The 11th annual Cine Las Americas International Film Festival started Wednesday the 16th and runs through April 24th. NAICA spoke with Director of Programming, Jacqueline Rush Rivera on the direction of the festival this year, must see films, new venues and where CLA is going (and they are going places) in the coming years. If you are in Austin, Tx or the surrounding areas in the coming week, make sure to take advantage of the excellent screening opportunities facilitated by this intimate and intelligently programmed film festival. And don’t forget to listen to the podcast below!

To learn more about the festival, the screening venues, and to view a film schedule visit www.cinelasamericas.org.

“The mission of Cine Las Americas is to promote cross-cultural understanding and growth by educating, entertaining and challenging the diverse Central Texas community through film and media arts.”

(F.Y.I. click on ‘download’ to listen to podcast. the popup player is acting a little kooky on this one.)

 CLA 2008: Play Now | Play in Popup | Download (33)

“Is that bitch wearing the same scarf as me?” | “Um, that right, Kemosabe.”

Time to don your tight Cowboy unitards and Indian-fringed pajamas, children, because the Lone Ranger is back in town.

[courtesy Hollywood Reporter]

“Writers Ted Elliott and Terry Rossio are going from “shiver me timbers!” to “Hi-ho Silver!”

The writing duo, best known for their work on the “Pirates of the Caribbean” films, are in final negotiations to write a live-action big-screen adaptation of “The Lone Ranger” for Disney and producer Jerry Bruckheimer.

The hero’s origin story begins with a group of Texas Rangers chasing down a gang of outlaws led by Butch Cavendish. The gang ambushes the Rangers, seemingly killing them all. One survivor is found, however, by an American Indian named Tonto, who nurses him back to health. The Ranger, donning a mask and riding a white stallion named Silver, teams up with Tonto to bring the unscrupulous gang and others of that ilk to justice.

Bruckheimer is producing “Ranger,” and Bruckheimer Films’ Mike Stenson and Chad Oman are executive producing. Jason Reed is overseeing at Disney.”

We have a crisp five dollar bill that says the role of Tonto goes to Adam Beach.

NAICA is gearing up for it’s Spring edition and in keeping with the season of blossoming love and flowers and shit like that we were wondering what the hell is American Indian (South, North, Central…all western hemispheric and whatnot) love all about anyway?

Tell us your grand love stories whether they be Indio encima Indio, cross generational, multi-cultural or inter-tribal, we want to hear how and why Native people fall in love these days-with or with out an open bar-because we’re tired of reading about it in romance novels!
Reply with your insights and we will reprint them in an upcoming editorial on this very topic in our all new all love on all pages in the next edition of NAICA online.

Caveats:
-Must be 18 years or older.
-No pornography please. We don’t care about the physical mechanics of “love” only the esoteric/romantic why of it all.
-Must give NAICA onine permission to reprint your ideas/stories OR we will use your shit and give you a pseudonym like “Jennifer Tickles Cocks” cause we’re professional like that.
-Must be Indigenous in some provable way (ahahahahahaaaahahahaha).

Send your reply to:
naica.content@gmail.com
with your name, age and verifiable email address so we can send you a release form.

Limit (250 words or so) please
BTW, this is a truly serious piece of scholarship we’re aiming for …hmmm.

www. thenaica. org

It’s that time of the year again Indigenous folks-time to get your hard-worked film into Native oriented festivals.

First stop: San Francisco, CA-The American Indian Film Institute is currently seeking film and video entries for the 33rd annual American Indian Film Festival. As the nations oldest and most prestigious venue for American Indian film arts and entertainment, the American Indian Film Festival has earned a reputation for excellence and integrity. At Film Festival 2007, AIFI premiered and/or screened over 100 film and video works from American and Canadian filmmakers. The annual Film Festival and American Indian Motion Picture Awards Show, produced by AIFI Founder and President Michael Smith, draws an audience of nearly 5,000, anticipating the latest in American Indian film, video, and music.

The 2008 American Indian Film Festival will be presented November 7-15 in San Francisco, California. Films to be entered for competition should be by or about American Indian or Canada First Nations people and produced during year 2007-2008. Entry deadline is August 5, 2008.

The major categories for competition are: Documentary Feature, Documentary Short, Feature Film, Live Short Subject, Music Video, Animated Short Subject, Public Service and Industrial. All entries must be accompanied by promotional materials, including production credits, publicity stills, as well as a film synopsis, not to exceed 250 words. Entrants are responsible for all shipping costs to and from AIFI’s San Francisco office.

A Film Jury, designated by the American Indian Film Institute, will screen entries and issue recommendations for the final program and award nominations. During the week of September 29, 2008, entrants will be notified of their selection to the 2008 American Indian Film Festival & Video Exposition. The American Indian Motion Picture Awards, recognizing outstanding Indian cinematic accomplishments, will be presented the evening of November 15 at the Palace of Fine Arts, 3301 Lyon Street, in San Francisco. Each entry must include: Completed entry form; film synopsis; DVD/VHS screener; Signed Regulations Agreement Form; Entry Fee $50.00 (U.S. Funds). Entry fee payable: American Indian Film Institute.

Please check the AIFI website – www.aifisf.com for American Indian Film Festival entry application and regulations form.

Entry forms can also be obtained by writing or calling the American Indian Film Institute
333 Valencia Street, Suite 322, San Francisco, CA 94103, USA. Telephone: 415. 554. 0525, or Fax: 415. 554. 0542. You may also e-mail AIFI at: filmfestival@aifisf.com

2008 Film Festival Sponsorship packets are available now. Sponsorships range from $10,000 to $50,000. Reserve early.

The American Indian Film Institute (AIFI) is a non-profit media arts center founded in 1979 to foster understanding of the culture, traditions and issues of contemporary Native Americans.

Contemporary Native Art @ the Salena Gallery (surrounding the Spike Lee Screening Room)

Opening Reception: March 6th 5-8

Performance program: March 9th

Co-curators: Deborah Everett and Raquel Chapa

Featuring works by
Thosh Collins
Mario Martinez
Peter Jemison
Yatika Fields
Jeffrey Gibson
Sarah Sense
Miranda Belarde-Lewis
Joseph Williams
Annabel Wong

Humanities Gallery: Lorenzo Clayton and the Dust Dive

Native Voices comprises three exhibitions of contemporary Native
work. The exhibitions offer a rare opportunity for the New York
public to engage with the work of contemporary Native artists from
Canada and across the U.S.– and it will include some of the
most moving and original work being currently made in any art
community. The works represent a cross-section of contemporary
sensibilities, commenting on the challenges of the postmodern world.
Some deal with issues of identity, including that of being an
outsider in a mass society. The work may or may not hint at the
ethnicity of its maker, but it consistently employs powerful
strategies to grapple with modern life in a global world.

Show in conjunction with FiveMyles gallery
http://www.fivemyles.org

and
Kentler International Drawing Space
http://www.kentlergallery.org/index.html

Moose Factory, Ontario….The Sixth Annual Weeneebeg Aboriginal Film and Video Festival will be celebrated in Moose Factory Island, a community located in Northern Ontario along the James Bay coast. The festival is a grassroots community cultural event, which presents works by new, emerging and established filmmakers with featured school and community events. Our annual program showcases stories that resonate with issues and perspectives relative to the James Bay people. The Weeneebeg Aboriginal Film and Video Festival and Video Festival 2008 will be showcasing a program that will focus on language and culture in First Nations.

‘Weeneebeg’ is the traditional Cree word referring to the waters of James Bay. The island community is situated on the Moose River that flows into James Bay. The area is called the Mushkegowuk territory populated mainly by the First Cree nations of Moose, Fort Albany, Kashechewan, Attawapiskat and Weenusk. Moose Factory is located approximately three miles from the mainland town of Moosonee and is accessible via an ice road during the festival in March.

The Weeneebeg Aboriginal Film and Video Festival partners with local organizations, co-presenting screenings, traditional Cree feasts and festival activities at various venues throughout the community such as the Elder’s Centre, the Cree Village Ecolodge and local schools. This year’s partnership continues with imagineNATIVE Film + Media Festival to include a youth program with a selection of short films being programmed by both festivals. The Weeneebeg Aboriginal Film and Video Festival showcases shorts, animation, documentaries and feature films as well as hands-on youth workshops with guest artists. Audience members are mainly from the Moose Factory and Moosonee area and many others who travel down the ice road along the coast from Fort Albany, Kashechewan and Attawapiskat. Guest filmmakers are invited to present their works, artists’ talks and facilitate workshops while experiencing a unique northern life with the Cree Nation.

One highlight for the 2008 festival is presenting works about First Nations languages and cultures. Some of this year’s program presents the short film Wabak by Kevin and Gilles Pensoway (CAN) from Quebec, Nkiwmowin (My Song) by Kevin L. Burton (CAN), and the premieres of Kanien’keha:ka-Living the Language by Paul M. Rickard (CAN), an established filmmaker originally from Moose Factory, Weaving Worlds by Bennie Klein (USA), Miss Navajo by Billy Luther (USA).

Another highlight will be two films that deal with teen suicide, an issue that has plagued First Nations communities for decades. Seeking Bimmaadiziwin by Kelly Saxberg (CAN), a dramatization of a young girl struggling to find herself, culture and the hope to carry on. Le Pacte (The Pact) by Yvon Dube (CAN) and Erica Pomerance (CAN), a documentary about the Atikamekw First Nation looking for new ways to solve the problems of youth suicides using their community’s own resources.

The Weeneebeg Aboriginal Film and Video Festival has continued to present important films that address issues that all First Nation peoples deal and face in their everyday lives and we also present works that entertain our audience.

The Weeneebeg Aboriginal Film and Video Festival is a free festival and provides unlimited access to all screenings, events and workshops. The festival is an artist and community run festival led by Executive Director/Programmer, Paul M. Rickard and Co-Executive Producer/Special Events Coordinator/Programmer, Fred D. Rickard and Consultant/Programmer, Shirley Cheechoo.

The 2008 website has been launched with the full program. Further details of screenings, visiting artists and special activities will be posted.

For updates, we invite you to please visit www.weeneebeg.ca

For media information, please contact:

Fred Rickard
Tel: 705-658-6987
Email: fredrickard@mac.com

In this week’s episode I sound lonely so I call people:
Cindy Benitez gives us the 411 on this past week’s American Indian Film Institutes’s annual film festival.
Sonny Grant and I discuss censorship and the delineation between blogs and webzines.
Renee Gick and I cross hairs over modern cannibal’s and anthropology and manage to remain friendly colleagues even though our opinions differ. Gee, what a concept!

Special Note: We are sad to hear Micheal Spears did not win the best actor award at the AIFI but we are certain he will win an award for his acting endeavors from some institution somewhere in the world some time in the future.

photo: Mel Brooks and MGM

 Back in the Saddle [44:32m]: Play Now | Play in Popup | Download

photo courtesy: Doug Miles

NAICA favorite Georgina Lightning was recently in town to show a trailer of her forthcoming feature Older Than America. Rooftop Films and IFC made this screening possible. The event, contrary to the title, was held at a park on 12 Street, between Avenue A and 1^st Ave–for those of you who give a shit—in East Village. Some of you may claim that I am biased but I assure you the highlight of the event was Georgina’s trailer. The rest of the trailers emphasized “white neurosis” under the guise of art. Please don’t make me explain this. Either you get it or you don’t. Or better yet take a class at the New School. I’m sure they offer a course on this subject! Please see my interview in the 2007 summer edition with Georgina for more details on her feature: http://www.thenaica.org/edition_six/ppt/georgina/intro.htm
In other news yours truly also participated in a screening/ Q&A for Artic Son directed by Andrew Walton at The ImaginAsian theatre on 59^th street in midtown Manhattan. This event was co-presented with American Documentary/POV and Big Mouth films. The morning of the screening I made a brief plug of the event on First Voices Indigenous Radio hosted by Tiokasin Ghosthorse on WBAI FM. This was my first time on the radio save the time I called a fitness show seeking advice on how to get rid of flabby arms. I was excited-my cherry was popped on public radio! Back to the screening…OMG…the audience was rowdy and irreverent. In spite of the presence of their teachers, the students chatted incessantly with each other, and even had the nerve to talk on their cell phones.

HELLO!

How many times have you read DO NOT TALK DURING THE MOVIE or TURN OFF YOUR CELL PHONES on the screen before a movie began? Obviously not these kids! The only part of the film that commanded everyone’s attention was the scene where Stanley Jr. skinned a rabbit. After the screening I reluctantly moved to the front of the theatre to sit on a panel with the Arctic Son producer Dallas Brennan Rexer and Irene Villasenor of POV. The point of this segment was to answer questions or offer commentary on the film. Yikes! My initial skepticism was soon eradicated by the articulate questions offered by the audience. Yes these kids did pay attention! In retrospect I realize that I was too harsh on these kids. In fact, at a recent screening at my friend’s home, I too was offering commentary at inappropriate moments. However I was drunk on cheap wine…so there!

Last week Longwood Gallery at Hostos College in the Bronx held an opening reception for The Fort Apache Connection. The show is a multimedia presentation that, “explores the falsehoods and realities of Apache images that have been historically conjured up and perpetuated by American popular culture.” I was late to this event due to, well…you really don’t give a shit…right? The point is I made it there. I arrived famished expecting to gorge myself with cheese and wine. But upon my arrival I noted there was no food. Shit! Everything had already been consumed. Yup, tell-tale sign of the presence of Indians-empty plates and trash left on the floor. However the focus was the work on the walls. Various artists such as Jason Lujan, Pena Bonita, Bob Haozous, Carm Little Turtle and Douglas Miles had their work on display. I immediately went to Doug and Nadema and offered my congratulations. For those of you who don’t know, Doug lives down the block from my grandmother in TC ALLEY, USA. I meandered through the gallery and noted all the work. But I was mostly interested—yes I am biased—in Doug’s work. Frankly I was so tired that I opted to pose a few questions to Doug via e-mail. Yes, I get tired and prone to lassitude…but you’d rather read his description of his work than me, right?

Sonny Grant: Although your work has been presented in various forms, you mostly use skateboards as a canvas, Why and What message are you trying to convey?

Douglas Miles: Using skateboards as a canvas is a way I challenge myself as an artist and designer. Its also fun to design something that has form and function, not something that just hangs on a wall or sits on a shelf. I don’t think in terms of having a “message”. Just trying to make something interesting that people can relate/respond to. If there are messages I guess they’re multilayered. I think the medium is the message. People ascribe different meanings to my work. There is a long list of short words people use when discussing my work: “ Pop, Modern, Street, Hip-Hop, etc…” There is also a short list of long words people use to describe my work: “ contemporary, appropriation, confusing, etc.” Go ahead and add your own new long or short words here.

SG: For those of us who aren’t familiar with your company would you briefly tell us about it and how it came into being?

DM: Apache Skateboards came into being purely out of necessity. “ Necessity is the mother of invention.” With no Native Skateboard companies at the time we started, we pioneered a little known thing into a small movement of sorts. Now Apache Skateboards (AS) has become a “brand.” We want to make it clear that we are proud of who we are and what we’ve done, Yet AS is not just me but a team of dedicated skaters, filmers, photographers, and artists who serve as our “ Broad of Directors.” AS is for everyone. We created a product that anyone should be proud to support.

SG: Your work synthesizes the images of “Boricua” and contemporary and traditional Apaches, What is the connection between these two cultures?

DM: The skateboards and art designed for the Fort Apache Connection art show at Hostos College (curated by Nadema Agard) were done as a tribute to two strong yet often marginalized cultures in America. Apache people from the southwest, Puerto Rican people from an area in the South Bronx formerly known as: Fort Apache. The work in the show is not really a synthesis but a tribute to two very strong and vibrant cultures and meant to discuss sociopolitical parallels in how each culture had been (mis) treated, for better or worse.

SG: Do you feel that you are commodifying Apache culture by presenting it within a pop context?

DM: No I do not feel that at all. Apache culture is too vast, complex, living, vibrant, expressive unknown, mysterious and specific to commodify. If I am commodifying anything it is my own artwork for my own fun and challenging purposes. I think it is necessary that we (Natives) create our own companies, products, and projects so we don’t have to be blindly sold whatever is out there. You can’t help but notice we live in a country/culture of consumers. I like Pop art but I do not consider myself a “Pop Artist” nor do I consider what I or my peers do as “Pop Art.” Museums that take cultural and intellectual property under the guise of preservation, then charge an entry fee to view one’s own culture? Authors and historians who write about Native cultures as “so-called experts” and receive payment for these books and articles? Non-Native companies who use Native-themes and images to sell products such as , cigarettes, butter, orthopedic shoes, clothes toys, movies, films, documentaries etc? Of all these various groups it is rare that the Indian community gets to see revenue from these various products or projects.

SG: Who or What influenced your work?

DM: First and foremost?

Allan Houser

Allan Houser

And Allan Houser

Did I say Allan Houser?

Of course you can see all types of influence. But currently?
Yatika Fields, Rose Simpson, Micah Wesley, Brian Brannon, Cey Adams, Batman, Bob Haouzous aka Mecha-Godzilla, subway sweat, ( sing sweet chariot down deadened streets.) Cannupa, HUMBLE, The Apache Wars, Velvet Underground, The Sopranos, Reubrn Ringlero, Lil’ Doug, Irwin Lewis, Exvoto Design, Eyejammie, Akira, Taxi Driver, South Bronx Hip-Hop era, Rahzell, Joe Conzo, Nadema Agard, Bruce Lee, Scorcese, Apachelypse Now, Ernie Panicolli, The Land of Plenty Skateboards, Cowtown, Charlie Parker, The RZA, Martha, Gracie, Bekah, Cece, India, T.C. Alley spray painted walls, & that cholo kid who is doing ill work on a little scrap of paper in the back of the classroom.

SG: Please tell us about your forthcoming projects?

DM: Space, the final frontier. These are the voyages of the Apache Starship Enterprise: It’s a five year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man or woman has gone before.

Thanks Doug!

P.S. this is shameless self promotion time…a personal essay of mine was published in the most recent edition of Talking Stick Native Arts Quarterly….check it out!

http://www.amerinda.org/newsletter/10-4/index.html

TORONTO OR BUST!

San Francisco, CA - The American Indian Film Institute (AIFI) and Title Sponsors; the Rumsey Band of Wintun Indians and the SeminoleTribe of Florida are proud to announce the opening and closing night films for the 32nd annual American Indian Film Festival:

Opening the nine day Festival at Landmark Embarcedero Cinema on Nov. 2 in San Francisco, will be two captivating documentaries, “Maria Tallchief” and “Water Flowing Together”, both exploring the world of ballet through two renowned Ballet dancers.

The World Premiere of “Maria TallChief” directed by Sandra Osawa, poetically chronicles the legendary Osage dancer Maria Tallchief. Hailed as “America’s first prima ballerina” this full-length documentary includes rare ballet dance footage and exclusive interviews with Maria Tallchief as well as fellow dancers and historians. “Water Flowing Together” directed by Gwendolen Cates delves into the life of Navajo Indian/Puerto Rican New York City Ballet principal dancer, Jock Soto. Known as “one of the finest male dancers” in the world, this compelling documentary studies his connection to his heritage and follows him through the last two years of his career up to his retirement on June 19, 2005. Opening the second part of the Festival at the historic Palace of Fine Arts on Nov. 8, is the documentary “Gathering Together” and the acclaimed feature film “Four Sheets to the Wind”. “Gathering Together” by Bay – Area director James Fortier, goes behind the scenes to chronicle to the story of the Muckleshoot Indian Tribe’s first traditional regional potlatch in over a century, as host of the 2006 Tribal Canoe Journey. A coming of age drama, “Four Sheets to the Wind” directed by Sterlin Harjo, follows the story of Cufe Smallhill (Cody Lightning) after his father’s untimely death. Cufe leaves his home to visit his troubled sister (Tamara Podemeski) in Tulsa and unexpectedly meets a girl who changes his life. On Friday Nov. 9 the American Indian Film Festival will close with the World Premiere of the documentary “Making the River” and the feature - film “Imprint”. A film by Aboriginal Lens founded by Sarah Del Seronde and Paul Stoll, “Making The River”, tells the saga of Jimi Dexter Simmons. He was charged with first-degree murder of a prison guard at the Washington State Penitentiary. Faced with almost insurmountable odds that he would be convicted and executed, the Simmons Brothers Defense was formed. “Imprint” directed by Michael Linn tells the story of Shayla Stonefeather (Tonantzin Carmelo) a prominent Native American attorney who has turned away from her people and the dreams of her youth. When she returns to the Pine Ridge Indian reservation of South Dakota, her ancestral home, ghostly apparitions begin to haunt her with a frightening vision she does not want to believe. AIFI’s American Indian Motion Picture Awards Show, honoring filmmakers and showcasing contemporary Native American talent, will be held on Saturday November 10, 2007 @ the Palace of Fine Arts beginning at 6:00pm. Fourteen awards will be presented including Best Film, Best Actor and Best Documentary. The awards show will include a mix of live entertainment by established and emerging Native artists and performers including special performances by multi-talented singer Jamie Coon, violinist Swil Kanim, the 21 memberYaaw Tei Yi Tlingit Dancers from Alaska and acclaimed Taos, NM based recording artist Robert Mirabel. A complete schedule will be available on October 8, 2007 and will also be available on our website www.aifisf.com. All programs are open to the general public and will require tickets for admission. Advance Tickets available thru AIFI: 415-554-0525 visa & mastercard. On-site tickets available at the following theater venues (on day of show.) ** November is National American Indian Heritage Month. AIFI welcomes all- audiences, all-colors, to participate at festival screenings, seminars and awards show. Landmark Embarcadero Center Cinema One Embarcadero Center, Promenade Level San Francisco,CA Showtimes: Nov. 2- 7 Matinees begin @ 12noon ($5) *Box Office matinee tickets are available at 11:00am Evenings begin @ 7:00pm *Box Office evening tickets are available at 5:00PM (Opening Night $10) (Evenings $6-8) Palace of Fine Arts
3301 Lyon St.@ Bay St. San Francisco,CA Showtimes: Nov. 8-10 Evenings begin @7:30pm ($7-8) Nov. 8-9 tix available @ 6:30pm Motion Picture Awards Show begin @6:00pm * Awards Show tickets are available @ 4:30pm at the Box Office ($12-15)