Latest news with #SandraHaleSchulmanSpecial
Yahoo
16-05-2025
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Sundance Institute Native Lab Fellows announced
Sandra Hale SchulmanSpecial to ICT As the major incubator for Native films and their screenwriter/directors, the nonprofit Sundance Institute has announced the fellows selected for the 2025 Native Lab. The Native Lab is the signature initiative of Sundance Institute's Indigenous Program that takes place in Santa Fe, New Mexico. The labs offer filmmakers personal guidance, and one-on-one nurturing, to develop their projects under the guidance of accomplished creative advisors. Sundance Institute founder Robert Redford – who can be seen in a quick cameo on the first episode of the current season of 'Dark Winds' – included Indigenous artists in the first Sundance Institute lab in 1981. The Indigenous Program was formalized in the mid-'90s and the alumni have brought Indigenous stories to mainstream audiences in film and television. Over five days, the selected fellows refine their scripts for feature and episodic projects with feedback sessions, screenplay readings, and roundtable discussions. Four fellows were selected. Three are U.S.-based: Jared Lank, Mi'kmaq; Isabella Dionne Madrigal, Cahuilla/Turtle Mountain Ojibwe; and Alex Nystrom, Ojibwe. One is from Canada, Jordan Waunch, Métis, selected in partnership with the Indigenous Screen Office (ISO). This year's Native Lab creative advisors are Bryson Chun, Kanaka Maoli, Sarah Friedland, Kiva Reardon, and Erica Tremblay, Seneca-Cayuga. The Native Lab is overseen by Adam Piron, Kiowa and Mohawk, director of the Institute's Indigenous Program, alongside Ianeta Le'i, the program's senior manager. 'Every year our team selects a cross-section of bold, diverse Indigenous storytellers and committed advisors, and it's always rewarding when we gather in Santa Fe to discuss storytelling and development because this process involves trust and reveals unexpected breakthroughs every time,' said Piron in a statement. 'We are looking forward to supporting this year's fellows and to see how they support each other in challenging themselves, reimagining their work, and deepening their relationship to how Indigeneity factors into their work.' Fellow Isabella Dionne Madrigal, Cahuilla/Turtle Mountain Ojibwe, told ICT: 'I am so honored and thrilled to be a part of this cohort! Without the Indigenous artists who have been building at Sundance, I wouldn't have had the opportunities I have today. My goal with the feature project I am working on, Menil and Her Heart, is to inspire Native youth to see themselves as powerful, multidimensional beings – people with agency and stories worth telling. Through filmmaking, I hope to continue centering Indigenous women's stories. I believe that when art and popular culture shift, policy and public attitudes follow. This opportunity is a way for me to contribute to that. 'I recently wrapped a short film version of Menil and Her Heart. This short serves as a proof of concept for the feature-length project I am working on. As an emerging director, mentorship through the Native Lab offers insight into how to strengthen both the short and feature film script. 'Independent filmmakers, particularly those from underrepresented communities, often face barriers to accessing resources and industry networks. Through this fellowship, I look forward to expanding my community and learning from filmmakers who have successfully written and directed their own projects. Being a Native Lab Fellow and working with a team that shares my vision of filmmaking as community-driven storytelling ensures that this project stays grounded in the values and purpose that inspired it from the beginning.' Jared Lank, a Mi'kmaq filmmaker from Maine, creates existential works that explore themes of cultural erasure, myth and grief. In 2024, his debut short film, Bay of Herons, was an official selection of the Sundance Film Festival, and he was featured in Filmmaker magazine's '25 New Faces of Independent Film.' Jared Lank told ICT: 'Being chosen for the Native Lab means everything to me at this moment in my life. In so many ways, attending the lab this week in Santa Fe marks the beginning of an exciting new chapter of my life where I can really hone-in my craft as a writer-director and ultimately pursue the goal of having my film made. 'I am fully entering this lab with the mindset of a student and a peer. I hope to receive critical feedback on my screenplay and learn how to develop my voice as a writer. A higher-level goal for my project is to refine this screenplay to a point where it can be pitched for development and made into a film! I believe this lab is the catalyst for that to happen.' Alex Nystrom is an Ojibwe director, writer and producer. His pilot Between was selected for the Black List's second annual Indigenous List, and his short film Four Nights and a Fire (Palm Springs International Shortfest, Short of the Week) is currently being developed into a feature film, Spiral. 'It's really a dream to be recognized for your work as an independent artist,' Nystrom told ICT, 'and for Sundance to see your potential for what you might yet create. It's a validating moment, and perhaps even more meaningful to be a part of Native Lab's legacy in contributing to the future of Indigenous cinema. 'My priority is to be inspired by my mentors and peers, and build lasting relationships and collaborations. I would like to push myself to be more vulnerable during the lab, in an effort to find a deeper clarity in my screenplay.' Previous Sundance Institute lab fellows whose early career work has been fostered at the labs include award-winning filmmakers Sterlin Harjo, Shaandiin Tome, Sydney Freeland, Erica Tremblay, Sky Hopinka and Taika Waititi. Our stories are worth telling. Our stories are worth sharing. Our stories are worth your support. Contribute today to help ICT carry out its critical mission. Sign up for ICT's free newsletter.
Yahoo
09-05-2025
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INDIGENOUS A&E: Film app, NDN cars, Zig pics
Sandra Hale SchulmanSpecial to ICT The latest: Native film free streaming, classic song revamped, Rising Buffalo photos First Nations Experience (FNX) is the first and only national broadcaster dedicated to Native American and Indigenous content. It hosted a red carpet gala and concert to celebrate the official launch of the Indigenous-led streaming platform at the Agua Caliente Casino Resort in Rancho Mirage, Calif., on May 1. The event featured Native actors, performers and creators who are reshaping media representation and accessibility across the U.S. Gala guests included Chef Sean Sherman ('The Sioux Chef,' James Beard Award winner) who dished out some Indigenous cuisine; FNX leadership, tribal leaders, Native actors Jessica Matten and Eugene BraveRock from 'Dark Winds,' Ruth Ann-Thorn, host and producer of 'This Is Indian Country,' and Cahuilla art star Gerald Clarke. Performers included The Halluci Nation (formerly A Tribe Called Red) with dual DJs onstage against a backdrop of a free form video with lucha libre wrestlers and cartoon animation. JR Redwater, a Native stand-up comedian, told some raunchy jokes; ShanDien Sonwai LaRance – Cirque du Soleil hoop dance artist, and Electric Turquoise Dance Troupe. Backed by the Yuhaaviatam (pronounced "Yu-HAH-vee-ah-tahm") of San Manuel Nation, FNX is the only national Native and Indigenous television network in the U.S. operating through the PBS system. FNX features documentaries, films, news and music celebrating Native cultures around the world. Miccosukee filmmaker Montana Cypress has a feature short film he directed, 'Lumbeeland,' on the network. 'What is awesome about having a streaming app now, because it's the only place to see some great films from other Native filmmakers,' Cypress told ICT. 'Now we'll have a place to put up that work on the streaming app where it's available to everyone, not just live on the festival circuit and for free. The films will have life after the festival to have more eyes on them so that people can see these works from all areas that are unique and cool. I have 'Lumbeeland' up there now, and we're in talks to put up the gator wrestling film I made.' Cypress showed a sneak peek of a comedic film he is making about the casting of the Indian for the pollution awareness commercial in the 1970s that became known as the Crying Indian. It's fiction, but clever, and gives a new backstory to the controversial commercial. Crossing genres and borders, the celebrated Native American Music Hall of Fame inductee Keith Secola, Anishinaabe, has his hit song 'NDN Kars' featured in a pivotal scene in the finale of 'Dark Winds' Season 3. He recorded a new version of his hit song "NDN Car" that's looser and more acoustic for the series that keeps its drum- and chant-driven spirit. Overall, the song has been streamed hundreds of thousands of times online. Now Toronto-based Ishkōdé Records, a label committed to uplifting Indigenous voices across Turtle Island, has signed Secola to its roster. Secola is the label's first signed artist based outside of Canada. It signals a meaningful step in uniting Indigenous musicians across borders and generations. A seven-time Native American Music Award winner, Secola blends rock, folk and blues and traditional Indigenous instruments and storytelling. 'NDN Car' is his most famous work next to the sing-a-long classic 'Frybread.' 'Keith Secola is a masterful storyteller whose songs carry truth, humor, resistance, and pride. … His voice is timeless and unmistakably authentic, a force celebrated and uplifted across generations. We are deeply honored to welcome Keith to the Ishkōdé Records family,' the label said in a statement. Secola says ''NDN Car' is about the richness of being poor. 'Even with disparity and hardship, survivors can restore our identity through artistic expression which is forever resistant. We can transcend oppression by affirming our cultural pride and rebel against oppression which causes our fragmentation.' 'NDN Car' is the most requested song on tribal radio stations, and it has been heard in the soundtrack of 'Dance Me Outside,' and a 2020 remix by The Halluci Nation. The use in 'Dark Winds' reinforces the song's enduring humorous relevance as identity, sovereignty and resistance. Bridging performance and self-portrait, the exhibition Zig Jackson: The Journey of Rising Buffalo shows the everyday experience of Native American life and culture, with one photographer's focus on community, sovereignty and respect for the land. The exhibition opens at the George Eastman Museum May 10 through Nov. 9. Zig Jackson, known as Rising Buffalo, Mandan, Hidatsa, and Arikara Nation, is the first Native American photographer to receive a John Simon Guggenheim Fellowship in Photography. Raised on the Fort Berthold Indian Reservation in North Dakota, Jackson was taken from his home when he was eight and placed in St. Joseph's Indian School in Chamberlain, S.D. He survived and later graduated from Intermountain Indian School in Utah, where he discovered his passion for photography and the universal issues facing Native Americans. Jackson is now a professor emeritus at the Savannah College of Art and Design in Georgia.'The George Eastman Museum is proud to host Zig Jackson's first solo exhibition to be held on the East Coast,' said Jamie M. Allen, Stephen B. and Janice G. Ashley Curator in the Department of Photography, who co-curated the exhibition along with Curatorial Associate Louis Chavez. 'We are excited for visitors to learn about Jackson's work and how his photographs have contributed to discourses about Native American history and visual representation.' Jackson uses memories and reflections, documenting public and private life on the reservations. His images, mostly in black and white, contemplate family structures, substance abuse, veteran's issues, homelessness and connection to natural resources. His images are simultaneously playful and somber, such as in his best-known work 'Indian on the Bus' in which he dons a headdress and casually sits with the other plain clothed people on their commutes. Our stories are worth telling. Our stories are worth sharing. Our stories are worth your support. Contribute $5 or $10 today to help ICT carry out its critical mission. Sign up for ICT's free newsletter.
Yahoo
28-04-2025
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NDN Girls Book Club heads north, way north
Sandra Hale SchulmanSpecial to ICT After a hugely successful tour through the Navajo Nation, NDN Girls Book Club and Tlingit & Haida Central Council are teaming up in Alaska to continue the passion for reading, celebrating Indigenous authors, and inspiring the next generation of Indigenous writers and poets. The Central Council is a tribal government representing over 37,000 Tlingit and Haida Indians worldwide. The kick-off event will take place in Juneau, Alaska, on May 15th, and the team will journey by land, sea and air to distribute thousands of books May 15-24. 'We were working with Four Kinship and Abilani Mountain Press on our first tour,' Kinsale Drake, executive director of the Book Club, told ICT. 'That one was amazing, but a lot of work. That was the first time we had ever tried planning something like that. 'We were talking to a friend of ours, Tristan Douville, special projects manager, Central Council of the Tlingit & Haida Indian Tribes of Alaska, who helped make it happen along with Mischa Jackson, tribal education liaison at Tlingit & Haida. The first tour we had a pink truck full of books, but now we're talking about a pink canoe as we're traveling by sea and it's a new geographical challenge to get around in Alaska to the more remote villages and schools. 'Part of doing the book drop is emphasizing the diversity of Native peoples from all over. Misha Jackson is with a newly formed education development department, part of the uniqueness of education in Alaska to help rural villages. 'I'm involved in school systems decision-making,' Jackson told ICT. 'It's family engagement helping kids transition into kindergarten, middle school, then out of high school. As a regional tribal partner, we're able to play a stronger role in what that looks like for our tribal citizens because our tribal citizens are the ones that stay. So our rural villages, they dictate what family engagement looks like in school and what they want and so we're just trying to help amplify all that. 'We don't get a lot of books or access to Indigenous authors down south, so we have some people at Alaska Heritage Institute who made books, specifically language books, that relate to our story and place-based education. We are lacking in access to what's happening in Indigenous country down south and so we want to have access to those young adult books, too. They still see themselves in these stories even if it's a culture so different, it really is that unspoken bond.' At the book drop events, there will be readings and meals with specific regional foods, locally sourced and gathered deer meat, fish, smoked salmon, black cod, and the local favorite seal tacos and muktuk – whale blubber. They will also serve herring eggs collected off sea kelp in fish egg salad. 'Yes, the staple that everybody can smell and feel right now is herring egg season,' said Jackson. 'It is its own beautiful underground; I teach people that there's a herring egg mafia. 'We want the events to feel comfortable and familiar for kids and families with traditional foods and books and storytelling with kids and the elders in the same place,' Drake said. 'In addition to literature, I think it's a level of healing when it comes to books and education given the traumatizing history of education and elders who are still with us having lived through a lot of horrific instances in history. We provide new and healing spaces where you can repair or even generate new relationships to literature. That is one of the most exciting parts of these journeys that we do for sure and I'm super excited.' They already have thousands of books ready to ship, including brand new titles – free books with no strings attached. Drake dreams of being the Dolly Parton of the Native book world as Parton has given away millions of books for years to kids through her Imagination Library. 'I'm in Nashville and Dolly is our role model down here because of her spirit of generosity,' Drake said. 'With the Department of Education and the Institute of Museum and Library Services under attack, we have to show up and do the work as we can't depend on those organizations anymore. 'That's the reality for indigenous peoples. We've never been able to rely on or trust in those structures because they weren't made to uplift us, and we see that every day in systems. On a community level these are events that we can do and will have a great impact on these communities. Having these kinds of moments with our students, it's been rewarding in itself to dream and just think ahead. This is not a one-and-done event. We don't operate like that. This was our focus last year to continue community-based, creative, sustainable models for libraries, where people can exchange ideas and exchange the books.' They are expecting about 275 to 300 students K-12 in the rural villages plus family members – aunties, uncles, grandparents. "All I ever read growing up was 'Indian in the Cupboard' and 'Island of the Blue Dolphins' so this is a whole new world,' Drake said. TOUR SCHEDULE May 15: Juneau, Alaska May 18: Angoon, Alaska May 20: Yakutat, Alaska May 22: Klukwan, Alaska May 24: Hydaburg, Alaska Our stories are worth telling. Our stories are worth sharing. Our stories are worth your support. Contribute $5 or $10 today to help ICT carry out its critical mission. 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Yahoo
07-04-2025
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‘Drowned Land' shines light on Choctaw water rights movement
Sandra Hale SchulmanSpecial to ICT It took seven years for the feature directorial debut of Colleen Thurston's 'Drowned Land' to be completed, a journey that took her along with a community of people within her tribe, the Choctaw Nation of Oklahoma, and their fight to preserve water rights to the Kiamichi River. The damming and diversion projects that corporations and states actively pursue in spite of the harmful consequences unfurl through the stories of local advocates, scientists and Choctaw culture-keepers. 'Drowned Land' highlights a fight that is as much about protecting the river ecosystem as it is about breaking cycles of exploitation and displacement. The film premiered in Washington, D.C. The next screening is April 25 at Thin Line Film Festival in Denton, Texas. Upcoming screenings are planned for Seattle, Tulsa, Oklahoma City and Omaha. 'The looming threat of a dammed Kiamichi is not just existential,' Thurston told ICT. 'This is a source of life-giving water and the risk that diversion and commodification bring not only threatens the river's survival but that of its surrounding communities. My hope is that by connecting our peoples' history of displacement due to resource extraction with the present-day struggle of water protectors who are actively working to break these cycles, 'Drowned Land' can offer a glimmer of hope that there are real solutions. 'Among those is a call to return to our traditional matriarchal ways of being where life-giving sources – mothers and rivers – are centered in our societies. These issues exist within the larger context of the Rights of Nature movement, which recognizes waterways as living beings with inherent rights. Acknowledging the Kiamichi in these ways can and will help protect it.' Thurston attended the premiere screening in D.C. with hundreds in attendance. 'I was there along with Sandy Stroud, Choctaw, and Charlotte Robbins Leonard, Choctaw, who are two of our protagonists from the documentary and our producer, Michelle Lee Svenson. Then the other two screenings in Santa Fe and LA went really well. There were post screening discussions in both places, and we had members of our team on the ground there as well. It feels really exciting and something to celebrate that everything came together like that. 'It was an urgent issue, but it took seven years from conceptualization until release.' Thurston said it started out as a different documentary that was looking at the story of man-made lakes in Oklahoma. But after working in the communities that were affected, she just kept hearing the call was the story of the fight to protect that water source. 'We built relationships and formed collaborations with some of the water protectors. I had an incredible crew of talented filmmakers as the story shifted with events. I was going to make the approach that was more of a historical documentary about man-made lakes and the stories of the people that were tied to the land. But it's really important if you're coming to a community and telling stories with them to be led by that community and tell the stories that they want to tell.' Thurston said she learned a great deal. 'In Oklahoma, it often seems to be that nobody cares about us. Even from before the founding of the state with the removals of the eastern tribes into Oklahoma, it's like this was a dumping ground almost. It's been seen as a throwaway place, and I address that in the film. The new value comes from resource extraction, whether it's oil or water, coal or timber. What was most striking is the mindset shift that I felt I overcame, well, this is Oklahoma. So, of course, they're going to exploit this water source, but they can fight back and win. ' Thurston said she realized, if that can happen in rural Oklahoma, an environmental movement can protect a water source anywhere. 'I'm hoping that the film can shed light on the positive aspects of Oklahoma. It's a beautiful place. It's full of people that have survived this trauma, relocation and dispossession. We continue to survive trauma from both internal forces in the state and external. But at the same time, this is what resiliency looks like. And it's not just surviving. It's people that are thriving. It's people that are creating a film community, being leaders and environmental movements. That's really empowering.' Thurston hopes the film will build awareness of this water rights movement. Another part of it is to elevate the concept of protecting the rights of nature, which focuses on recognizing and granting legal protection for non-human bodies like water sources such as rivers. 'We're really hoping to accomplish a lot, but even if somebody comes into our screening from a different community, and they leave thinking, 'Where does my water come from when I turn on the tap? What is that water source?' And if they start to think about who are the stewards of that water, both currently and historically and traditionally, that's an educational campaign that we want to amplify. 'I want to utilize this film as a jumping-off point for other Choctaw filmmakers. This is the kind of work that we can be doing in the state and in the Choctaw nation, to gain awareness for that and support for that as well.' Our stories are worth telling. Our stories are worth sharing. Our stories are worth your support. Contribute $5 or $10 today to help ICT carry out its critical mission. Sign up for ICT's free newsletter.
Yahoo
28-03-2025
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INDIGENOUS A&E: Ghost writer, aunties and fashionistas, made for theater
Sandra Hale SchulmanSpecial to ICT The latest: Rogue artist in the museum, NDN Vogue and fierce family, play explores real vs. fake. As an artist who made his name painting (artful) rogue slogans in public, Jaque Fragua, Jemez Pueblo, has come in from the cold to produce Ghost Writing, a compelling, mid-career retrospective at the Plains Museum in Fargo, N.D., April 5-March 15, 2026. Drawing inspiration from the Ghost Dance – the spiritual movement thought to restore traditional Indigenous lands and ways of life – his art reclaims and reinterprets cultural iconography that has been historically misappropriated by non-Native entities. 'They're calling it a mid-career retrospective,' Fragua told ICT. 'It's kind of funny to me, the earliest piece in the show is 2010. That's not as early as I've been making work. By 2010, I started finding a direction where I wanted to go with my art. There are paintings, sculptures, installation work and I'm showing digital works, NFT pieces, and it will be more of an interactive situation so people can engage with the projections.' There are new pieces and some from collectors. 'It's cathartic looking at the progression because of the spaces that I've created this work in, from living out of a car to having a studio,' Fragua said. 'It's been giving me a sense of identity that I wasn't aware of at the time. It was expressive, spur of the moment artwork that this is what I was going through, this is what I was doing. It's charged emotionally, socially and politically.' 'Now I can see that it's all become a voice in itself. That's where the title of the show comes from. It's ideas, a spirit or voice that is talking through the work. I've always thought there is something in the room, other than me, that was there to help me or guide me through creating these works, much like ceremonies for Indigenous people, being open to the muse and seeing where it takes you.' One of his well-known works is 'This is Indian Land,' painting/graffiti he made in Los Angeles that was done as a 'friendly competition' he says of 'your tenacity, your bravery, and maybe just how much you hate authority. I took that phrase from the Alcatraz wall. A lot of the graffiti and the paintings that I'm inspired by come from historical places. It's in the vein or in the spirit of those phrases, but I always put my own twist on it. In this case it was using my style of typography, though I didn't tag it with my name.' He made the work in Indian Alley in Los Angeles, learning about the historical events of relocation, settlement and economy in the city through that project. He photographed it right away as it may be painted over quickly. Beyond his museum show, Fragua has been making his mark in the Mojave Desert with a new mural in Desert Hot Springs to be unveiled in mid-April to coincide with Coachella Music Festival. And he has a permanent mural at the Airstream campground called Auto Camp in Joshua Tree. He has work in the traveling multi-artist show 'Exploding Native Inevitable.' Fragua will be giving a talk at the museum: Artside Chat: Jaque Fragua's Ghost Writing Thursday, April 24, 6-7 p.m. Two new spring reads hit the shelves this month, celebrating family and finding your purpose through your culture. At the Native fashion events in Santa Fe, New York, Los Angeles and Vancouver, Christian Allaire, Ojibwe, has become a front-row feature as the senior writer for Vogue magazine. Having an Indigenous writer cover the scene has been a game-changer for the growing Native fashion scene and for Vogue, which had never had anyone covering the shows and designers with a genuine background and knowledge. How a fashion-obsessed rez kid who grew up on the Nipissing First Nation reserve in Northern Ontario eating bannock at powwows but feeling out of place made it to the height of fashion journalism is told in his new memoir, 'From the Rez to the Runway:Forging My Path in Fashion," out on March 25 from HarperCollins. He made it to New York on a circuitous route involving unpaid summer internships and the loophole of his tribe's status card. He managed to work his way up to his dream job and create a much-needed niche for himself covering Native fashion. He previously released "The Power of Style: How Fashion and Beauty Are Being Used to Reclaim Cultures," in 2021. In a celebration of extended family by Indigenous author and illustrator team Laurel Goodluck and Steph Littlebird, 'FIERCE AUNTIES!' is a charming tale of what makes aunties of all kinds so special, releasing April 15. Aunties come in different forms with different stories and things that make them special. This story celebrates Indigenous women and the roles they play in children's lives. Many cultures revere aunties but define them as not just the sister of a parent, but any special grown-up woman in children's lives. The bright illustrations show aunties and kids growing gardens, going to powwows, cooking and attending sports games. Laurel Goodluck writes picture books with modern Native themes that reflect Native children's cultural experiences and everyday life, showing they have a unique and powerful perspective. Her books include 'Forever Cousins,' 'Rock Your Mocs,' 'She Persisted: Deb Haaland,' and 'Too Much.' Laurel was raised in the San Francisco Bay area, coming from an intertribal background of Mandan and Hidatsa from the prairies of North Dakota and Tsimshian from a rainforest in Alaska. Steph Littlebird, Confederated Tribes of Grand Ronde, is the illustrator. Littlebird is known for her vibrant imagery that combines traditional styles of her Indigenous ancestors with contemporary illustration aesthetics. Her work often examines issues related to Native identity, cultural resilience, and responsible land stewardship. Larissa FastHorse and her new play, Fake It Until You Make It, moves to DC's Arena Stage (April 3-May 4) with Amy Brenneman leading the cast. FastHorse is the first Native American writer to have a mainstage production on the Mark Taper Forum stage. Her new work shines a hilarious light on 'shifters' who exist in a world of self-determined identity. The humorous, thought-provoking play asks: Who decides who you are? Who says what you can be? And is anything real if anyone can be anything? The play takes an absurd look at what defines identity in today's world, and the lengths people will go through to change it. Along with being the first known Native, female playwright to be produced on Broadway, she is currently represented with her adaptation of Peter Pan, which is now touring the country. She is also hard at work on a commission for The Public. Our stories are worth telling. Our stories are worth sharing. Our stories are worth your support. Contribute today to help ICT carry out its critical mission. Sign up for ICT's free newsletter.
