Events
Indigenous Cinema '21
Bronx Llaktamanta/From the Bronx
| Title: | Bronx Llaktamanta/From the Bronx |
| Release Date: | 2016 |
| Runtime: | 5 minutes |
| Director: | Doris Loayza |
| Language: | English |
| Synopsis: | Bronx Llaktamanta is a profile of Segundo Angamarca, an Ecuadorian immigrant who founded and hosts Radio Tambo Stereo, a Kichwa-language radio station in the Bronx, NY. |
| Director Bio: | Doris Loayza is a native Quechua and Spanish speaker, educator, and multimedia producer from Peru who now lives in Bloomington, IN. She is the Quechua Language Instructor at CU Boulder, and teaches high school Spanish in Bloomington. Doris moved to New York City in 2007, and in 2014, she earned a Masters in Latin American & Caribbean Studies from NYU, where she helped to organize Andean cultural activities and produced a Quechua language podcast. Bronx Llaktamanta has been shown at the United Nations, universities, and other venues. |
First Voices
| Title: | First Voices |
| Release Date: | 2010 |
| Runtime: | 11 minutes |
| Director: | Amalia Córdova (Diaguita/Chile) |
| Language: | English and Lakota |
| Synopsis: | New York City is home to some eighty thousand Native people. From WBAI's studios in lower Manhattan, the weekly independent radio show First Voices Indigenous Radio, hosted by Tiokasin Ghosthorse, a member of the Cheyenne River reservation in South Dakota, connects voices from Indian Country to everyday struggles of first peoples everywhere. This is the story of a man's art and life dedicated to creating change through a Native airspace from the heart of New York City to the world. |
| Director Bio: | Amalia Córdova is a Latinx digital curator at the Center for Folklife and Cultural Heritage. She is a former Latin American specialist for the Film + Video Center of the Smithsonian's National Museum of the American Indian in New York City. She joined New York University's Gallatin School of Individualized Study as part-time faculty in 2011 and later served as assistant director of NYU's Center for Latin American and Caribbean Studies. |
Justicia sin palabras/Mute Justice
| Title: | Justicia sin palabras / Mute Justice |
| Release Date: | 2011 |
| Runtime: | 29 minutes |
| Director: | Sergio Julián Caballero (Mixtec/México) |
| Language: | Huave, Triqui, Zapotec & Spanish with English subtitles |
| Synopsis: | Mute Justice shines a light on the serious injustices of a judicial system that does not guarantee access to Indigenous language interpreters. This documentary aims to raise awareness about the linguistic rights of Indigenous peoples. Through personal testimonies with different actors, Indigenous people who have been incarcerated and their families, officials working in the justice system, and academics, it provides a look at the state which controls these rights. |
| Director Bio: | Sergio Julián Caballero is originally from the Mixtec community of San Antonio Huitepec. He is a founding member of Comunicación Indígena S. C. (Ojo de Agua Comunicación), which was started in 1998. His background is in videography and video editing, and over the course of his career he has edited more than 100 documentaries with filmmakers from Indigenous communities. These include: Justicia sin Palabras, Sembradores de Agua y Vida, La videocarta: Saludos Desde el Pueblo que dice No a la Minería, among others. Since 2006 he has organized community trainings for radio projects. |
Week Three
May 7 to 10
The Hemispheric Institute and the Center for Folklife and Cultural Heritage of the Smithsonian Institution present Indigenous Cinema 2021.
In the midst of the digital turn and the global crises brought about over the past year, Indigenous artists and activists have found new spaces for their works to be more broadly seen. Indigenous media has been growing over the past four decades, documenting community practices, but also exploring new modes of expression through a range of themes, languages and genres. As new, layered forms of understanding identity emerge, film has proven to be an adaptable medium to explore the interlacing of Indigenous experiences that are in motion, seeking wholeness despite fragmentation, and not restricted to the binaries of urban and rural, ancestral and contemporary, female and male, and more. What we are seeing today is a multiplicity of Indigenous voices and modes of storytelling, told through the moving image. We are pleased to bring a sampling of this new tide of Indigenous cinemas, alternating recent shorts and feature films, some of them made in New York, and others from across the continent.
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