Story in motion: creative collaborations on Tłı̨chǫ lands
(2023)
author(s): Adolfo Ruiz, Tony Rabesca
published in: Journal for Artistic Research
This exposition describes a creative collaboration in the self-governed Tłı̨chǫ region of Canada’s Northwest Territories. As part of this collaboration, Indigenous research methods and participatory experiences facilitated a process by which regional oral history was visualised and translated into animation. As a long-term project, this research was based on relationships through which a non-Indigenous researcher was able to learn and exchange knowledge with elders and youth from the region. Community workshops facilitated image-making, storytelling sessions, and interaction between generations. The animated film that emerged through this research is an embodiment of cultural knowledge and cultural continuity.
BC Time-Slip (The Empire Never Ended)
(2019)
author(s): John Cussans
published in: Research Catalogue
BC Time-Slip (The Empire Never Ended) is the first phase of a long-term artistic research project called The Skullcracker Suite. Taking its name from Philip K. Dick's 1964 novel Martian Time-Slip, the project uses the story of Dick's visit to Vancouver in 1972, and his stay at a rehab clinic for First Nations ex-cons, as a pretext to investigate the cultural politics of decolonization in British Columbia since the 1960's from ethnographic, Indigenous and science fictional perspectives, with a specific focus on the potlatch culture of the Kwakwaka'wakw peoples of the Pacific Northwest.
Finding one's own voice as an indigenous filmmaker
(last edited: 2023)
author(s): Itandehui Jansen
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In this dissertation of Itandehui Jansen, the ‘Voice’ of the filmmaker from a political and aesthetic perspective is examined. Within film practice the own ‘Voice’ refers mainly to the aesthetic style of a filmmaker. Within the field of postcolonial studies 'Voice' is related to the access that postcolonial subjects have to the production of discourse. Movies and other media can be seen in this context as a form of discourse. For Indigenous filmmakers both approaches to ‘Voice’ and having a ‘Voice’ are important.
This study explores the way in which Indigenous filmmakers, particularly from Latin America, express their 'Voice' both politically and aesthetically in their films.
