherers to wage laborers. Currently a part-time panhandler in Santa Cruz, his story is common to many lowland indigenous peoples. Focuses on the personal journey of Ayahai, an 80-year-old Ayoreo elder and part-time panhandler in Santa Cruz whose life spans the period of dramatic transition for the Ayoreo of South America’s Gran Chaco as they change from nomadic hunter/gatherers into wage laborers. Ayahai’s testimony of the critical contact moment between the Ayoreo and Westerners is juxtaposed with the memories of Dr. Charles Ramsey, another Octogenarian who was one of the first missionaries to reach Ayahai’s group in the 1950s. Since that first meeting, the Ayoreo have been discriminated against at all levels of Bolivian and Paraguayan society and face debilitating poverty. During a village screening of the unfinished film with the filmmaker the Ayoreo community gains an opportunity to discuss and respond to the opinions of the non-Ayoreo in Santa Cruz. The documentary challenges stereotypical images of lowland indigenous peoples like the Ayoreo with a portrait of their lived experience, while raising questions of interest to a wider anthropological audience concerned with the politics of memory, representation and native rights in Latin America. Although a growing body of ethnographic and pictorial representations exist in Spanish, French and German, very little has been published on the Ayoreo in English, and even less has been filmed. Supplemented by traditional songs, the film puts a human face on a transnational tribal peoples struggle for self-determination.
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Date Written / Recorded
2003
Field of Study
Anthropology
Content Type
Documentary
Contributor
Lucas Bessire, fl. 2004, Ayahai Chiqueno
Author / Creator
Lucas Bessire, fl. 2004
Date Published / Released
2004
Publisher
Documentary Educational Resources (DER)
Person Discussed
Ayahai Chiqueno
Topic / Theme
Ayoreo, Tribal and national groups, Migration, Homelessness, Cultural change and history, Imperialism, Traditional history, Anthropology, Indigenous peoples, Ethnography
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The Ax Fight
written by Napoleon A. Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon A. Chagnon, 1938-; produced by Timothy Asch, 1932-1994 and Napoleon A. Chagnon, 1938- (Watertown, MA: Documentary Educational Resources (DER), 1975), 30 mins
A fight broke out in Mishimishimabowei-teri on the second day of Chagnon and Asch's stay in this village in 1971. The conflict developed between the villagers of Mishimishimabowei-teri and their visitors from another village. The visitors had formerly been part of Mishimishimabowei-teri, and many still had ties wi...
Sample
written by Napoleon A. Chagnon, 1938-; directed by Timothy Asch, 1932-1994 and Napoleon A. Chagnon, 1938-; produced by Timothy Asch, 1932-1994 and Napoleon A. Chagnon, 1938- (Watertown, MA: Documentary Educational Resources (DER), 1975), 30 mins
Description
A fight broke out in Mishimishimabowei-teri on the second day of Chagnon and Asch's stay in this village in 1971. The conflict developed between the villagers of Mishimishimabowei-teri and their visitors from another village. The visitors had formerly been part of Mishimishimabowei-teri, and many still had ties with members of that village. A fight broke out in Mishimishimabowei-teri on the second day of Chagnon and Asch's stay in this village in...
A fight broke out in Mishimishimabowei-teri on the second day of Chagnon and Asch's stay in this village in 1971. The conflict developed between the villagers of Mishimishimabowei-teri and their visitors from another village. The visitors had formerly been part of Mishimishimabowei-teri, and many still had ties with members of that village. A fight broke out in Mishimishimabowei-teri on the second day of Chagnon and Asch's stay in this village in 1971. The conflict developed between the villagers of Mishimishimabowei-teri and their visitors from another village. The visitors had formerly been part of Mishimishimabowei-teri, and many still had ties with members of that village. They refused to work in their hosts' gardens, yet they demanded to be fed. The event lasted about half an hour, ten minutes of which were filmed. The film is constructed of four parts. The first consists of an unedited version of what the cameraman saw and the sound technician recorded. The apparent chaos of these first ten minutes is clarified in the second section, in which Chagnon explains the sequence of actions, the relationships between the actors, and how the filmmakers' interpretation of the events became coherent. The third section diagrams the lineages in the villages involved to illustrate the fight's relationship to long-standing patterns of conflict and alliance within the village. Finally, in an edited version of the fight, we see how the editors' hands shape the "reality" we view. The Ax Fight thus operates on several levels. It plunges the viewer into the problems of Yanomamo kinship, alliance, and village fission; of violence and conflict resolution. At the same time it raises questions about how anthropologists and filmmakers translate their experience into meaningful words and coherent, moving images.
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Date Written / Recorded
1971-02-28
Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Timothy Asch, 1932-1994, Napoleon A. Chagnon, 1938-, Craig Johnson
Author / Creator
Napoleon A. Chagnon, 1938-, Timothy Asch, 1932-1994
Date Published / Released
1975
Publisher
Documentary Educational Resources (DER)
Speaker / Narrator
Napoleon A. Chagnon, 1938-
Topic / Theme
Yanomamö, Politics, Negotiation in government, Kin relationships, Violence, Cultural identity, Rural population, Tribal and national groups, Indigenous peoples, Ethnography, Yanomámi
Copyright Message
copyright © Documentary Educational Resources
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Aymara Leadership
written by Hubert Smith, 1938-; directed by Hubert Smith, 1938- (Watertown, MA: Documentary Educational Resources (DER), 1984), 29 mins
The theme of leadership is difficult to convey, especially in another culture, in which outsiders often do not recognize subtle cues and implicit understandings that play so important a role in the exercise and acceptance of authority. This film helps viewers, even if they have no prior familiarity with the Aymara...
Sample
written by Hubert Smith, 1938-; directed by Hubert Smith, 1938- (Watertown, MA: Documentary Educational Resources (DER), 1984), 29 mins
Description
The theme of leadership is difficult to convey, especially in another culture, in which outsiders often do not recognize subtle cues and implicit understandings that play so important a role in the exercise and acceptance of authority. This film helps viewers, even if they have no prior familiarity with the Aymara, to appreciate the ways in which a young man manages to minimize conflicts, resolve disputes, and generally promote the social welfare...
The theme of leadership is difficult to convey, especially in another culture, in which outsiders often do not recognize subtle cues and implicit understandings that play so important a role in the exercise and acceptance of authority. This film helps viewers, even if they have no prior familiarity with the Aymara, to appreciate the ways in which a young man manages to minimize conflicts, resolve disputes, and generally promote the social welfare in a community where age and experience have traditionally been highly valued. The theme of leadership is difficult to convey, especially in another culture, in which outsiders often do not recognize subtle cues and implicit understandings that play so important a role in the exercise and acceptance of authority. This film helps viewers, even if they have no prior familiarity with the Aymara, to appreciate the ways in which a young man manages to minimize conflicts, resolve disputes, and generally promote the social welfare in a community where age and experience have traditionally been highly valued. This bold venture in ethnographic filmmaking attempts to convey the meanings and methods of a theme that most people consider inherently abstract, and to do so in a document brief enough to be used in the classroom. Beyond that, it imaginatively combines the techniques of slow motion, instant replay, and freeze-frame in ways that vividly show how body language, conformity to local norms of kinship and propriety, and other factors interact as we watch a self-taught master of conflict management at work. This film stands well on its own merits, alth
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Field of Study
Politics & Current Affairs
Content Type
Documentary
Contributor
Hubert Smith, 1938-, Manuel Ticona, fl. 1984
Author / Creator
Hubert Smith, 1938-
Date Published / Released
1984
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Aymara, In-group conflicts, Leadership roles, Societal structure, Tribal and national groups, Ethnography
Copyright Message
© Documentary Educational Resources
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Being Innu
written by Catherine Mullins; directed by Catherine Mullins; produced by Catherine Mullins (Watertown, MA: Documentary Educational Resources (DER), 2007), 1 hour 16 mins
For thousands of years the Innu lived off the land. They were nomads, sometimes also known as the Montagnais. In the 1960s, government policy forced them to settle and form communities in Labrador and Quebec. Ancestral ways collided with modern ones, and gave rise to ongoing struggles. Now the grandchildren tell t...
Sample
written by Catherine Mullins; directed by Catherine Mullins; produced by Catherine Mullins (Watertown, MA: Documentary Educational Resources (DER), 2007), 1 hour 16 mins
Description
For thousands of years the Innu lived off the land. They were nomads, sometimes also known as the Montagnais. In the 1960s, government policy forced them to settle and form communities in Labrador and Quebec. Ancestral ways collided with modern ones, and gave rise to ongoing struggles. Now the grandchildren tell their own story. For thousands of years the Innu lived off the land. They were nomads, sometimes also known as the Montagnais. In the 19...
For thousands of years the Innu lived off the land. They were nomads, sometimes also known as the Montagnais. In the 1960s, government policy forced them to settle and form communities in Labrador and Quebec. Ancestral ways collided with modern ones, and gave rise to ongoing struggles. Now the grandchildren tell their own story. For thousands of years the Innu lived off the land. They were nomads, sometimes also known as the Montagnais. In the 1960s, government policy forced them to settle and form communities in Labrador and Quebec. Ancestral ways collided with modern ones, and gave rise to ongoing struggles. Now the grandchildren tell their own story. Being Innu takes an unvarnished look at life in the village of Sheshatshiu, Labrador. Six savvy, gutsy young people talk to Montreal filmmaker Catherine Mullins about addiction, suicide, lack of jobs, hopelessness. They will grab your heart with their stories: "I first thought about suicide when I was 7," says April, 16. They will make you laugh with their wry humour: "What do you do when you live in a shoe?" Jimmy, 25. Interviews with elders, grandparents and teachers round out this portrait of a community in crisis - sadly a situation not unlike that of many other aboriginal nations.What is remarkable about Innu youth is their love of the land and of their native language. For them, being Innu means finding a balance between the traditional ways of the past and today's reality.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Catherine Mullins, Theresa Andrew, Penote Michel, Neil, David Montague, Michel Andrew, Jimmy, April
Author / Creator
Catherine Mullins
Date Published / Released
2007
Publisher
Documentary Educational Resources (DER)
Topic / Theme
Innu, Alcoholism, Addictions, Suicides, Cultural assimilation, Cultural identity, Tribal and national groups, Cultural change and history, Ethnography, Montagnais
Copyright Message
by Documentary Educational Resources
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