An Afternoon of Dance: Hoop dancer Dallas Arcand & Métis dancer Madelaine McCallum. Due: 12:30 – 2:30pm, Jan 9, 2017

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An Afternoon of Dance with

Hoop dancer Dallas Arcand & Métis dancer Madelaine McCallum

January 9th 2017

12:30 – 2:30pm

Sty-Wet-Tan Hall, UBC Longhouse, 1985 West Mall

Following the performances, open conversation with Dallas Arcand, Madelaine McCallum and Filmmaker, Darcy Muenchrath.
Everyone is welcome.Afternoon_of_Dance_poster.jpg

Jan 22-24, 2016: STAND Conference – Learn, Listen, Act: Promoting Reflexivity to Genocide of Indigenous Peoples

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Learn, Listen, Act: Promoting Reflexivity to Genocide of Indigenous Peoples

About the Conference

In light of the findings of the Truth and Reconciliation Commission report published in June 2015 regarding the cultural genocide of First Nations peoples, STAND is looking to reorient itself toward domestic issues related to genocide in addition to our international advocacy focus. This conference will convene STAND Canada’s national leadership on the UBC campus, hosted by our UBC Chapter, for a robust dialogue on STAND’s future in relation to genocide on this land that will engage multiple stakeholders.

The objectives for this conference are open-ended as we listen through consultations, meetings, and events in an effort to understand our responsibility as a Canadian anti-genocide advocacy organization. As a result of the topic of focus, we are excited to build relationships with external allies and local Indigenous groups that may be interested in teaching us and working with us.

For more information, please view our Conference Summary.

Get Involved with the Conference

The Conference will be held from 9am – 8pm in Vancouver on January 22, 23, and from 9am – 2pm on January 24. There is no cost for attending the Conference.

We have organized two events open to the public. Please join us for the following events:

If you are interested in attending but do not have a Facebook account or you are bringing a guest, please email us or RSVP through Eventbrite to the film screening and Open Forum. We would like to ensure that our events meet room capacity numbers.

For any questions, please email us.

Cree language used as secret weapon in WWII

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Cree language used as secret weapon in WWII

Checker Tomkins’ work was so highly classified he couldn’t tell anyone … for decades

CBC News Posted: Jul 14, 2015 6:30 AM MTLast Updated: Jul 14, 2015 6:35 AM MT

When Checker Tomkins went off to war, he took with him a top-secret weapon the Germans knew nothing about.

The Cree language.

Charles 'Checker' Tomkins

More than 70 years after Charles ‘Checker’ Tomkins served in the Second World War, his once top-secret story is being brought to life in a documentary film. (Supplied)

His work was so highly classified, even after the war ended he was under orders not to tell anyone – not even his own family.

Until recently, even Tomkins’ own brothers had no idea he was involved in covert work.

“All that time, they were under an oath of secrecy,” said Frank Tomkins. “And they honoured it. I never knew about it.”

For that reason, and perhaps others, few people know about the role men like Charles “Checker” Tomkins played in the Allied victory during the Second World War.

Film director Alexandra Lazarowich hopes to change that. She’s making a 10-minute documentary about Tomkins.

“This is an important story to tell,” she said. “Because I feel like lots of aboriginal veterans in Canada have not been recognized by anyone, anywhere.”

The role of the Navajo “code talkers” was brought to the big screen in 2002, in the Hollywood movie Windtalkers.

Lazarowich wanted to tell the story of Cree soldiers from Canada who played much same the role during the war.

“This kind of sacrifice and this kind of use of our language, I thought that more people need to know about this,” she said. “Everyone knows the Navajo story, but we had our own guys in our own backyard who were doing this. Cree from Alberta and Cree from Saskatchewan.”

Code talker crew

The documentary crew was in Alberta recently to interview people for the film, including Checker’s brother, Frank. (CBC)

Tomkins was from Grouard, Alta., about 170 kilometres northeast of Grande Prairie.

Smokey Tomkins said before his brother died in 2003, at age 85, he told the family some details about the messages the “code talkers” would pass back and forth.

“Numbers, of course,” he said. “There’s 14 bombers, you know, so they say the word fourteen.

“If they were referring to a mosquito bomber, you would use the word sakimes… sakimes in Cree is a mosquito.”

Lazarowich hopes her film leads to more recognition for Checker Tomkins and other aboriginal veterans.

“I’d really love to see him get recognized by the Canadian government,” she said. “And I’d also really love for him to get a Congressional Medal. Because the United States honoured all of their code talkers … a few years ago.”

‘Haida Gwaii’ film wins top prize at Hot Docs

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‘Haida Gwaii’ film wins top prize at Hot Docs

Blessing of the Gwaii Haanas legacy totem pole Haana Edenshaw tosses feathers during the blessing of the Gwaii Haanas legacy totem pole before being raised in Windy Bay, B.C., in Haida Gwaii, on Thursday, Aug. 15, 2013. (THE CANADIAN PRESS/Darryl Dyck)

Cassandra Szklarski , The Canadian Press
Published Friday, May 1, 2015 9:10PM EDT

TORONTO — A film about the aboriginal rights activists, ecologists and locals who have worked together to rejuvenate British Columbia’s Haida Gwaii has won the best Canadian feature documentary award from the Hot Docs Festival.

Director Charles Wilkinson’s “Haida Gwaii: On the Edge of the World” claimed the $10,000 prize as the jury praised its “stunning cinematography.”

A $5,000 special jury prize went to Sophie Deraspe’s “The Amina Profile.”

And the emerging Canadian filmmaker award went to director Ryan Mullins, whose “Chameleon” concerns a Ghanaian journalist famous for his unique methods.

Meanwhile, the first-ever Hot Docs short film pitch contest awarded a first place prize of $30,000 to “Cree Code Talker,” pitched by Alexandra Lazarowich and Cowboy Smithx of Edmonton. It’s about Second World War code talker Charles (Checker) Tomkins, who used the Cree language to help Allied forces.

Read More…

Source: http://www.ctvnews.ca/mobile/entertainment/haida-gwaii-film-wins-top-prize-at-hot-docs-1.2355245

Native activists tell Adam Sandler, Netflix they’re #NotYourHollywoodIndian

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Native activists tell Adam Sandler, Netflix they’re #NotYourHollywoodIndian

Activists use hashtag #NotYourHollywoodIndian to pressure Netflix to cancel production of The Ridiculous Six

By John Bowman, CBC News

Saginaw Grant and Loren Anthony on the set of The Ridiculous Six.

Saginaw Grant and Loren Anthony on the set of The Ridiculous Six. (Loren Anthony/Instagram)

Eight native actors and a cultural advisor walked off the production of the Adam Sandler comedy The Ridiculous Six last week, saying the script was insulting to native women and to elders.

One of the actors, Loren Anthony, wrote the following on Twitter about his day working on the movie.

Most of the actors who left the film’s set were from the Navajo nation. They were playing Apache warriors, women and elders in the Adam Sandler comedy western, the first of four movies Sandler agreed to produce for Netflix.

Actor Loren Anthony appears on the set of the Adam Sandler comedy The Ridiculous Six, in a photo posted to Anthony’s Instagram account. Anthony later walked off the production. (Loren Anthony/Instagram)

Portions of the movie’s script were leaked online after the walkout.

One scene involves three women named Smoking Fox, Beaver Breath and Never-Wears-Bra.

When one of the women appears unfamiliar with the white man’s “toilet paper,” and when Beaver Breath explains what it’s for, the third replies — in stereotypical broken English — “That what dead squirrel for!”

Megan Red Shirt-Shaw is a writer and activist living in California, and founder of NativesInAmerica.com. She found this scene particularly offensive.

“I think especially being a Oglala Lakota woman, there’s so many issues about portrayals of who we are,” she said. “And I was especially disappointed, much like the actors were, about the portrayal of women in this film.”

Another scene that made its way online involves a native woman squatting and urinating while smoking the peace pipe.

“To me it was especially disappointing that they were desecrating our sacred peace pipe, which is very much a part of my community,” said Red Shirt-Saw.

While few people would expect high-brow humour from an Adam Sandler flick, the portrayal of Apache culture and the insulting script were enough for the film’s cultural advisor to leave.

After that, about a dozen actors confronted the producers of The Ridiculous Six over the script, and one of them, Goldie Tom, took a cellphone video of the conversation.

The Indian Country Today Media Network posted the video to YouTube.

“If you are overly sensitive about it, you shouldn’t be in the movie,” says a man identified as a producer on The Ridiculous Six. “We don’t want to offend anybody.”

As news of the walkout spread, Red Shirt-Shaw began posting about it on Twitter under the hashtag #NotYourHollywoodIndian, which was inspired by some of the actors’ comments.

“I logged into social media and saw that a ton of people were talking about it, but that the ideas weren’t consolidated, so I decided to try to push it out there,” she said.

“I’m just moved by how it has grown and seeing the people come out and support it, and seeing news articles reference it,”  said Red Shirt-Shaw. “I think that we have to stand as a united front.”

She also co-founded a petition on Change.org urging Netflix to cancel the production of The Ridiculous Six.

“We’re really hoping that we can build up the signatures that are on there and present this to Netflix in a way that will say ‘We’re not going to support you. People have already cancelled their subscriptions. You guys really need to evaluate whether or not this is a project you want to move forward with in the future,'” she said.

So far, Netflix remains committed to the movie.

It released a statement about the walkout and The Ridiculous Six, saying, “It is a broad satire of Western movies and the stereotypes they popularized, featuring a diverse cast that is not only part of — but in on — the joke.”

The petition is more than halfway to its goal of two thousand five hundred signatures.

“Ultimately, I think that we’re hoping, again, much like #NotYourHollywoodIndian, this will be a consolidated effort for Netflix to be able to see how many people truly care about this issue,” said Red Shirt-Shaw.

CFP – 14th Annual Symposium of Native and Indigenous Scholarship, Due: April 10, 2015

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14th Annual Symposium of Native and Indigenous Scholarship
at the University of Washington, Seattle
wǝɫǝbʔaltxʷ Intellectual House
May 8, 2015 9:00-5:00

“Indigeneity in Motion”
A Close Look at Movement, Migration, and Transformation
To live is to move. Indigenous peoples have always been in motion, by necessity of sustenance or preservation of extensive trade routes (Vizenor, 2009). Our understanding of movement is that it is on a continuum and thus cannot be reduced to what is static (Bergson, 1911). Movement is essential for life and is a natural right. Further, Indigeneity in motion coupled with active presence is a form of tribal sovereignty. In the words of Gerald Vizenor, “The sovereignty of motion is mythic, material, and visionary not mere territoriality, in the sense of colonialism and nationalism” (Vizenor, 2000). Indigenous conceptions of motion connect Indigenous peoples to their stories of emergence and migration and place us in direct relationship with our environment and our natural world relations. Broadly conceptualized, movement can be discussed in terms of peoples, rights, climate, health, culture, time (history), space, technology or information, water, land, borders, and more. Indigenous graduate, professional, community and undergraduate students and scholars, staff, and faculty are invited to submit summaries or abstracts for the opportunity to present work relating to this year’s theme.

Please submit a 250-word abstract to nois_officers@uw.edu with the subject “NOIS Symposium Submission” by Friday, April 10, 2015. Presentations can take any one of the following formats:
● Paper presentation
● Poster
● Panel Discussion (4 members max)
● Poetry*
● Artwork (visual or musical; submission no longer than 20 minutes)*
● Short film
*Poetic submissions should be the actual poem(s). Artistic submissions should include a photograph and description. Musical submissions should describe lyrics/music as they relate to the theme. Submissions should include:
● Title of presentation
● Authors & Affiliation (School, Department, Institution, Organization, Tribal Nation)
● Contact information (email and telephone number)
● Presentation format (oral presentation, poster, or panel)
Acceptance letters will be sent out on April 14, 2015 to the email address indicated in your submission.
Please join us at the newly opened wǝɫǝbʔaltxʷ Intellectual House on the UW Seattle campus,
4249 Whitman Court, UW Seattle Campus (E. Stevens Way and Whitman Court NE)