Documentary Educational Resources - Indigenous Studies / Education & Schooling / All Films

The Living Maya

Mon, 29 Oct 2018 13:21:00 GMT

This series documents life in a Yucatan village, focusing on one family over the course of a year. The films explore the ancient agricultural and religious customs that ground contemporary Maya life in traditional values – even as modern Mexico comes to the village.

Part 1Introduces the village of Chican and the Colli-Colli family, and examines the structure of Maya agricultural and village life.

Part 2Hard-pressed by an illness in the family, the Colli-Colli face financial and emotional challenges using traditional solidarity to muster resources and comfort. Drought threatens the village's crucial corn crop.

Part 3As the Colli-Colli resolve their difficulties and the village harvests a mediocre corn crop, viewers are left with an understanding of the underlying rationales of Maya life and with questions about their own assumptions, priorities, and values.

Part 4The Colli-Colli's two youngest sons plead to be placed in school in Merida – the first of their family to reject traditional life.

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Maasai Migrants Series

Wed, 5 Sep 2018 11:07:00 GMT

Maasai Migrants Series
Buy Now: $320.00

The seven videos contained in this DVD were made in Tanzania between 2008 and 2010 by participants in the Maasai Migrants Field School, directed by Peter Biella of San Francisco State University's Program in Visual Anthropology. The primary purpose of the videos in the series is to educate urban and rural Maasai about the consequences of migration, especially its relationship to poverty and the spread of HIV. The films have been produced through a continuing collaboration with Maasai-led and other NGOs, and they are being screened and discussed in Maasai regions throughout Tanzania. Their purpose is to trigger emotional reactions that prompt viewers to engage in important — though otherwise rare and uncomfortable — conversations, about poverty, migration, and sexual practices. The series also constitutes a self-critical history of a project in applied anthropology and gives an example for applied practitioners who may wish to use video in their work.

About the films:

Maasai Migrants (Dir. Peter Biella, 22 min, 2008)

This is the first film completed in the Maasai Migrants Series, the multi-year collaborative exploration of applied anthropological videos contained in this DVD. Planned in close collaboration with Maasai organizers and local migrants, the film depicts the appalling conditions experienced by migrants in Dar es Salaam - the dangerous and underpaid work of night watchmen, and the tenuous existence of Maasai woman who, without male protection, are always at risk of exploitation. The video is divided into seven 3-minute vignettes, each giving a different facet of the Maasai community displaced by migration. Rich with data, the vignettes trigger audience discussions about the challenges of poverty and the push and pull of city life. A film about the scripting, shooting and screening of Maasai Migrants is recorded in Subject to Change, a video contained in this DVD. There, emphasis is placed on how the video has been understood by urban and rural Maasai viewers.

Subject to Change (Dir. Shamia Sandles, 21 min, 2009)

Subtitled A Freirean Case Study in Applied Visual Anthropology, this film presents the theoretical assumptions and screening strategy of films in the Maasai Migrants Series. It does so through a history of the Series' first season, the scripting, shooting and screening of Maasai Migrants (also contained on this DVD). Included in Subject to Change is documentary footage of meetings with production collaborators — an American professor and his student who made this film, Maasai night watchmen, homeless Maasai women, Maasai intellectuals and members of a Maasai-led NGO. These meetings reveal the development of the themes and documentary script of the film, and how they are designed to promote discussion among urban and prospective migrants living in rural homesteads. Subject to Change also provides an understanding of errors made by project members in choosing the wrong venues for screening and in failing to prepare post-screening facilitators for their task of promoting audience discussion after the showings. Finally, Subject to Change presents footage of four post-screening events in different locations — a church, an urban market, a school and a rural homestead. The analysis of Maasai Migrants' goals and strategy, supplemented by Maasai viewers' subtle comments on the film, reveal a great potential for an applied visual anthropology.

Maasai Speak Out on HIV and AIDS (Dir. Biella; research & footage by Thomas Sengale, 13 min, 2009)

Ilmurran is the most-frequently screened trigger film in the Maasai Migrants repertoire. Like the others, its goal is to provide critical education to displaced Maasai throughout Tanzania. When the film is screened with a skilled discussion facilitator, it allows an unprecedented opportunity for Maasai audiences to reflect on the realities and dangers of migration. Longido Waterhole and Longido Homestead, both included on this DVD, record Maasai viewers as they watch and discuss this film. Ilmurran: Young Warriors and the City provides discussion material concerning increased exposure to HIV, and the attraction of migration as a means of survival in the face of encroaching poverty. Following a strategy of collaborative, applied visual anthropology, the filmmakers worked with university educated Maasai to document the day-to-day lives of three young Maasai brothers (ilmurran, "warriors"). The young men all live at the same homestead in central Tanzania. Using interviews and vérité footage, the film invites the brothers to discuss discrimination, homelessness, and disease in the cities. It also highlights how their different ages influence their attitudes toward traditional Maasai values. Before he became ill, the eldest advocated migration as an expression of independence and courage; the youngest sees no purpose in "wandering" and advocates farming, a means of subsistence rejected by most Maasai. Ilmurran illustrates how poverty and migration have reshaped Maasai identity.

Ilmurran: Young Warriors and the City (Dir. Michael Crammond and Kellen Prandini, 22 min, 2010)

Excerpts from Changa Revisited (Dir. Peter Biella and Leonard Kamerling, 17 min, 2012)

Composed of selections from a feature-length documentary, Excerpts from Changa Revisited depicts the shocking clarity with which three Ilparakuyo Maasai women understand the dissolution of their Ilparakuyo community. They describe their homestead as torn by human and livestock diseases, widespread alcoholism among men, and the increase of poverty, disrespect, migration and violence. Changa Revisited was filmed in a community that is very close to Dar es Salaam: for that reason, the community is experiencing the full destructive impact of migration and access to city life. Changa Revisited is therefore a cautionary tale to other, more isolated, Maasai communities that are currently less impacted by the crises of migration and HIV depicted in the film. Another video contained in this DVD, Longido Homestead, records women in a relatively isolated Kisongo Maasai community who watch Changa Revisited and discuss the fate of their less fortunate Maasai sisters to the south. The story of Changa represents to them — and to others in very isolated Maasai communities — what the future may bring.

Longido Waterhole (Dir. Peter Biella and Leonard Kamerling, 8 min, 2010)

All of the films in the Maasai Migrants DVD explore a technique of applied anthropology in which films are used to trigger often passionate post-screening discussions among Maasai audiences. Longido Waterhole, like its companion, Longido Homestead, documents such a discussion. As the film opens, a dozen Kisongo Maasai men have just viewed Ilmurran: Young Warriors and the City, one of the Series' trigger films about social change. The viewers, who live more than two hundred miles north of the community where the Ilmurran video was shot, launch into a discussion about the profound changes faced by their own community. They do not concern themselves with the principle theme of the Ilmurran film, i.e., the crisis of young Maasai migrating to the city. Instead, the film triggers a discussion of their own related crisis — the city migrating to them. Rapid regional development with new highways, foreign workers and permanent dwellings are all encroaching on their once isolated desert grazing land. Comments divide along age lines: senior warriors criticize their "fathers" for facilitating the arrival of outsiders and for their adherence to "outmoded" Maasai traditions. Elders reply that traditions are the only value that Maasai should preserve. The discussion at the Longido Waterhole gives insight into the ideological rifts concerning modernization among different age groups of Maasai. It also shows how using a film that focuses on one facet of modernization may trigger discussions of others that are more pertinent locally.

Longido Homestead (Dir. Peter Biella and Leonard Kamerling, 8 min, 2010)

Like its companion piece, Longido Waterhole and other videos on this DVD, Longido Homestead is part of the Maasai Migrants Series, a multi-year exploration of the use of applied anthropological media in facilitating social change through the screening and discussion of trigger films. Longido Homestead's women viewers are asked to discuss a video clip from Ilmurran: Young Warriors and the City, and a segment of Changa Revisited (both contained on this DVD). Unlike their male counterparts recorded in Longido Waterhole, these women viewers stay focused on the themes of the films they viewed. Like the men, however, the women understand the film topic in ways that differ according to their age. Older women declare that traditional Maasai medicines are an effective cure of AIDS. Their daughters, adult women who have visited clinics and have some formal education, know differently. Longido Homestead shows how the screening of trigger films can create an unprecedented opportunity for open discussion between age grades, opportunities in which younger women may contradict and educate their elders. The film also reveals an important strategy in the use of trigger films among communities that are as thoroughly sex-segregated as the Maasai. The women are only able to speak frankly with one another when the filmmakers persuade their husbands to leave.

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The Chairman and the Lions

Thu, 30 Aug 2018 08:16:00 GMT

The Chairman and the Lions
Buy Now: $320.00

As recently as forty years ago, most sections of the Maasai were semi-nomadic and relatively independent of the nation-state. However, political, social and economic changes in East Africa have forced many herders to adopt a sedentary lifestyle.

The Chairman and the Lions introduces Frank Kaipai Ikoyo, a charismatic Ilparakuyo Maasai who, at thirty-three, is the leader of a Tanzanian village called Lesoit. Ikoyo was elected to his post at the age of twenty-six in part because he had completed primary school. That someone so young would be accorded such authority would have been without precedent not long ago. Yet this ethnography of Ikoyo's duties as village chairman shows how literacy and insight into the workings of the nation-state are essential for Maasai to combat the many lions, both real and figurative, that beset them: land grabbers, "bush" lawyers, unemployment, out-migration and poverty.

Like leaders of many indigenous groups, Ikoyo understands education to be a double-edged sword. He advocates schooling as a key to village self-determination, while still seeking to preserve the foundations of pastoralist identity. For as one Maasai woman argues, schooling may well transform their children into "educated criminals."

The film depicts Ikoyo contending with the invasion of village land by a non-Maasai farmer, interrogating spies in a lawsuit, persuading mothers to send their daughters to school, navigating the legalese of an exploitative contract, and eliciting help from a renowned elder to train young warriors in the art of lion hunting. The Chairman and the Lions interweaves its observational vignettes of Ikoyo's activities with narrative accounts by the chairman himself.

SELECTED SCREENING HISTORY

Special Jury Award, Zanzibar International Film Festival (ZIFF), Tanzania, 2013
First Prize, ETNOFilm Festival for Ethnographic and Anthropological Film, Croatia, 2013
NAFA - Nordic Anthropological Film Association Festival, Iceland, 2014
Ethnografilm Festival, France, 2014
Gottingen International Ethnographic Film Festival, Germany, 2014
ETHNOCINECA, Austria, 2014
Ethnographic Film Festival of Quebec (FIFEQ), Canada, 2014
Days of Ethnographic Film, Slovenia, 2014
11th World Film Festival, Estonia, 2014
The Archaeology Channel Int'l Film and Video Festival, USA, 2014
ETHNOFEST Athens Ethnographic Film Festival, Greece, 2013
Intimate Lens Ethnographic Film Festival, Italy, 2013
SIEF Congress, Tartu, Estonia, 2013
The Heart of Slavonia' International Ethno Film Festival, Djakovo, Croatia, 2012
SVA Ethnographic Film and Media Festival, San Francisco, USA, 2012
Jean Rouch International Film Festival, Paris, France, 2012
Meetings of the Royal Anthropological Institute, London, England, 2012
Festival of Visual Anthropology ASPEKTY, Turon, Poland, 2012

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The Children Know

Thu, 30 Aug 2018 08:16:00 GMT

The Children Know
Buy Now: $495.00

The deep division in Andean society between rural and townspeople begins at birth, is perpetuated by the schools and continues throughout life. The film evidences the discrimination faced by the children of the rural and extremely poor campesinos. From different food arrangements at school to healthcare, there is a distinct divide between them and the town-dwelling mestizos. Evidence of discrimination's effects is unmitigated by the formal Flag Day festival that brings the two groups together with the campesinos urging their own to stand up against the mestizos and stop appearing cowardly before them. A stark portrayal of abject poverty and deep-rooted discrimination, The Children Know is an intriguing study in ethnographic filmmaking.

Films in the Bolivia series

Andean Women
The Children Know
Magic and Catholicism
Potato Planters
The Spirit Possession of Alejandro Mamani
Viracocha

About the Faces of Change Collection

Faces of Change is comprised of 25 films that examine five cultures selected for their distinct geographic locations: starting with the China Coast at sea level and moving up to Taiwan, then to Afghanistan, Kenya and finally to the mountains of Bolivia. Each location is examined through five themes: Rural Society, Education, Rural Economy, Women, and Beliefs.

This innovative collection of 16mm films and videos was funded by the National Science Foundation, produced by Norman Miller and directed by some of the finest ethnographic filmmakers of its time.

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The Earth is Our Home

Thu, 30 Aug 2018 07:05:00 GMT

The Earth is Our Home
Buy Now: $295.00

This documentary about the early Natives of the Great Basin emphasizes the traditional culture of the last 5,000 years. The story unfolds through the words and skills of the older Paiute women of southeastern Oregon and northern Nevada. They tell us how they make cakes from berries, baskets from tulles, cord for nets...necessary daily tasks linked with an ancient heritage.

The earth is ever present in the film, wildlife, rivers and marshes, sagebrush desert, all part of the story. The lifeways of the Northern Paiutes are followed through a seasonal cycle, from root-gathering in spring to building shelter in winter. The Earth is Our Home is an important historical film about Native North Americans.

This film is excellent for classroom use from 6th grade to adult.

DER thanks Oregon Public Broadcasting for the opportunity to rescue fine archival films from obscurity.

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From the Ikpeng Children to the World

Wed, 29 Aug 2018 14:53:00 GMT

From the Ikpeng Children to the World
Buy Now: $295.00

Four Ikpeng children introduce us to life in their village. They show their families, their toys, and their celebrations with grace and lightheartedness. We meet the characters that make up their everyday world - from baby chickens to the village chief - and we see the children helping with chores, learning to hunt, going to school and playing games.

Often comparing and contrasting themselves to earlier generations, they are aware of their cultural heritage and how it has changed since their grandparents' time. Engaging and candid, the Ikpeng children are full of curiosity and ask that people of other cultures send their own video-letters.

Films in the Indigenous Video Makers series

Dancing with a Dog
From the Ikpeng Children to the World
Kinja Iakaha, A Day in the Village
The Living Forest
Moyngo
Nguné Elü
One Must Be Curious
A Path to Live
The Rainy Season
Shomõtsi
Trainees for the Future
Wapté Mnhõnõ, The Xavante's Initiation
Wai'á Rini, The Power of the Dream

Disclaimer on Naming:
Please be aware that this documentary may include outdated or potentially offensive language. Such terms are not endorsed by DER but are presented in their original context to promote awareness, education, and discussion. Learn more about DER’s efforts to use reparative language and honor the preferred names of Indigenous communities by clicking here.

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Harambee

Wed, 29 Aug 2018 13:27:00 GMT

Harambee
Buy Now: $495.00

Harambee is a traditional Swahili chant meaning heave-ho or pull together the slogan for a united Kenya. Harambee Day or Independence Day is celebrated in this small town in North Kenya with political speeches and an auction at the native school. The film shows how North Kenya- isolated for years- tries to adapt to the new concept of nationhood. Government officials from South Kenya are appointed as ambassadors to spread the idea of national unity to a people unaccustomed to it.

Films in the Kenya series

Boran Herdsmen

Boran Women
Harambee: Pull Together
Kenya Boran

About the Faces of Change Collection

This innovative collection of 16mm films and videos was funded by the National Science Foundation, produced by Norman Miller and directed by some of the finest ethnographic filmmakers of its time.

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New Tribes Mission

Tue, 28 Aug 2018 14:11:00 GMT

New Tribes Mission
Buy Now: $295.00

The mission in Bisaasi-teri has a style and orientation quite different from the Salesian mission shown in Ocamo is My Town. The New Tribes Mission has been in this region since the early 1950s. Their main goal, the missionary-teacher in the film explains, is spiritual: to bring the message of Jesus and salvation to the Indians, and to teach them to reject their false gods, demons, and drugs.

"Only God makes men happy; life is nothing," the teacher leads the schoolboys in a Spanish song. She also speaks Yanomamö, not, she states, because she is particularly interested in the local language or the culture, but because it facilitates conversion of the Indians. Glimpses of a village near the mission reflect the material processes of change: shotguns and cane arrows hang side-by-side, and Yanomamö in varying degrees of Western dress socialize with others lying naked in their hammocks.

Films in the Yanomamö series:

Arrow Game *†

The Ax Fight †

Bride Service

Children's Magical Death *†

Climbing the Peach Palm *†

A Father Washes His Children *†

The Feast

Firewood *

Jaguar, a Yanomamö Twin Cycle Myth

Magical Death †

A Man and His Wife Make a Hammock *†

A Man Called Bee: Studying the Yanomamö †

Moonblood: A Yanomamö Creation Myth †

Myth of Naro, as told by Dedeheiwä

Myth of Naro, as told by Kaobawä

New Tribes Mission

Ocamo is My Town

Tapir Distribution *

Tug-of-War, Yanomamö *

Weeding the Garden *†

Yanomamö: A Multidisciplinary Study

Yanomamö of the Orinoco

* included on the Yanomamö Shorts compilation
† included in the Yanomamö Films: Remastered, Vol. 1 set

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The Navigators

Tue, 28 Aug 2018 14:11:00 GMT

The Navigators
Buy Now: $320.00

Over 1,000 years ago, the islands of Polynesia were explored and settled by navigators who used only the waves, the stars, and the flights of birds for guidance. In hand-built, double-hulled canoes sixty feet long, the ancestors of today's Polynesians sailed across a vast ocean area, larger than Europe and North America combined.

To explore this ancient navigational heritage, anthropologist/filmmaker Sanford Low visited the tiny coral atoll of Satawal in Micronesia's remote Caroline Islands. There he spoke with Mau Piailug, the last navigator to be ceremonially initiated on Satawal, and one of the few men who still practice the once-essential art of navigation in the Pacific. In a dramatic demonstration, Mau Piailug sails a replica of an original Polynesian canoe from Hawaii to Tahiti: 2500 miles across the ocean without benefit of sextant, compass, or any other Western navigational instrument.

The Navigators reveals the subtleties of this sea science, transmitted in part through a ceremony known as "unfolding the mat," in which 32 lumps of coral are arranged in a circle to represent the points of the "star compass." To master the lore of navigation was to attain great status in traditional Micronesian society. Today, few men remain with Mau's skills, knowledge, or aspirations.

As this film probes the history of navigation through archaeology and accounts of explorers such as Captain Cook, it does not lose sight of the ways traditional Pacific societies sustained the system of navigation and navigators. On Satawal, we see how that system is being transformed from vital social action to proud and sometimes wistful memory. The Navigators was funded by Pacific Resources, Inc., the Arthur Vining Davis Foundations, and the Hawaii Committee for the Humanities.

"This is an excellent film about traditional canoe navigation in the Pacific that I highly recommend to both general audiences and students of anthropology, geography, and maritime history... Over a half century ago Robert Flaherty brought the remarkable Nanook to world attention. In this film Sanford Low brings us the equally engaging Mau Piailug." — American Anthropologist, the journal of the American Anthropological Association

"...the first major film to treat the subject of Oceanic voyaging and navigation... The Navigators, combining first-rate cinematography with an accurate portrayal of the most recent findings in Polynesian archeology and anthropology, brings the saga of their Polynesian voyagers alive." — Dr. Patrick Kirch, Bernice P. Bishop Museum, Honolulu

"A beautifully photographed, carefully organized program..."
— Boston Herald

"On behalf of the people of the Federated States of Micronesia I would like to extend our heartfelt thanks to you and your crew for your recreation of this part of our culture which is dying out in this day and age of modern technology. I only hope that our young people will look upon this as a chance to grow into this modern age without forgetting our Micronesian traditions: those traditions which will keep our failing culture alive." — Tosiwo Nakayama, President, federated States of Micronesia

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Our Languages

Tue, 28 Aug 2018 13:51:00 GMT

Our Languages
Buy Now: $295.00

Part of the Indians in Brazil series, Our Languages relates the historic repression of indigenous languages in Brazil. Many Indian languages were nearly lost thanks to missionaries and merchants - who rewarded Indians for learning Portuguese with status and material gifts - and government-sponsored schools that punished children for speaking in their native tongues. In spite of all this repression, individual acts of resistance and cultural preservation mean there are still more than 180 Indigenous languages spoken in Brazil today. The linguistic diversity is so great that Indians living in the Negro river area must know at least three languages as well as the official Portuguese in order to communicate with their neighbors. The Constitution of 1988 finally gave Indians the right to bilingual education in their own schools, and we see how the Forest School of professor Joaquim Kaxinawá allows children to be immersed in their native language, developing new teaching methods that will help to preserve culture for the future.

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