Documentary Educational Resources - Indigenous Studies / Food Practices & Procurement / All Films

Waaki (Sanctuary)

Wed, 14 Dec 2022 16:38:58 GMT

Renowned Hopi filmmaker Victor Masayesva, Jr. explores the centrality of corn for the Hopi, Nahua, and Maya, tracing the role of corn from creation stories to today's struggles against climate change. The film presents complex interrelationships between humans, plants, food systems, animals, birds, ceremonies and the cycles of the earth, sun and moon within the universe from a Hopi, Maya, and Nahua perspective. By tracing the lineage and mysterious origins of corn, we gain a deeper understanding of the ancestry of communities that transcend borders.

Masayesva writes, "The idea of sanctuary in our time is colored by the politics of human immigration. As contemporary media consumers, we are saturated with threats and security measures originating from alerts about immigration into our neighborhood. Today state borders have restricted and closed the numerous routes blazed by migrants and only wild birds and animals move freely without visas but nonetheless restricted to wildlife refuges.

Humankind has been in constant movement since the emergence, intent on leaving an oppressive order, seeking a better life, seeking sanctuary. For our age, sanctuary cannot be only within familiar beliefs and borders but beyond in the hope we carry in our soul. Sanctuary is the best we can be at the moment, and in the future."

"Waaki presents Hopi knowledge with a self-assured visual sovereignty."
– Dorothy Christian, Simon Fraser University

"The film is a fascinating blend of genres - part ethnographic, part documentary and part animation."
– Vicky Westover, Hanson FilmTV Institute Director, U of Arizona

Selected Screenings

Native Crossroads Film Festival, 2020

ImagiNative, 2019

Cornell University

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Sheep Eaters

Mon, 29 Oct 2018 13:21:00 GMT

Sheep Eaters
Buy Now: $340.00

The spectacular Wind River Mountain Range of northwest Wyoming was once home to a little known but fascinating band of Shoshone Indians known as the Tuku Dika, or Sheep Eaters. As their name implies, these peoples were among the most successful hunters of North America's wild sheep, the majestic Rocky Mountain "big horns". These magnificent creatures still roam the rugged Greater Yellowstone Ecosystem; however, the tribe that followed them for hundreds of years was relegated to life on the reservation by the turn of the nineteenth century. This four-part series examines the life ways of this ancient band of high mountain Shoshones.

Part 1 - Trading & Tools: This film examines the skills of tanning, flint napping and bow making among the Sheep Eaters, who utilized dogs to help them travel and gather resources.

Part 2 - Plants & Minerals: The Sheep Eaters relied heavily on the plants they could gather for medicinal and edible uses, often cooking food in a unique soapstone vessel.

Part 3 - Shelters & Petroglyphs: The Sheep Eaters followed migrating big horn sheep and utilized caves and cliff overhangs for shelter, only building wood-pole structures—wickuips—where no natural shelter was readily available. Rock art, associated with vision quests are also examined.

Part 4 - Hunting & Fishing: The tribe used wooden traps and bows to harvest the big horns. Fish spears, baskets and fish traps helped bring fish to their families.

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Cree Hunters of Mistassini

Thu, 30 Aug 2018 08:16:00 GMT

Cree Hunters of Mistassini
Buy Now: $320.00

For thousands of years, the Cree Indians of James Bay inhabited the northern Quebec forests - originally gathering wild rice, and later hunting, fishing, and trapping. Traditionally, small groups of families spent the winter months together in the bush, subsisting on moose, beaver, deer, wild geese and caribou. In 1973 a film crew joined three families in their annual move to the north. In this film we come to know the Blacksmiths, the Jollys, and the Voyageurs: building a one-room lodge floored with pine boughs, hunting, trapping, preparing food and skins, and living together in the bush.

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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Dancing with a Dog

Thu, 30 Aug 2018 07:04:00 GMT

Dancing with a Dog
Buy Now: $295.00

In Dancing With a Dog we experience the rhythm of daily life on the Rio Amônea. Kowire and his wife Withawo get up early to take care of their eight children, preparing food and making handcrafts for sale. Kowire is helping his son to build a house, and after work for the day is finished there is fish and cassava root for dinner.

On weekends, the Piâretsi celebration is full of with drinking, dancing and soccer. Everyone is fully at ease in the presence of the cameraman; there is plenty of joking and Kowire goes home a little drunk on caissiema beer.

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

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Dani Films

Thu, 30 Aug 2018 07:04:00 GMT

Dani Films
Buy Now: $500.00

Digitally Remastered 2-DVD Set

This special edition 2-disc DVD set includes:

• Dani Sweet Potatoes & Dani Houses digitally remastered

• commentary on both films by Karl Heider

• a narrated pictorial history (9 min) of Heider's career in archaeology and anthropology

In 1963, under the auspices of the EDC curriculum project Man: A Course of Study, an elementary social studies curriculum, Karl Heider returned to the central highlands of Irian Jaya (West New Guinea). Heider had spent the previous two years in the Grand Baliem Valley with Robert Gardner's Harvard-Peabody exhibition, and his intention was to return from this second trip with material to be used to teach American grade school students about digging-stick horticulture and house construction. However, after producing the Netsilik series, the EDC curriculum project fell victim to the political climate of the time. Heider spent the following years presenting Hubula (known as Dani* outside of the community) material himself, eventually producing the ethnographic classics, Dani Sweet Potatoes and Dani Houses.

About the films:

Dani Sweet Potatoes (19 min) A study of the sophisticated process of sweet potato horticulture developed by the Hubula. The film follows the Hubula sweet potato cycle from clearing off the old brush and weeds from a fallow field to planting, harvesting, cooking, and eating. At that time the Hubula had the simplest of tools - long pointed wooden poles used as digging sticks that are hardened in the fire and soaked in water - and they still used their stone-bladed adzes. (By now, most Hubula use steel shovels, axes, and bush knives and make stone adzes only for the tourist trade.)

Even though their tools are simple, their field system is intensive and sophisticated, with an intricate system of ditches. Perhaps the ditches were originally necessary to drain swampy land, but they now serves as both drainage and irrigation ditches, depending on whether rainfall is too little or too much. The ditches also hold compost. Weeds and topsoil collect there, later to be smeared back onto the garden beds. Pigs are part of the ecological system, plowing up the soil in search of food and fertilizing it with their droppings. In this film, we see people from a single neighborhood working alone in their own garden plots or, at times joining together in a cooperative work party.

Dani Houses (16 min) The film observes both round and square house construction techniques of the Hubula. It shows how the ground is cleared, walls are made from boards, poles lashed together, and roofs being thatched. Though it follows the house-building process from beginning to end, one is left asking the question: What happened after the houses were built?

*Note on term “Dani”

The preferred name for the community in these films is Hubula. The name "Dani" as used in these films is an exonym used by Moni, a neighboring group of people living west of the Baliem Valley. The name has been reproduced in many colonial and postcolonial texts, even until today.

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First Film

Wed, 29 Aug 2018 14:53:00 GMT

First Film
Buy Now: $340.00

First Film was edited and narrated by Lorna Marshall and is comprised of footage shot in 1951 on the second Marshall family expedition to the Kalahari Desert. It is intimate in style, very carefully filmed, with a wealth of practical information about the material culture and structure of Ju/'hoan (!Kung Bushmen) hunter-gatherer society. The film allows viewers to see some of John Marshall's earliest film footage and provides an interesting comparison with the more sophisticated shooting found in his later work.

This film is part of the !Kung Series.

Orthography Note
The group of people depicted in these films are the Ju/'hoansi, speakers of the Ju/'hoan language. Ju/'hoan is part of the !Kung language group; the term !Kung was previously used by the Marshall family and others to refer to Ju/'hoansi. Although the term is outdated, it has been retained here for the sake of consistency with John Marshall's previously published work. The films and their related printed materials also employ antiquated spellings of names and places. For current Ju/'hoan orthography, please see the Ju/'hoan - English Dictionary, compiled by Patrick Dickens and the Ju/'hoan Peoples Literacy Committee.

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The Feast

Wed, 29 Aug 2018 14:53:00 GMT

The Feast
Buy Now: $320.00

Yanomamö feasts are ceremonial, social, economic, and political events. They are occasions for men to adorn their bodies with paint and feathers, to display their strength in dance and ritualized aggression; for trading partnerships to be established or affirmed; and for the creation or testing of alliances.

In this feast, filmed in 1968, the Patanowa-teri had invited the Mahekodo-teri to their village. The two groups had been allies until a few years before this event, when they had fought over the abduction of a woman. They now hoped to renew their broken alliance, which they did successfully. Soon after the filmed feast, the two villages together raided a common enemy.

A detailed discussion of this feast, and of the significance of feasting among the Yanomamö, is found in chapter 4 of Chagnon's Yanomamö: The Fierce People. The film's graphic representation of reciprocity and exchange may enrich (and be enriched by) a reading of Marcel Mauss' The Gift.

SELECTED SCREENINGS & AWARDS

CINE Golden Eagle

Blue Ribbon, American Film Festival

Flaherty Award

Festival dei Popoli, Florence Italy

Grand Prize, Venice International Art Film Festival International Folklore & Tourism Festival

Exceptional Merit, Philadelphia International Festival of Short Films

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 Hunters

Wed, 29 Aug 2018 13:27:00 GMT

The Hunters
Buy Now: $320.00

This early classic in anthropological film follows the hunt of a giraffe by four men over a five-day period. The film was shot in 1952-53 on the third joint Smithsonian-Harvard Peabody sponsored Marshall family expedition to Africa to study Ju/'hoansi, one of the few surviving groups that lived by hunting - gathering.

John Marshall was a young man when he made this, his first feature length film. He was a natural cameraman who found a subject that would dominate the rest of his life. He has since shot over 600,000 feet of film from which 24 films were edited. The value of the footage as an encyclopedia of !Kung life is unequaled by any other body of ethnographic film.

This film is part of the !Kung series.

SELECTED SCREENINGS & AWARDS

Official Selection, National Film Registry, 2003

Blue Ribbon, American Film Festival, 1959

Grand Prize, Florence Film Festival

Robert Flaherty Award

Orthography NoteThe group of people depicted in these films are the Ju/'hoansi, speakers of the Ju/'hoan language. Ju/'hoan is part of the !Kung language group; the term !Kung was previously used by the Marshall family and others to refer to Ju/'hoansi. Although the term is outdated, it has been retained here for the sake of consistency with John Marshall's previously published work. The films and their related printed materials also employ antiquated spellings of names and places. For current Ju/'hoan orthography, please see the Ju/'hoan - English Dictionary, compiled by Patrick Dickens and the Ju/'hoan Peoples Literacy Committee.

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Group Hunting on the Spring Ice

Wed, 29 Aug 2018 13:26:00 GMT

Group Hunting on the Spring Ice
Buy Now: $340.00

Group Hunting on the Spring Ice

Part 1 (34 min)

Late June, and much of the land is bare. There are sounds of running water, and melt ponds shine everywhere. The woman carries heather and moss to camp and the man makes a whirling bullroarer for the boy. Another child pretends to drive a dog sled. A woman is working sinews into bowstrings, while another is busy with a seal skin. A woman prepares to cook a meal and a man makes a bow from bone and sinews. It is a demanding task to combine such materials into a strong supple weapon; the result is pleasing to the man. The next day the men move out on the sea ice with a dog to look for seal pups.

Part 2 (28 min)

The men are out on the sea ice and the women work at the tasks of camp. Seal skins are pegged to dry in the sun and a woman, baby on her back, picks over a pile of gulls. The birds are skinned and then go into the pot with water from a melt pond. A baby sucks on a bone. The people eat, and then the women visit an old man in his tent. Now the women are out gathering moss for the fires and we see the birds and flowers common to the area. A woman skins a seal pup while another sews skins for a tent. The children play at making camp, and some of the older girls pretend to nurse the fat pups. Then the adults join the fun, playing at juggling.

Part 3 (33 min)

The men are moving about on the sea ice, probing for unsafe ice and watching for seals. The snow cover is nearly gone now, and the breathing holes have widened. The men sit and wait. One makes a strike with his harpoon and others come to watch. They are ready to eat and relish the good warm blood and the liver. Another hunter succeeds, and then another but this one loses his catch when his thong breaks and the seal slides back into the water. But the party has three seals in tow when they return to camp, and soon the women have the meat exposed and all eat. Then the blubber is packed into the sealskin bags and the men haul it away to the cache.

Films in the Netsilik series

At The Autumn River Camp
At The Caribou Crossing Place
At The Spring Sea Ice Camp
At The Winter Sea Ice Camp

Building a Kayak

Fishing at the Stone Weir

Group Hunting on the Spring Ice

Jigging for Lake Trout

Stalking Seal on the Spring Ice

About the Netsilik series

These films reveal the live reality of traditional Inuit lifebefore the European acculturation. The Netsilik of the Pelly Bay regionin the Canadian Arctic had long lived apart from other people and haddepended entirely on the land and their own ingenuity to sustain lifethrough the rigors of the Arctic year.

The filming was done during the summers of 1963 and 1964 and in the late winter of 1965 under the ethnographic direction of Dr. AsenBalikci of the University of Montréal, assisted by Guy Mary-Rousseliere, O.M.I., both anthropologists of wide Arctic experience. Quentin Brownwas Producer-Director, and Kevin Smith the Executive Producer for theseries. A minimum of cultural reconstruction was required during thefilming; the Netsilik families readily agreed to live in the old wayonce more and showed considerable aptitude in recalling and representing the earlier ways of life.

Note on Term "Eskimo":

The films in this series make use of the name "Eskimo." While once broadly applied, it is a perjorative term and considered offensive. While the inception of the word is a matter of debate, it is no longer used or applied in our film catalog. The context in which the term appears in this series is an acknowledged relic of a colonial past, presented in its original version. DER apologizes for any offense caused.

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Kinja Iakaha, A Day in the Village

Wed, 29 Aug 2018 11:13:00 GMT

Kinja Iakaha, A Day in the Village
Buy Now: $295.00

In A Day in the Village, Waimiri and Atroari filmmakers document the day-to-day life of their relatives in the Cacau village, located in the Amazon region. We watch as women prepare the midday meal and do laundry in the river. Men hunt for alligators, paca and tapir in the forest as well as make handcrafts during a rainstorm. Children play and help with chores such as fruit-gathering and fishing, with adults showing them the right way to do things. Through intimate, interwoven images, the video gives us a vivid sense of the daily pattern in this village.

Films in the Indigenous Video Makers series

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