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DECOLONIALITY National Women’s Studies Association Conference, November 10–13, 2016 Unceded Kanien’keha:ka (Mohawk) traditional territory Booth 505, Exhibitors’ Hall Palais de Congrès Montréal Québec

MOVING IMAGES DISTRIBUTION Tel: 800 684 3014 | www.movingimages.ca


M OV I N G I M AG E S D I ST R I B U T I O N

NWSA 2016

Booth 505, Exhibitors’ Hall, Palais de Congrès, Montréal, Québec Unceded Kanien’keha:ka (Mohawk) territory

As a Canadian non-profit distributor rooted in a community of documentary filmmakers and artists, we’re excited to be an Exhibitor at this year’s NWSA conference. Included here are some of the documentaries, short dramas and performance works we carry that address the conference themes and sub-themes. We have previews available at Booth 505 or can send digital files for preview later. How fitting that this conference, with its theme of Decoloniality, be held in Canada. After our Truth and Reconciliation Commission, many have taken the first step in a long journey. Some, in a state of denial or fatigue after hearing revelations of trauma from the Residential School system, have said, “We’re tired of hearing about it.” For them, surely the response must be: “Try living it.” Those of us born into settler societies grasp colonization’s devastating impact from the safety of distance. Dr Yasmin Jiwani, Concordia University, has mapped it on the opposite page in her text on (Re) Visioning Decoloniality. Decolonization will be an essential first step on the path to reconciliation. Neither quick, nor easy, without genuine consultations with the colonized, it will descend into “insultation” and a betrayal of trust. Colonialism is a tough habit to kick. Government and educational institutions face the greatest challenge for decolonization existing as they do, the weft threads shuttling through a strong colonial warp in our social fabric. This conference will inspire dialogue and discourse. May it move us further along the path of understanding to constructive change. - Sylvia Jonescu Lisitza Moving Images Distribution

Moving Images Distribution is located in Vancouver, British Columbia on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh First Nations. We’ve been linking the works of Canadian independent directors and artists with audiences across North America and abroad since 1979. We have a curated collection and a knowledgeable staff who can respond to inquiries about the works we represent. For our complete collection, visit www.movingimages.ca Design and Layout by Catrina Megumi Longmuir Front cover image from Freedom Babies poster design by Greg Pierre

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Small Pleasures 6:00 • 2016 • Karin Lee

In this short fiction film, three women—First Nations, Chinese and European—use the pre-colonial trade language of Chinook Jargon to discuss complex ideas about feminist resistance in late 19th century Canada. The film is based on life experiences of the director’s great-grandmother Tsang Ho Shee and inspires thought about inter-cultural dialogue over a century ago.

Thursday, November 10th from 1 to 2:15 pm Room 518 B (LCD) Karin Lee will show her film Small Pleasures as part of her presentation Chinook Jargon and Feminist Resistance on the panel Performances of Indigineity and Precolonial Expressions as Feminist Resistance.

Small Pleasures is also available for preview at our booth, #505, Exhibitors’ Hall.

Moving Images Distribution gratefully acknowledges support from the Canada Council for the Arts, The British Columbia Arts Council, Province of British Columbia and the Audience and Market Development Office of the Canada Council for the Arts.


Re (Visioning) Decoloniality Ya smin J iwa ni Critical postcolonial feminists have charted various forms of decoloniality emergent in a wide variety of cultural and geographical contexts. This critical terrain also provides a framework through which to understand the devastating consequences unleashed by colonialism and its legacies. Within this terrain, converging nodes of power also point to various sites of intervention, for colonialism was never without its resistances. Mapping these sites of resistance, it is apparent that while colonialism involved the imposition of dominant powers along with dominant ways of seeing and apprehending the world, it was actively contested through story-telling, the shrouding of cultural rituals and ways of knowing, remembrances of times past and archives of cultural heritage. If we are to use the blueprint of colonialism, we can trace particular clusters of such active resistances. In imposing the requirement of teaching and learning the colonizer’s language, active resistances involved the reclaiming of Indigenous languages, veiling its use in secrecy, and combatting the pedagogical avenues being used to dismantle its use. Colonialism as a strategy of power also involved the subordination of Indigenous and alternative sexualities, and the imposition of gendered binaries along with normatively sanctioned familial structures. Again, these too were contested in a variety of ways. Gendered realities differ, are differently rooted, apprehended, and performed or enacted in diverse settings. Contemporary filmmakers have traced these various nodes of power, reflecting on the traditions and tactics of resistance. Violence against Indigenous women has been central to colonial strategies. Enslaving, murdering and erasing women’s lives and experiences is a formidable tool by which to annihilate a nation. As reproducers of the nation, culturally and biologically, women’s lives are key, a fact which colonizers recognized in their attempts to eradicate entire nations or subjugate them into exploitable labour. In the same vein, the apprehension of children was involved in destroying nations. Fostering them out or incarcerating them into residential schools, away from family and culture, foisted them into an isolation that was not only profound but instrumental in their reformation as acceptable labour that could be exploited for colonial ends.

Just as colonialism worked to destroy Indigenous economies, so too do the prevailing neocolonial and neoliberal strategies wreak havoc on Indigenous lands. Much of the colonial legacy in settler societies is marked by land-grabs and thefts resulting in the uprooting and displacement of peoples, obliterating and mutating social systems, and annihilating all those who stand in the way of being incorporated into the system. The colonial powers of enacting national boundaries irrespective of Indigenous rights and habitation are still the cornerstone of many conflicts lacerating the world today. Yet these conflicts are just the latest manifestation of previously instituted regimes of power, including the imposition of mono-agriculture, sexual exploitation and trade, structural poverty and migration, along with destabilizing puppet governments and indebted political regimes. Filmmakers have documented these effects in great depth and with much alacrity. Tactics of resistance embody a range of actions that include: giving voice to issues that have been silenced, repressed and disarticulated from the root causes; witnessing the trauma and resilience of peoples and documenting their agency and achievements in the struggle against oppression; and holding accountable the domination of existing neocolonial and neoliberal powers. Critical in all this is the recovery, revitalization and realization of that which has been committed to collective memory.

Yasmin Jiwani, PhD, is a feminist academic and activist whose research examines the intersectionality of race and gender in media narratives of violence against women and representations of racialized peoples. She is a Professor in Communications Studies at Concordia University and has published several works, including Discourses of Denial: Mediations of Race, Gender and Violence (UBC Press, 2006) and, most recently, Obituaries as Markers of Memory: Grievability and Visibility in Representations of Aboriginal Women in the National Canadian Imaginary (Cultural Studies <--> Critical Methodologies, 2016).

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POTLATCH…a strict law bids us dance 54:00 • 1975 • Dennis Wheeler, U’mista Cultural Society

The ‘Namgis First Nation (Kwakwaka’wakw) of Alert Bay, British Columbia tell their story of the potlatch and acts of resistance to the Canadian Government’s criminalization of this ceremony in 1880. They and other determined Indigenous communities managed to continue the tradition in secret until 1921 when officials discovered Dan Cranmer’s potlatch on Village Island, arresting 45 people and jailing 22 for the crimes of giving speeches, dancing and gift giving. The government confiscated hundreds of ceremonial masks and regalia, distributing them to collectors and museums around the world. Gloria Cranmer Webster’s story of her father’s 1921 potlatch, footage of historical ceremonies and the Cranmer family’s potlatch of 1974 illustrate the clash of two world views: one anchored in the accumulation of property; the other, in the giving away of surplus wealth. The ‘Namgis First Nation exercised complete editorial control in this 1975 film, setting a benchmark for documentary and resulting in a film recognized internationally for its authenticity.

I’TUSTO To Rise Again

POTLATCH...a strict law bids us dance

How A People Live 59:00 2013 • Lisa Jackson, Gwa’sala-‘Nakwaxda’xw Nation

The Gwa’sala and the ‘Nakwaxda’xw First Nations lived as two distinct groups along the Queen Charlotte Strait on Canada’s west coast until 1964 when the Canadian Government forcibly relocated them to the overcrowded Tsulquate reserve near Port Hardy on Vancouver Island. They took what they could carry; when they returned for their possessions, the Indian agent had already burned their houses to the ground. The effects were devastating and prompted Alan Fry to write the book How A People Die. Today, return journeys to traditional homelands have managed to reverse a tragic spiral, helping them reconnect to their land and culture. Director Lisa Jackson and producer Catrina Megumi Longmuir collaborated with the GNN community to create How A People Live—their story, in their own words, as they wished it be told.

I’TUSTO To Rise Again 54:00 • 2000 • Barb Cranmer

When an arsonist set fire to ‘Namgis First Nation’s Potlatch Big House in Alert Bay, the community was as engulfed in grief as the building was in flames. Over the next two years, people rallied to rebuild this center that houses all their ceremonies. “I’tusto”, the Kwakwaka’wakw word for “to rise again” provides an insightful look at an ancient legacy and the power it brings to the people who continue practicing their traditions despite settler efforts to annihilate them.

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How A People Live


Our First Voices 31:00 • 2010 Helen Haig-Brown, Kelvin Redvers, Lisa Jackson, Zoe Leigh Hopkins

Freedom Babies

Freedom Babies

With the help of her grandmother, a young mother composes a lullaby to her baby in Halq’eméylem; at the Chief Atahm School in Adams Lake, children learn math in the Secwepemctsin language of their ancestors; and on Haida Gwaii, musician Vern Williams honours his culture with songs in his traditional language of Xaad Kil. These are just three of the 13 stories in Our First Voices, a film that celebrates BC First Nations languages and pays tribute to the drive to preserve and revitalize the languages for future generations.

22:00 • 2014 • Doreen Manuel

A young family from the Secwepemc First Nation lives in a traditional pit house near Kamloops, in the Thompson River Valley of British Columbia. Kanahus (“red woman”) is a skilled midwife who engaged in peaceful protests against the expansion of a ski resort that would compromise her people’s traditional territory. The punishment meted out for this was to incarcerate her, separating this young nursing mother from her baby. Powerful commercial interests prevailed and heavy-handed law enforcement tactics escalated to include home searches without warrants, destruction of personal property and threats of constant surveillance of all communications. These only served to convince her and her family of the need for decolonization.

Four talented Indigenous directors created 13 poetic meditations on the importance of first languages. While noting the effect the Indian Residential School system had on the decline of Indigenous languages, Our First Voices focuses on efforts being made today to create a whole new generation of teachers and learners. Using innovative technology and creating entertaining learning tools, generations come together with a common goal to reinvest in the future of their communities.

As part of this process, she and her family have not registered the births of their children with any governments. As a family living in unceded traditional territory and in harmony with nature, they focus on teaching their children to respect the earth and be self-sufficient. Freedom Babies celebrates their resilience and engagement in the long process to cleanse the effects of colonization.

City Speaks from Our First Voices

Nehiyawetan: Let’s Speak Cree 25 parts, 24:00 each • 2008-2011 Jason Krowe, Loretta Todd, Kamala Todd

Nehiyawetan: Let’s Speak Cree

This dynamic 25-part series created by Cree filmmakers, combines live action and animation in an innovative approach to make the Cree language accessible to young children. It follows a group of Indigenous children ages 5 to 7 as they learn to speak Cree in the city, offers a Cree perspective of the world, and encourages smart choices for living in an urban environment.

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...a spiritual land claim 27:00 • 2006 • Dorothy Christian

Dorothy Christian, a member of the Okanagan and Secwepemc Nations of British Columbia, expresses the violence of colonization through a combination of drama, documentary and poetic prose. Portraying the transformation of one woman through her spiritual journey as she returns to her traditional homelands, the director uses traditional and contemporary Indigenous songs and haunting instrumentation to travel with the spirit on its healing journey.

Cry Rock

‘Namegan’s Om Dlu’Wans Awinagwisex: We Are One With the Land 32:00• 2009 • Barb Cranmer

Cry Rock 28:30 • 2010 • Banchi Hanuse

There are fewer than 15 Nuxalk language speakers and storytellers in Bella Coola, British Columbia today. One of these elders is the 80-year-old grandmother of Banchi Hanuse. In a technologically obsessed century, it would seem easier to record Nuxalk stories for future generations, but Hanuse resists. She ponders whether an electronic recording can capture the true meaning and value of these oral traditions. More importantly, can it be considered cultural knowledge? Cry Rock examines how Nuxalk stories are more than mere words and illuminates the intersection of Nuxalk history, place and spirit that are at the heart of an oral storytelling tradition.

The Fast 23:30 • 2015 • Doreen Manuel

The Fast follows Secwepemc/Ktunuxa director Doreen Manuel on her journey into the Rocky Mountains for a four-day fasting ceremony to tap into her inner power as a storyteller. She has worked for over 20 years to develop the story of her father George Manuel, an Indigenous leader whose vision could inspire this generation to take Indigenous people into the Fourth World. The stakes are high, the story needs to be told, but Doreen is stuck. Listening to the voices of her ancestors, she in guided to the same sacred site where her father participated in the ceremony so that she may start at the beginning.

People from the ‘Namgis First Nation of Alert Bay, British Columbia travel in traditional canoes on an expedition through the traditional territory of their people. Everything they are comes from their land, and their territory defines them–in spirit, songs, dances and their relationship to the land that has sustained them for thousands of years.

New Frames 18:00 • 2016 • Carla Hilario

Tell me about a typical day... Six young men from migrant and refugee backgrounds share their thoughts about scripted masculinities and colonial gender expectations as they search for a better life. Stories presented were drawn from research interviews with 33 young men and re-enacted as part of a participatory research process on mental health and wellbeing led by a team of youth research collaborators and PhD candidate Carla Hilario at UBC.

The Fast

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The Thinking Garden

Keepers of the Fire 55:00 • 1994 • Christine Welsh US distribution; for Canada contact NFB/ONF

Mohawk, Haida, Maliseet and Ojibwe women have stepped forward as leaders in some of the most important struggles faced by First Nations people in recent decades. Christine Welsh travels across Canada to meet with a new generation of warrior women and hear their stories. The Mohawk women, who faced tear gas and bullets at the Oka crisis in Québec; the Haida grandmothers who were arrested on the frontlines of logging blockades at Lyell Island in Gwaii Hanaas; the women running the Anduhyaun shelter in Toronto; and the Maliseet women from TobIque who marched against gender-biased loss of status provisions in The Indian Act—all share their stories and are celebrated in this eloquently constructed documentary.

Women Building Peace

Women Building Peace is a testimony to the power of collectivity when women work together to undo damage caused by gender-based violence, war and genocide.

The Thinking Garden 36:30 • 2017 • Christine Welsh

In the dying days of apartheid, three generations of older women in a village in South Africa come together to create a community garden. Filmed against the backdrop of an epic drought gripping southern Africa, it shows what can happen when women take matters into their own hands and how local action in food production can give even the most vulnerable people a measure of control over their future.

69:00 • 2016 • Colleen Wagner, Geneviève Appleton

Colleen Wagner travelled to South Africa, Rwanda, Uganda, Ghana and Morocco to research a female-centered heroic myth, based on the actual stories of women and girls who had survived trauma. She discovered women, most suffering the ravages of HIV/AIDS, actively working toward building peace, creating community networks of shared work and giving, adopting orphans, networking to create a more just, egalitarian, peaceful society despite terrible suffering and loss. Her conversations with women and men in traditional matriarchal societies in Ghana revealed egalitarian structures, unlike the violent and dominating patriarchal one most women experience.

Women Building Peace

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Women In the Shadows 55:00 • 1991 • Norma Bailey

Filmmaker Christine Welsh explores family history, prodding relatives to talk about their heritage. Their reluctance to speak about the past only fuels her determination to learn more; and as she unearths unwritten history of Métis women, she regains her past and the pieces of a lifelong puzzle fall into place. Documentary film with dramatic recreations pay tribute to the First Nations women who laid the foundation for the unique history of the Métis people.

Suckerfish

Suckerfish 8:00 • 2004 • Lisa Jackson

Policy Baby: The Journey of Rita/Bev

Policy Baby: The Journey of Rita/Bev

Lisa Jackson fled Toronto to live with relatives in Vancouver when she was 10. She had to escape her mother’s depression, alcoholism and prescription drug abuse—legacies of Canada’s residential school experience. As an adult, she sifts through memories and her mother’s letters to construct a portrait of a mother whose drive to love her daughter triumphed over her demons of addiction. Animation, photographs, stylized recreations and whimsical recollections from her youth create a moving, sometimes humorous, sometimes ironic portrait of her relationship to her mother and her own identity.

50:00 • 2008 • Susan Stewart, Michael Glassbourg

Bev Jones is from Keeseekoowenin, a First Nations reserve in western Manitoba. She coined the word “policy baby” to describe her experience with Canada’s treatment of Indigenous children during the Sixties Scoop. Born on reserve as Rita, government officials removed her from her family at the age of two months and placed her in a foster home with a non-native family in Winnipeg, who renamed her Bev. She was returned to the reserve at 6. Dislocated from her family and without a native tongue, she went back to her foster family in Winnipeg. Shuttled back and forth, she fell into a deep state of dislocation between two cultures without solid roots in either one. Today she is a social worker and powerful storyteller who shares how she was able to tread a path across unstable ground to reconnect with her roots and heal.

Bihttoš (Rebel) 14:00 • 2014 • Elle-Máijá Tailfeathers

A young Blackfoot-Sámi woman reflects on the complex relationship between Blackfoot mother and Sámi father through animation, re-enactments and photos. She delves into her parents’ mythic love story and reveals how past injustices they experienced with the residential school system affected family life and her own perception of love.

Bihttoš (Rebel)

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SNARE 3:30 • 2013 • Lisa Jackson

Savage

Part of the Stolen Sisters initiative of the imagineNATIVE Film Festival, this evocative performance pays tribute to the quiet dignity of Indigenous women in a country where it’s estimated over 1,200 are missing and murdered. Ironically the Government of Canada that was in power between 2006 and 2015 refused to call an inquiry into this escalating tragedy, despite repeated calls nationally and from the United Nations. Equally ironically, the film closes with one of the women singing the Canadian national anthem in Cree.

SAVAGE

Moon Water

6:00 • 2009 • Lisa Jackson

90:00 (Three 30-min chapters)• Rita Jasper • 2017

This short drama, dubbed “a residential school musical” evokes memories of the residential school experience as children in a classroom make an imaginary escape from the bitter realities of daily experiences. Created as part of The Embargo Collective, imagineNATIVE Film Festival, Anishinaabe director Lisa Jackson was given the challenge to make a musical with non-actors, no spoken English, set decoration and heavy metal music. The title SAVAGE co-opts the language of colonialism in a film that talks back to both colonization and Hollywood.

British Columbia has the dubious distinction of accounting for 28% of the missing and murdered Indigenous women in Canada. For its population size, this puts it far ahead of the more heavily populated provinces of Ontario and Québec. Vancouver, one of the “most livable cities” in the world, also has a disproportionately high number of murdered Indigenous women, and was home to one serial killer convicted with others possibly still at work.

Intemperance 10:00 • 2014 • Lisa Jackson

Returning to a second Embargo Collective short film project, Intemperance takes a satirical look at the introduction of “fire-water” to a village on Lake Superior in the early days of colonialism. It is based on an historical event recounted by Ojibway author George Copway (1818-1869) in a history of the Ojibway nation published in 1850. The narration is taken directly from Copway’s writing. A successfully assimilated translator and ordained Methodist minister, Copway became a literary celebrity and popular lecturer in the New World. The film reveals a sophisticated justice system present in a so-called barbaric society and the title Intemperance hits the ironic note endemic in many of Lisa Jackson’s short works.

Métis videographer Rita Jasper provides a gritty, grassroots street level perspective in this DVD structured in three chapters. With sympathy and respect, the women are remembered and honored from the perspectives of Loved Ones (Chapter 1) and Survivors (Chapter 2). A third chapter, Reflecting on the Investigation calls attention to the systemic racism within policing and a judicial system that made it possible for a serial killer to be so prolific, despite repeated warnings and unheeded leads.

Moon Water

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Yahgu dang ang: “To Pay Respect” 22:00 • 2001 • Marianne Jones, Jeff Bear

In their zeal to loot Haida cultural treasures from old vacated village sites, early explorers to Haida Gwaii took away grave goods and human remains, a questionable academic practice that continues to perplex Indigenous people today. The Haida Nation is active in the repatriation process and although encountering colonizer resistance, has been successful in brokering the return of these treasures along with human remains housed in museums. Here they prepare to rebury the remains of seven ancestors in Skidegate, British Columbia.

The New Collectors, Part 2

Finding Our Way 90:00 • 2010 • Leonie Sandercock, Giovanni Attili

The New Collectors, Part 1

The New Collectors, Part 1 24:00 • 2003 • Marianne Jones, Jeff Bear

Three members of the Collison family of Haida Gwaii and 23 other Haida delegates continue their work on repatriation, this time with a visit to New York and the American Museum of Natural History. They are there to reclaim their ancestors remains. As part of their pilgrimage, the Smithsonian invites them to view and handle precious Haida artifacts and use them in a ceremonial dance.

The New Collectors, Part 2 24:00 • 2003 • Marianne Jones, Jeff Bear

Nika and Vince Collison, members of the Haida repatriation committee, visit the British Museum in London to begin a discussion on repatriating Haida artifacts. This vast historical museum sticks to its mandate of delivering “a global story to an international audience” and is not warm to their suggestions. Staff insist they were taken to “protect” them, despite Vince’s reply that, with all due respect, the Haida never asked they be protected. Surfacely gracious, museum staff are cautious about even letting the Haida visitors touch and photograph the pieces. For Nika and Vince, it part of a process that has taught them to exercise extreme patience and diplomacy. 9

This collaboration with two First Nations communities in the Carrier traditional territory of north central British Columbia reveals people dispossessed, deep historic wounds, and unresolved conflict in the 21st century between Indigenous people, governments in Canada and industry. The Burns Lake Band (Ts’il Kaz Koh First Nation) and Cheslatta Carrier Nation (Cheslatta T’En) tell their stories of struggles that stem from colonization and continue today. Three 30-minute films create three chapters: The Contagion of Colonization, High Noon at Burns Lake and Keeping Our Heads Above Water. These films and the print guide included with the DVD will stimulate discussion–in the words of the director, after nearly a century of apartheid in this region, it’s a story with a question mark: “Is there a way forward?” Leonie Sandercock, PhD, is a both a screenwriter and a professor in the School of Community and Regional Planning at UBC with an interest in how planning can contribute to social transformation. In 1998 she used feminist, postmodern and postcolonial theories to critique mainstream planning. Her interests include the knowledge/power nexus--who might be considered a “knower” and what is considered valid knowledge— and her goal is to democratize the planning process. She is creating an Indigenous Community Planning curriculum in partnership with the Musqueam First Nation on whose traditional, unceded territory the University of British Columbia is located.

Finding Our Way


Fractured Land 80:00 • Damien Gillis, Fiona Rayher

“Deep down we’re all fractured,” an oil and gas representative tells young Dene leader and lawyer Caleb Behn. Behn knows the feeling all too well, as he struggles with the role he’ll play in protecting his traditional territory in northern British Columbia, an area that is current under siege from some of the world’s largest natural gas operations. The troubling reality is that the same industry threatening traditional practices and livelihoods is also responsible for giving his parents jobs that provided him with his education. As he goes from the north to downtown Vancouver and a fracked territory in New Zealand, Fractured Land provides optimism toward issues that can seem dire and insurmountable.

Fractured Land

The Unofficial Trial of Alexandra Morton 86:00 • 2016 • Scott Renyard

Water As Taonga 22:00 • 2014 • Jeff Bear, Marianne Jones

Marianne Jones and Jeff Bear travel from Canada’s west coast to New Zealand where they meet with Maori leaders. The Maori explain the sacred relationship they have with water. Their migration to New Zealand in the 13th century predated that of settlers, or “infinite others” as the Maori call them, by 500 years. In New Zealand’s founding document, the 1840 Treaty of Waitangi, the Maori were granted rights for control of land, water and self-determination. Even so, many of these rights have not been respected. As is often the case, the problem is with language, as two ancient legal systems talk past each other. It is only through legal arguments based on water as “taonga,” a precious cultural treasure, that the Maori have had success in the courts--an ongoing battle that continues today.

The wild salmon is central to the culture of west coast Indigenous people. Independent research scientist Alexandra Morton lives on the water in the Broughton Archipelago where she’s conducted scientific research with the Raincoast Research Society since the 1980s. Her fight to protect wild salmon stocks from unregulated fish farming has made her a staunch ally of British Columbia’s Indigenous people. Equally, her success in the courts (The Morton Decision) forcing governments to take responsibility for aquaculture’s harmful effects on wild fish species has put her in the crosshairs of industry and government alike. The Unofficial Trial of Alexandra Morton covers her 2011 appearance to request independent research be considered as evidence at the Cohen Commission Inquiry into the rapidly declining Fraser River sockeye salmon stocks. Cinéma vérité camera tracks sophisticated verbal judo as three skilled lawyers attempt to bar the inquiry from considering Morton’s research. Their attempts to discredit her on multiple levels illustrate how threatening independent research, free from financial controls of institutions and industry, can be to powerful commercial interests. Rapid-fire questioning and occasional descents into personal attacks blur the line between inquiry and inquisition. While she obtained a favorable ruling for the research to be considered, The Unofficial Trial of Alexandra Morton speaks eloquently to entrenched neocolonialism’s control over who is a knower and what is acceptable as valid knowledge.

Water As Taonga

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POTLATCH…a strict law bids us dance I’TUSTO To Rise Again How A People Live Freedom Babies Our First Voices Nehiyawetan: Let’s Speak Cree Cry Rock The Fast ...a spiritual land claim ‘Namegan’s Om Dlu’Wans Awinagwisex: We Are One With the Land New Frames Keepers of the Fire Women Building Peace The Thinking Garden Women In the Shadows Policy Baby: The Journey of Rita/Bev Suckerfish Bihttoš (Rebel) SAVAGE Intemperance SNARE Moon Water Yahgu dang ang: “To Pay Respect” The New Collectors Finding Our Way Fractured Land Water As Taonga The Unofficial Trial of Alexandra Morton

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DECOLONIALITY - NWSA Montreal 2016