Imaginenative On-Screen Protocols and Pathways

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May 15, 2019 Cultures, Concepts Stories and First InuitCommunities, Nations,Métisand A MediaProduction Guideto Working with ON-SCREEN PROTOCOLS &PATHWAYS:

A HEADING This report was funded with the support of:

This report was funded with the support of:

PREPARED FOR imagineNATIVE 401 Richmond St. West, Suite 446 Toronto, Ontario This report wasM5V 3A8funded with the support of: www.imagineNATIVE.org

This report was funded with the support of:

The Canada MediaThe Fund, Canada The National Media Film Fund, Board of The Canada, National Ontario FilmCreates, Board Telefilm of Canada,Canada, Creative Ontario BC and Creates, Telefilm Canada, Creative the Inspirit FoundationBC and provided the Inspiritfunding for Foundation this study. Any provided opinions, findings, funding conclusions for this orstudy. recommendations Any opinions, findings, conclusions or expressed in this material are those of the author and do not necessarily reflect the views of the funders or the recommendations expressed in this material are those of the author and do not necessarily reflect the views of governments which they represent. The Government of Canada, the Government of Ontario and their agencies are in no way boundthe by funders the recommendations or the governments contained in whichthis document. they represent. The Government of Canada, the Government of Ontario and their agencies are in no way bound by the recommendations contained in this document. This report was commissioned by imagineNATIVE and written by independent consultant Marcia Nickerson. The Canada Media Fund, The NationalThis report Film was Board commissioned of Canada, byOntario imagineNATIVE Creates, Telefilm and written Canada, by independentCreative consultant Marcia Nickerson. BC and the Inspirit Foundation provided funding for this study. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the views of the funders or the governments which they represent. The Government of Canada, the Government of Ontario and their agencies are in no way bound by the recommendations contained in this document.

This report was commissioned by imagineNATIVE and written by independent consultant Marcia Nickerson.

The Canada Media Fund, The National Film Board of Canada, Ontario Creates, Telefilm Canada, Creative BC and the Inspirit Foundation provided funding for this study. Any opinions, findings, conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the views of The Canada Media Fund, The National Film Board of Canada, Ontario Creates, Telefilm Canada, Creative the funders or the governments whichThe they Canada represent. Media Fund, The The Government National Film of Board Canada, of Canada, the Government Ontario Creates, of Telefilm Ontario Canada, Creative and their agencies are in no way boundBC and by thetheBC Inspirit recommendations and Foundationthe Inspirit provided Foundation contained funding providedin for this this document.study. funding Any opinions, for this findings, study. Any conclusions opinions, or findings, conclusions or recommendationsrecommendations expressed in this expressed material arein thisthose material of the author are andthose do notof thenecessarily author reflect and do the not views necessarily of reflect the views of This report was commissioned by imagineNATIVEthe fundersthe or thefunders governmentsand written or the whichgovernments by independent they represent. which consultant The they Government represent. Marcia of Canada, Nickerson.The Government the Government of Canada,of Ontario the Government of Ontario and their agenciesand their are agencies in no way boundare in by no the way recommendations bound by the contained recommendations in this document. contained in this document. The Canada Media Fund, The National Film Board of Canada, Ontario Creates, Telefilm Canada, Creative This report was commissioned by imagineNATIVE and written by independent consultant Marcia Nickerson. BC and the Inspirit Foundation providedThis funding report for was this commissioned study. Any opinions, by imagineNATIVEfindings, conclusions and or written by independent consultant Marcia Nickerson. recommendations expressed in this material are those of the author and do not necessarily reflect the views of the funders or the governments which they represent. The Government of Canada, the Government of Ontario and their agencies are in no way bound by the recommendations contained in this document.

This report was commissioned by imagineNATIVE and written by independent consultant Marcia Nickerson. b. Archiving materials associated withafilm a.Useofarchives inanew film 5. Working withArchival Materials Working4. Crew withIndigenous orCast d.Developing community capacity and benefits agreements b. 3. Working Communities inIndigenous Working2. Content withIndigenous 1. Working Lands onIndigenous Consent Reciprocity Responsibility Respect Screen-Based Protocols Principles This IsNotAMap Narrative Sovereignty Purpose OfOn-Screen Protocols HOW TO USETHISDOCUMENT FORWORD 4 ACKNOWLEDGEMENTS 3 c. Virtual Realityc. accessibility archival and b. crew non-Indigenous Sensitizing a. Paying ofactors community and members e. Script development Hiring acommunityc. liaison a. Building respectfula. Building relationships based ontrust g. Meaningful collaboration e. Sensitive matter subject lifed. Individual stories Ensure thatyouc. proper obtainthe consent permission and b. Valuing cultural ofIndigenous intellectual and property us aboutuswithout a. Nothing b. Recognizing Jurisdiction Indigenous a. Cultural Territorial and Protocols Overview Storytelling ofIndigenous Consent Process intent the Outlining offilm,how how itwillbeusedand widelyitwillbedistributed 42 30 30 42 34 34 43 43 38 39 26 39 39 25 14 10 10 16 18 19 16 16 17 12 12 31 15 13 1 1 9 6 7 5

1 CONTENT 2 CONTENTS BIBLIOGRAPHY /RESOURCES Sample Community Safety Protocols Sample Filmmaker’s Code ofProfessional Responsibility Sample Protocol for on Set Action Respectful Sample Code ofConduct Etiquette for Filming inFirst NationCommunities Releases 69 Canadian Guilds in the Unions and Film Television and Production Sector Key Creative Positions ofProductionStages Basic Information ofProduction onStages inTelevision Film and Developing Reciprocity Agreements Questions to working askwhen withScreen Producers Developing Community Protocols APPENDIX B:RESOURCESFOR COMMUNITIES Ownership, Control, Access, &Possession Relationships Reframing NarrativeUNDRIP and Sovereignty Free, Prior &Informed Consent CultureIndigenous Intellectual and Property (ICIP) Cultural Appropriation Cultural Genocide Historical Underpinnings APPENDIX CONTEXT A: FOR SCREENPROTOCOLS INCANADA Unions Festivals /Showcases Film Commissions PublicFundingNational and Moving Forward Working Context inthe ofReconciliation Nation-to-Nation and IMPLEMENTING PROTOCOLS 7. Marketing &Distribution Strategies Releases6. 48 48 46 60 49 68 47 50 69 69 66 66 66 76 63 67 62 65 63 53 73 57 52 52 52 55 53 53 61 61 71 71 Art Napoleon and Huw Eirug who provided HuwEirugwho Napoleonand Art sampledocumentation We would like to acknowledge Darlene Naponse, Barbara Hager, in Canada: ABackground Report.” Guide to Working withFirst InuitCommunities Nations,Métisand Communications MDR:“Developing aMediaProductionfrom conducted for imagineNATIVE by Maria Marilyn DeRosaand Burgess also incorporatesThis document integrates and initialresearch the voicesthe within. to represent nationalconsultation ofthe findings the capture and expertise, wisepractices, experiences. and strives Thisdocument difficult; and emotional stillcreators to managed share their group facilitated by Wapikoni Mobile.Conversations were often Toronto, Montreal, Saskatoon, and Iqaluit, aswell asayouth focus sessionsinWinnipeg, engagement with additional Vancouver, interviews screen withIndigenous creators,one-one-one coupled participated throughout process. the There were upwards of25 Also many thanks to many the screen content creators that Agluvak Puskas, Alethea Arnaquq-Baril Younging, HankWhite, Jean Francois Obomsawin, Stephan Alanis Obomsawin, Loretta Todd, JesseWente, LisaJackson, Greg guidance,their generosity expertise, and ofspirit: gratitude to members the nationalprotocols ofthe for advisory First foremost, and imagineNATIVE would like to express much

profound commitment to community. onthe impact and Committee Advisory Indigenous ofthe member a had who This guideisdedicated ofGreg inloving Younging, memory a Inspirit the and Foundation.BC, Film Board ofCanada, Ontario Creates, Telefilm Canada, Creative protocolsof the Canada possible:The MediaFund, National The finally,And gratitude to funders the development the thatmade Alliance, CreativeArts Creative and BC, Manitoba. Beusekom NationalFilm The and Board, Media Independent the Alexandre Terres and Nequado Michelle van envues/LandInSight, Roger Boyer Winnipeg the and Film Indigenous Summit, Nunavutthe Film Commission, OdileJoannette Wapikoni, and throughout consultation the process, including: HuwEirugand Special thanks to to helped who those facilitate spaces faces and literacy screen inthe sector. for community useinorder to buildcommunity capacity and Marcia Nickerson

3 ACKNOWLEDGEMENTS 4 FORWARD so much more. that participated consultations inthe withMarcia –along Nickerson hasbecome –thisdocument were perpetuated.not Thanks to brilliancethe screen Indigenous the and of National the Advisory storytellers funders to ensure property Indigenous was protected to and ensure thatnegative on-screen stereotypes Our initialvisionwas to create thatwould apositive, guideproductions forward-thinking and framework generations to come. to screen Indigenous storytellers support –isastep towards ensuring screen avitalIndigenous sector for –inconcert progressions withthe It ismy thatare thatthisframework deepesthope undertaken being Australia’s protocols document. have brought usto Itwas thispointintime. alsoinspired by work the of Terri Janke developed who Screen members have who persevered for screen inthe have who and decades, industry cleared paths the that On-Screen Protocols &Pathways was inspired by remarkable the leaders, artists, Indigenous community and screenIndigenous storytellers. vitality and narrative ofIndigenous impact, importance, sovereignty urgent the and to need support Inourwork atimagineNATIVEthat brought to thisreport fruition. we have first-hand witnessed the hasbeenyears document The making inthe onbehalfofimagineNATIVE and Isincerely thankeveryone imagineNATIVE Executive Director Jason Ryle

HOW TO USETHISDOCUMENT funding decisions. funding by larger the industry, thataffects in amanner policy and are onlyeffective standards ifthe reflected therein are adopted promotionthe protocols. ofthe implementation and protocols The bodies,broadcastersfunding canassistin partners industry and providesThis section acontext illustrates and ways ofthe some Two:Section Protocols Implementing positive, practical and mutually beneficial, way. community how to work communities withIndigenous ina Ultimately isaboutshowing thisdocument production the for working content, with Indigenous concepts communities. and by screen Indigenous storytellers to providedeveloped guidelines isgearedThis section towards sharing bestpractices the Protocols Using One: Section in production. creators, communities Indigenous and thatmay beinvolved but alsoto stakeholders, larger industry content non-Indigenous attempts to speak onlyto not screen Indigenous content creators, audiences were identifiedfor It purpose the ofthis document. burgeoningthe Screen Indigenous industry, several different uniquecultural,Because ofthe historical socialand context of

ongoing basis.ongoing updated edited and inconsultation withstakeholders, onan areand considered thatwillbereviewed, document” a“living protocolsThe Screen Indigenous withinthe willbehoused Office meant to berigid, thatover and practice and time willchange. toIt isimportant acknowledge protocols thatthese are not Moving Forward own protocols. sample materials they into canadopt development the oftheir production, questionsto ofproduction impacts askaboutthe and faced withincoming productions, providing basic information on ismeantThis section to communities serve Indigenous thatare B:ResourcesAppendix for Communities communities’ expectations around relationships moving forward. relationshipoutlines principles thatare indicative ofIndigenous worldview communities ofIndigenous storytellers. and Italso ofnarrativepinnings sovereignty iskey to understanding the Understanding thishistory ofcolonization legalunder the and property rights. regard to cultural cultural genocide, appropriation cultural and companies gatekeepers and worldviews aboutIndigenous with serves toThis section educate production non-Indigenous Context A: Appendix for Screen Protocols inCanada -

5 HOW TO USE THIS DOCUMENT 6 PURPOSE OF ON SCREEN PROTOCOLS these protocolsthese are found withinthisdocument. vest. As aresult, pathways onlythe to facilitate navigation the of determine where protocols jurisdiction and over stories content and cite therefore all,and them content uponthe incumbent creator to communitiesIndigenous content. orIndigenous Itisimpossible to information withcommunities, data,engaging and aswell asfilming internationally, for purposes the research, ofacademic sharing of have beendeveloped nations,bothnationallyand in Indigenous knowledge, protocols serveto provide ofpractice. guidelines Protocols absenceIn the oflegislationprotecting traditional cultural and numerous specificto and nations,communities, cultures. and Ontario). Examples ofexisting protocols Indigenous inCanada are provincialnational and organizations such MétisNationof asthe they(whether bands, Act self-governing beIndian entities,or practices politicalprotocols and ofgifting, governments withestablished territorial protocols, ways receiving and ofgiving traditional knowledge, territorial, community and protocols. include These cultural and As languages. Indigenous such there are asmany varying nation, protected Métissettlements, according and, to StatisticsCanada, First Nationsreserves, four Inuitregions, eightconstitutionally nations,well individual Firstand over Nations;with50-odd 600 There are three Métis, peoplesinCanada: Indigenous Inuit, distinct PURPOSE OFONSCREENPROTOCOLS

• • • • intentThe indeveloping production thismedia guideisto: content.media or intellectual property) films,television intheir programs digital and content orconcepts (traditional orcontemporary cultures, knowledge companies to wishing feature First Nations,MétisorInuitpeople, Concepts Stories and isfor useby screen-storytellers production and Working withFirst InuitCommunities, Nations,Métisand Cultures, On-ScreenThe Protocols &Pathways: AMediaProduction Guideto content creators, production and companies. to encourage informed, respectful dialoguebetween communities, protection the and cultural ofIndigenous practices; finally, and keepers worldviews, about Indigenous cultural property and rights, educate screen content creators, production companies gate and share bestpractices developed by screen Indigenous storytellers; creators, partners; industry bodies,and funding provide decision-making for guidelines communities, content — Lindsay McIntyre, Filmmaker “Recognize protocol that afixed isnot asetofrulesyouit isnot can follow.” person tocommunity, person; from community to willvary from and changing itisafluidand thing thing;

within the contextwithin the ofexisting barriers. commence development the standards industry ofIndigenous by providing however, anexacting framework; intent the isto protocols are intended not to create barriers for creators Indigenous creative practices, whileallowing proprietary matters to flourish. These Indigenous”, inaway thatmore adequately reflects cultures and includes developing production that“allow models usto bemore screen-storytellers.imposed onIndigenous Decolonizing practices practicesIndigenous addressing and western the structures thatare protocolsof these isintimately linked decolonization withthe of intent withwhich they were given. According to respondents, idea the bestpracticesThe stories and withinare shared spirit withthe and protocols have overwhelming similarities. pathways screen thatIndigenous storytellers use to navigate these whileprotocols peoples.And Indigenous themselves may differ, the standards developedan initialcollection industry ofIndigenous by practices inCanada are and meant to and serveas bothguidelines communities. their and protocols The best thatfollow stem from culturalIndigenous material, interacting and people withIndigenous Protocols provide appropriate ethicalways and ofworking with

NARRATIVE SOVEREIGNTY sovereignty, that’s my identity. my “Mylanguage, sentiments: my song, spiritual beliefs;thatismy leaders echoed former Akwesasne Grand ChiefMike Mitchell’s basis identity- the of Indigenous many nationhood… and Indigenous threatenedand cultures and languages survival the ofIndigenous a legacy ofintergenerational trauma communities, withinIndigenous nations’governanceIndigenous practices, institutionsand left Residential School program. policieshave These eroded many legacythe ofcolonial policiessuch the and Act Indian asthe peoplesinvolves Indigenous and taking stock recognizing ofand A key first step inresetting relationship the between Crown the relationships.nation-to-nation rights, for stage ithassetthe discussionsofrenewed ongoing forprovides Indigenous humanrights anethicaland framework Declaration Peoples RightsofIndigenous onthe (UNDRIP), which With Canadian the government United ofthe adoption Nations screenIndigenous creators inCanada strive for “narrative sovereignty”. cultural repression, cultural appropriation, misrepresentation, and After to whatamounts over ahundred years ofcultural genocide, — “When Italk aboutnarrative sovereignty, by people. non-Indigenous documentaries –have beentold and peoples–bothfictional Indigenous majoritywhelming ofstories told about entire history offilmmaking, over the about themselves... Throughout the of control over stories the are that told to nations of the have measure some I’mreallywhat talking ability aboutisthe Director, Screen Indigenous Office Jesse Wente, .3 ” 2 ”

7 NARRATIVE SOVEREIGNTY 8 NARRATIVE SOVEREIGNTY the storythe strength ofthe people. oftheir injustices ongoing and whilelooking forward to future the sharing and people’s their honour journey abalance find and between historical expression revitalization. and screen Indigenous storytellers seekto unique cultural (orniche) process ofthe product -itispart ofcultural Making screen-based Indigenous isaboutmore media thancreatinga cultures traditional inpreserving and cultural practices stories. and modern the re-generation, bothindepicting reflections ofchanging Film, television, screen other and are media practices incultural • • protect Cultural Property interests; Rightsand and • projects, trulyIndigenous peoplesmust: Indigenous support and notions nations musthave control over own stories. To assure sovereign culturaland property heritage and isparamount. Sovereign ownershipIndigenous control and over rights their to intellectual their identity,and for and purpose the protocols, of these recognition of founding nations.Culture underpinning isafundamental ofsovereignty creators strive to own their sovereignty assert three ofthe asone As iscurrently reflected inFrench Canada, English and Indigenous Cultural property. ensure appropriate consents, access to, control and of creative sidesof production; have decisionmaking control over the and funding the

“with often predicated onstories agoodway”, resilience depicting -“in Itinvolvesis soimportant. creation the ofnew narratives thatare reasons ofthe This isone concept that the ofnarrative sovereignty point for screen content creators. capacity necessary buildthe and are underway remain and afocal to development the efforts support screen Indigenous ofthe sector visionofnarrativeWhile the sovereignty isaspirational atthispoint, film practice. acknowledges traditional these teachings to appliesthem and

agoodmind”. Narrativegood heart”, “with and sovereignty

THIS IS NOT A MAP

“We are becoming another resource. “If you really need to have us in your They have taken timber and gold and story, tell the truth of your history, as fish and now they want our stories. difficult as that may be. Find the They are continuing to take our resources intersections of truth in the history of and profit from it.“ settlers. There are as many Indigenous — Darlene Naponse, Filmmaker stories as there are settler stories. You cannot tell a story truthfully if you do not come from this place.”

There was resounding consensus from participants during the — Catherine Martin, Filmmaker engagement process that these protocols should be considered and Educator a living document and not serve as a static checklist on how to make productions with Indigenous content. Rather, these protocols The non-Indigenous production community should consider the are intended to inform policies, processes, and practices, but they ways in which they can reinforce Indigenous narrative sovereignty are not a map for non-Indigenous practitioners to access Indigenous and what roles they can play to promote Indigenous cultural stories. In this spirit, the following checklist has been industries, rather than reinvent Indigenous stories in their own image. developed for non-Indigenous practitioners:

• If it is not representative of your culture or background; • If it has anything to do with Indigenous history or culture; • If you have to question your belongingness to a group or community; • If you are uncertain your good intentions will deliver balance and respect; or • If you are unsure this is a story you should be telling; then… THIS IS NOT A MAP THIS IS NOT Don't Do It.

9 10 SCREEN-BASED PROTOCOLS PRINCIPLES fundamental tofundamental execution the ofprotocols. Screen storytellers described following the principles as SCREEN-BASED PROTOCOLS PRINCIPLES RECIPROCITY RESPECT CONSENT RESPONSIBILITY

Respect • • • forward ofcontent inallaspects creation includes: and teaching Indigenous The ofrespect isatraditional thatcarries one – and the responsibilities the – and relationships. withthose thatgoalong respect relationships isalsoaboutbuilding –which process isalong content creation; knowledge cultures and isa key driving force for much Indigenous respect for preservation the protection and ofIndigenous consulted; traditions,and isanoverarching principle raised by allofthose respect for customary their lands, peoples,their laws Indigenous — “Respect isoften born oftransparency opencommunication.”and Kevin Lee Burton, Filmmaker

to community. differenceis the between creative responsibility responsibility and with community inside.That filmonthe the outside,and onthe responsibility.” As respondent one explained: Visualize acircle to creative “community ‘individual freedom/license’ from Thus there shiftrequired mental isafundamental to shiftthinking Responsibility after film. the community exists onlyon-location, butbefore, not during and preventand voyeurism. Itwas emphasized thatresponsibility to often withthatcomes responsibility the to respect sacred the How willthisaffect community future the and generations? And first the times priority creators ofIndigenous iscommunity based: inherent responsibility accountability and to community. Often It isalsoclear screen thatIndigenous storytellers recognize an “When acommunity that you come from — Shane Belcourt, Filmmaker Belcourt, —Shane “Let repeat me first –the that and —Alethea Arnaquq-Baril, Filmmaker foremost responsibility isto community.” matter feel aresponsibility to tell stories that but MIS-represented for acentury, you beenso,has represented beenunder not is self-imposed orcommunity imposed.” We carry alotofresponsibility it whether and that are not just entertaining.

Circle ofResponsibility mfrt rtui mf E op n con n p o m io ic f u S t Ntio o r ns c K C i —NylaInnuksuk, Filmmaker “Maybe we aren’t making movies because o l L drivesthat usto tell stories. oral storytelling. Maybeit’s ourresponsibility combinedmyths withadeephistory of our rich culture nuanced and withscary land we live beautiful,untouched most inthe 0 s & D torie Leg P D S en s d u 0 L n s y o S n

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11 SCREEN-BASED PROTOCOLS PRINCIPLES 12 SCREEN-BASED PROTOCOLS PRINCIPLES Consent through innovation excellence and of which isachieved economy the about Capacitybenefits. isabout more building thantraining, itis also buildcapacityand inways thatwillhave economic socialand lasting empowered waysbe tangible some withwhichcan communities ProtocolsThese elaborate onreciprocity agreements, demonstrating community and consent, empowerment. suchaspects asfair compensation, sharing the informed ofbenefits, creationin the Reciprocal ofpartnerships. relationships include way to achieve thisisthrough reciprocity. Reciprocity isacorner stone componentOne of“reconciliation” iseconomic reconciliation. One Reciprocity and processesand to thisinnovation. support creativitysupport innovation, and development and ofstructures

fostering validating talent, cultural socialand values that —Darlene Naponse,Filmmaker “Ultimately be different for every community.” thismay and permissionsthe come from, you need to understand where

to do whatyou want to do. where shoot cannot you want to –you shoot may getpermission not to tell story, the maybe story the bechanged, cannot maybe you itinthisway, adapt cannot maybe you are right the not person Consent alsomeans thatfilmmakers may betold –maybe no you throughoutand process. the stories, requires consultation story ofthe beginning bothatthe told.being Achieving for particularly consent, collectively held a numberofplaces nature onthe vary and depending story ofthe throughout thatconsent thisdocument permissions and vest in to are peoplewho and trying protect heritage. their You willnote First foremost, and consent isafirst principle invalidating nations both aprocess ofacknowledging respecting. and authoritythe to givehas you permission? a Determining is consent consent lies? controls Who rights orhasthe to story the who and have right the to tell Where you are places thatstory? allthe that thatisafamily,whether acommunity, oranation.Dopeople property rights stillvest original withthe keeper story, ofthe you are given permission to share story the intellectual butthe that are gifted to you isoften challenging. For example, sometimes Determining consent ownership and oforal traditions stories and

• • • Teachings• Respect until alliscleared respected) and Ask aboutProtocols distribute (donot Story/Teachings Ask for Permission to Utilize Without Permission Do NotShare Stories/Teachings Overview of Indigenous Storytelling Consent Process • Credit AllInvolved • Recognize Story Origins • • original ifSpoken Language Indigenous Acknowledge translate and from First Nation Acknowledge Territory, Treaty, and PROTOCOLS

ENGAGEMENT RESPECT •BRAVERY HUMILITY• TRUTH HONESTY HONESTY WISDOM LOVE • Continuing Engagement • Returning withFinal Project • Working withCommunity • Face-to-Face Communication • SeekPermission RECIPROCITY • Share Agreed When withOthers • • Growth inCommunity Back• Giving to Community Rights/Credit Recognize Compensation,

13 SCREEN-BASED PROTOCOLS PRINCIPLES 14 WORKING ON INDIGENOUS LANDS 1. WORKING ONINDIGENOUSLANDS PROTOCOLS ON-SET INTELLECTUAL CULTURAL & PROTOCOLS PROPERTY TERRITORIAL PROTOCOLS LEADERSHIP COMMUNITY PROTOCOLS & PROTOCOLS CULTURAL a. Cultural and Territorial and a. Cultural Protocols more nation? thanone are you atreaty? under Are you traditional inthe territory of determine territory whatIndigenous you are on? For example, mustbesaidifyou same The are inanurban area. How doyou each region working and directly community withthe themselves. appropriate protocols are primarily determined by into going peoples by acknowledging relationship their to Again, land. the Cultural protocols often situate and languages Indigenous to accommodating territorial recognition where possible. territories ancestral and cultural and lands protocols alsoapply peoplesinCanadaIndigenous remain custodians the oftraditional determine follow and regional community and protocols. will change. Consequently, for content itisimportant creators to Further still,based story onthe thatyou are telling, protocols the sweats will all have different protocols ineach different region. on territory nation.Further, and even feasts, useoftobacco, useoftalking sticks are –these alldependent Cultural protocols vary across –sharing country the circle, prayers, “One cannot protocol applyone across — Duane GastantAucoin, —Duane Filmmaker are we things have incommon.” differently,Nations dothings butthere own their has protocols approach. and because country the each community

similar

ceremonies

such

— Loretta Todd, Filmmaker “Again, to ifwe’ve trying decolonize the intobusiness practice the offilmmaking. totrying bring ways those ofhow we do storiestheir to withme make film.I’m the havehonouring peoplewho the shared are aboutto hear. It’s alsomy way of to minds opentheir and stories the they are peoplewho the that there willlisten a respectful space to start filmoffso the stories. creates hopefully song honour That have peoplewho the arrived to the hear arewho sharing stories, their honours and people honouring honours the That song forsong are peoplewho the participating. usually awelcoming orhonouring song a ceremony oracultural gathering Wheneversong. beento I’ve or meetings another, often that and comes through we isthat another with one one honour another, ways ofthe one and we deal how and do business we dealwithone own forms ofhow we talk how and we documentary we then can bring inour there’s

5”

15 WORKING ON INDIGENOUS LANDS 16 WORKING WITH INDIGENOUS CONTENT b. Jurisdiction Recognizing Indigenous discussed and agreeddiscussed and law. uponbecame Similar to whatwas guidelines, ofpolicies and function the of relationships affirming and change communities. the thatbenefits transactionsbusiness which include feasting, oral documentation formally welcome to them shore. Thismay befollowed by onshoreThose introduce themselves, Nationorclan, their and they are there, formally and asks permission to come ashore. arrive by aspeaker canoe, why introduces where they are from, protocols to guidethatinteraction. coast, people Onthe when example, peopleenter when Nation’s another territory, there are laws to guiderelationships interactions and inagoodway. For First Nationsfollow cultural protocols, ceremonies ancestral and community withthe • bonds incaseofdamage. • costs to onreserve; shoot or for• need permissions to goto places certain community; inthe dailylife disrupting • the (road closures); crews may facilitate include: this.Elements preparing community the for whatwillhappenwithhugefilm rights regarding aproduction. Writing upearly agreements and communitysome literacy around readiness, their capacity and workingWhen itmay lands, onIndigenous to benecessary build that may have jurisdiction over agiven area. Council Office. ofaBand There are Councils Management alsoLand MétisSettlement, orChiefand Inuithamlet, thatisthe whether Initial contact through bemade should government office, you would enter not someone’s permission. without land administration protocols. Quite simply, – land thisisIndigenous caretakers by land ofthe respecting working and withnationand achieved by acknowledging peopleare thatIndigenous original the Recognizing jurisdiction territory Indigenous onIndigenous is 6

2. WORKING WITHINDIGENOUSCONTENT a. Nothing about us without us. aboutuswithout a. Nothing ‘‘In Inuitsociety traditional leadership is —Kevin Lee Burton, Filmmaker ‘‘If you want itto have relevance and —Alethea Arnaquq-Baril, Filmmaker of it.’’ of power, ofcontrol besopossessive –donot power, share influence, share wealth, the makeDo not itaconsultation –share resonance –co-create collaborate. and knowledge? What knowledgeand they, take lead. the Where more has someone experience issituationspecific. and a fluidthing knowwho more you.’’ than anticipate moves. allofthe Trust those to else letsomeone offand behands better you, than you have humility the every knows someone situation.When belistened should that one the to in –you beleading should are always not you what assessing are who and doing In any fieldyou to need beconstantly takes situation. lead?Itshiftswiththe the

most the has Who are we doing? role? isthe What who And

b. Valuing Intellectual and Cultural Property ofIndigenous ingrained – such 3-point narrative, asthe aesthetics orparticular before they begin. collectively ‐which canhamperpotential working relationships stories to belong others communities withintheir orto nations understand doesnot pointofview their ‐manyindustry oftheir storytellersIndigenous have expressed concern mainstream thatthe standard practice, to signaway story their rights to access funding. directors are often asked, mainstream ofthe aspart industry‐ values right and to cultural expression. writers Indigenous and industry‐standard practices canbeatoddswithIndigenous environment permanent and As medium. aresult, mainstream oral traditions to translatingand amore content literal from unique situationofprotecting following language, cultural protocols, screenIndigenous storytellers content and creators are also inthe are songs and by maintained way the thatthey are told. survived, barely changed across many regions. stories, The legends have learned word for word. Thisishow stories Indigenous have teachings may betold, to try and onlytell version one the asthey Traditional storytellers are veryspecificabouthow to and whom where thatperson was born, how and story the hasbeeninfluenced. they were born, where they who, learned and story, the from storytellers often beginby acknowledging: they who are, where regarding origin the ofstory how and itistold. For example, Teachings around cultural transmission are often very specific stories are told isintegral to perpetuation the cultures. ofIndigenous to legends and survivefor hundreds ofyears, thushow and these relationship Oral land. withthe traditions have allowed stories steepedlanguage, a inoral traditions thatoften stem from placeand thatrevolves around arelationship to territory and are interconnected. fundamentally There isascience to story From perspective, anIndigenous story language and land and 7 Industry standards structures and Industry are heavily

these should be shared should these correctly exploitation the attributed of flowing benefits and from • ensure rights to culture traditional and knowledge be should • • • learn aboutcultural differences prevalence the and ofceremony; • • sacred sites objects, knowledge; and or • stories legends; and useof: itisthe Whether berespected.should of sacred, secret orsensitive knowledge, culture objects and traditional orcontemporary knowledge cultures. and privacy The compensated, consent their and for obtained, useoftheir the As appropriate, beconsulted peopleshould Indigenous on, sacredand cultural their sites, beliefs,knowledge images. and alsorespectshould right the peopleto ofIndigenous keep secret to treatment the given to work the orfilm.Screen-Storytellers culturalthe integrity ofanevent, story orartwork. Integrity refers to cultural Indigenous maintaining heritage by ensuring keeping intellectualand property rights, A, inAppendix explained further people’s right to own control and culture. their cultural Indigenous protocols. Content creators recognize should respect and Indigenous heritage principle isafundamental for Indigenous conducivenot to worldview. Indigenous the for Respect cultural are– and often contrary to storytelling; Indigenous therefore after versus during; and lodge, water ceremony and beginning –orwhatcanbefilmed know –ev befilmed not whatshould Potlatch, Sundance, sweat regalia situationsoutsideofceremony); in certain learn whatisappropriate, whatiscomfortable and (eg.wearing storytellers should: can beshared, recorded ordisseminated. To screen thisend, of regions. Thisincludes knowing whatknowledge orteachings ceremonies celebrations; and respect and spiritual the protocols 8 .

filmmaking refer

17 WORKING WITH INDIGENOUS CONTENT 18 WORKING WITH INDIGENOUS CONTENT ensure process thatthe was respectful. two-year process thatrequired useofcompany the revenue to used acultural consultant. Thisextensive pre-development was a appropriationexpert onlegaland for technical the sessionsand suggestions for work the carrying an alsoengaged She out. contributions, elders the approved made and document the traditional food They medicine. and were onlypaid not for their beshown not orshould should ontelevision withrespect to ecological elders to create atechnical guideto determine what West: Wild Food, creator Tracey Kim Bonneau worked withtraditional matter,subject including food. During production ofQuestOut protocolsRespecting extends to traditional knowledge onany what makes projects these feasible. possibleand standard toan industry recognize knowledge thatIndigenous is This resource alsobeadopted should into structures financial as historical orcultural accuracy inappropriate. anything identify and to inputonallprojects, and advise thatcanbecalledonto have forIt ishelpful any production to have Council kind some ofElder’s —Tracey Kim Bonneau, Producer “It isashared responsibility these that respect ofprotocols work own stories –they are can that ones the communities knowledge systems. Indigenous tell consent without them oftraditional a have right to change stories these or community they exist within,we donot stories remain respectful to origin the of

with

their practitioners can tell their

communities to ensure and

ideologies.’’

c. Ensure thatyouc. proper obtainthe consent permission. and There • developing accessible legal information forms. and • providing communities first withthe right orsubjects ofview; and acommunity• establishing steering committee (ifrequired); • sharing stories (including your own), simplytaking not stories; aset of values• establishing for project; the bestpractices ofthe Some consent usedinestablishing include: consequences” and benefits, “risks, asked ofwhatisbeing ofthem. which opennegotiation and empowers to participants the know the ethicalprocessThe ofconsent beginswithtransparent discussion keepers. language withthe • start withcommunity• start Elders; or withTraditional• start Governors; Tourism withthe • start Office; Office Band withthe (determine• start ifyou Motion); aBand need protocols withthe • start office; governing withthe • start Nation; are many pointstoentry — Jessie Short, Filmmaker —JessieShort, “How doyou determine ifthey are talking be clarity ofconsent permission.” and they are likely there. not There to needs to right the people? clear Ifitisnot then determine where proper consent lies:

or “co-creation” credits withcommunity members. copyright you applies and may want to consider “shared authorship” understand thatthere may to need limitationsofwhere besome rights.and you When are contemplating useoforal the histories rights, community stories rights, and family individual and stories proper consent keep too inmind thatthere are nationstories and that extends beyond to individual the community. the Inobtaining “Ownership” over stories cultural orIndigenous property isaconcept — “One orfamily individual speak doesnot permissions, appropriate withthe forms.” more formal procedural and process to used to practice. bethe There bea should conditions are Getting met. verbal permissions heritage to who department ensure allthe orteachings,medicines with soIalsomet traditional knowledge policy for stories, Teslen The product. final the and have a Raven clan, approved who story boththe the a child. to Ihad getpermission from storiesof the was heard he same the as gavehe because hisblessings telling the afterand Itold story, himthe asIknow it, wanted he leader and to story; the hear stealing sunstory. with aRaven Imet clan permission. For example, Raven Iusedthe make sure rightful the that owners give the for rightful the rights owners. We to need on MyOwnPrivate Lower Post (2008) GastantAucoinDuane (Filmmaker),

d. Individual lifed. Individual stories around projects. footage provide and feedback, providing bothbuy-in trust and may beachieved by written agreement to withparticipants review appropriate representation requires continuous and engagement schools wherein entire communities were impacted. Ensuring is aboutpersonal experience, such asexperiences withresidential are individuals attimes fact, owners the not story ofthe even ifit that whatyou are presenting exploitative isnot is accurate. and In throughout and beginning sought inthe production to ensure tool; regardless and ofgoodintentions, permission be should Screen storytellers acknowledge isapowerful thatdocumentary due diligence. that peopleare represented being asthey be,with should narrative protocolAnother isensuring -even persons the or “subjects” in are allowed. not knowledgethe you’ve learned share and itwithyour people,butyou be paradoxical, even for creators: Indigenous You may want to take away withanelderdoesn’t necessarily onbroadcast. belong Thiscan givedoes not you signofforpermission. Knowledge thatmay pass toFurther, itisimportant understand thatconsulting elder withone approach means reaching outto bothelected leaders elders. and ests between traditional traditional /non peoples–so, arespectful all communities communities some –infact, have competing inter toIt isimportant acknowledge everyone thatnot follows tradition in –are filmoradaptations okay portrayal; withthe and

19 WORKING WITH INDIGENOUS CONTENT 20 WORKING WITH INDIGENOUS CONTENT —HelenHaig-Brown, Director on?E?anx (The Cave) (2009) " again seekpermissions". wanted to way, story usethat inanother Iamback to ground zero must and aware you ofwhat are you that and doing are communicating clearly. IfIever for alotofcontention withincommunity soyou to need make sure everyone is vision withtransparency: story to isthe Iamgoing 'This use'. There ispotential You to need set upasystem to allow for validation state and your intention or Henry Solomon. Then I had to get permission from ourNation’s leadership. to Ihad Then Solomon. getpermissionHenry from clear story case whose Iwas itwas Inthisparticular adapting. my great Uncle versionfamilies. storymake elder’s ofthe and to SoIhad aparticular it select because story itisanation-owned withsixcommunities anumberof and so, how then permission?' doIgetthe Iknew Cave The that would becontentious onstory deciding youWhen to need determine: if And 'Isthisnation-owned? 21 WORKING WITH INDIGENOUS CONTENT 22 WORKING WITH INDIGENOUS CONTENT “Most of my films are made with people who are already experiencing marginalization and oppression. So when asking people to participate, I ensure that they know that this will be seen widely and publicly. Most people do not actually want to be in a film but they are going through something that they do not want others to go through. So I am told: ‘I will do this because I don’t want any other mother to feel what I am feeling.’

I spend time talking about where the film is going to go in order to prepare people and determine if they have supports in place for when the film goes public in order to handle the repercussions. This requires a lot of negotiation around how to respectfully participate without overstepping boundaries.

And the relationship is not done when the film is done – ultimately you are committing to a long-term relationship with families, with people. I spend time just listening to people and maintaining the relationship, making myself available if they have questions or concerns. We are never dispassionate; this is never just a job.”.

— Tasha Hubbard, Director on Birth of a Family (2017) WITH INDIGENOUS CONTENT WORKING

23 24 WORKING WITH INDIGENOUS CONTENT (2017)Holy Angels d.Jay Cardinal Villeneuve e. Sensitive subject matter One way to ensure the safety of “subjects” is to ensure the cultural acuity of those working in community or on sensitive issues. This While the TRC report and process is complete, Indigenous people in means that cultural sensitivity training is a must, but also, just a starting Canada are still working through healing the social, economic and point. It may be necessary to ensure that the appropriate cultural mental health issues unearthed by the Commission. Re-traumati- and emotional supports are present during filming or screening. zation or the repercussions of intergenerational trauma need to be Many productions use daily smudges, have community health mitigated when dealing with potentially triggering subject matters, workers on site, and hold ceremony at the beginning and end of which increases the storyteller’s responsibility to ensure safety in a production. Ceremonial practices were also considered bonding treatment of “subjects” (in both subject matters or in the presentation experiences with non-Indigenous crew members. of material). The same can be said when dealing with highly complex and sensitive issues with painful truths. Opening stories opens In order to ensure that the Director’s approach to depicting gateways, and digging up sensitive issues requires both taking and sensitive subject matter is well considered and balanced, it may also giving back; involving an obligation to support and heal wounds be important to have sensitivity reads with the appropriate community that we have dug into. members or elders. Sensitivity reads will unearth ill-informed biases, inappropriate language use, and stereotypes that may harmfully impact the community. WORKING WITH INDIGENOUS CONTENT WORKING

25 26 WORKING WITH INDIGENOUS CONTENT g. Meaningful collaboration roles as“consultants” rather thanaswriters, directors and/or producers. stories more culturally appropriate, crediting fundamental these of completion. peopleare Indigenous asked to make non-Indigenous many project, a non-Indigenous ofwhich were nearing stage the have allbeen inundated withrequests to serve asconsultants on protocols inthe of participants consultation process isthatthey directed produced and by people.Acommonality non-Indigenous storytellersIndigenous asconsultants onproductions written, existingThe persistent practice inCanada industry isusing —Tasha Hubbard, Filmmaker “The prevalent practice ongoing and — Candy Palmater, Filmmaker/Radio Host “I amconstantly receiving correspondence to time the ensure you have gotitright.” is active listening asapractice, taking and research,the development inthe stage. It during beginning, the from engagement wewhat want either. is isneeded What consultation. consultation And isnot questions post-production –it’s even not disrespectful. to anemail Sending ask of seeking inputisoften Indigenous such alack ofrespect.” might disagree opinion. There withthat is about for any person Indigenous who is inappropriate, butthey continue to cast Many have already beentold project their are seeking my approval project. oftheir ofcharge orthey mymine knowledge free tell stories, Indigenous want either and to want peoplewho non-Indigenous to from

Indigenous screen industry towards screenIndigenous industry goal the ofnarrative sovereignty. for credited to production the employment, serving support appropriate protocols, butprovides significantopportunities towards ofmeaningful amodel collaboration only follows thatnot consultants”, move should productions non-Indigenous inparticular was general consensus thatasopposedto “Indigenous engaging storytellers throughout again and time consultations. these There exactThese were sentiments echoed by screen Indigenous consultants”.use of“Indigenous to community, pathway the and ofchoice isto the move away from towards acknowledging screen Indigenous storytellers’ responsibility screenIndigenous storytellers. Meaningful collaboration isameans to working content, withIndigenous communities, Indigenous or standard. Meaningful industry Indigenous collaboration may apply collaboration orcollaborative approaches are considered an era isthe Gone of“consultants” “consultation”. and Meaningful “It isFAR for pasttime era the of — Danis Goulet, Filmmaker —DanisGoulet, relationships/gaze continues.” about us,fullstop. colonial the Otherwise, KEY creative positionsinwork made be over. peoplemusthave Indigenous consultationIndigenous to arts inthe

community the impacted, being or aproducer comes who from Communities). by cases,thatpositionmightbeheld Insome a director within thatcommunity (asdiscussedinWorking withIndigenous inchargebeing strong maintaining and ofbuilding connections community the creatives inprojects. Thisincludes from someone contributing to telling the own oftheir stories by working askey communities are getting involved atearlier ofproduction, stages of copyrights. Meaningful collaboration means thatIndigenous consultants to collaborators, including co-production co-ownership and This shiftinfocus reflects role shifting the ofcommunities, from • Community screening celebration and • Contextual marketing materials • Appropriate acknowledgements intent the • Outline project ofthe • Buildrespectful relationships • Establish asetofvalues for project ENGAGEMENT DISTRIBUTION

often accelerate experience through collaboration opportunities. projects. pointinto and projects These serveasanentry industry the communities withproduction companies to have led Indigenous itiseasier projects.non-Indigenous Simplyput, for working those in production isthrough peopleon withnon-Indigenous partnering socollaborationsand are plentiful.For onlyaccess the Inuk, some to adhered to. there isadearthofexperienced north, Inthe producers, communities ensuring and contributions thattheir are valued and withinthose outsiders,non-Indigenous bringing onpeoplefrom casewherebut inthe director the producer and are or Indigenous COLLABORATION PERMISSION CONSENT & • • Hire acommunity liaison • Establish anElders Council • • • capacity agreements Develop community or benefits befilmed not should confortable to share know and what Learn whatisappropriate and ownership lies Determine where appropriate story KeepersLanguage Office, Traditional Governers, Elders, Office,Band Tourism Office, Protocols governing withthe Start Nation,

27 WORKING WITH INDIGENOUS CONTENT 28 WORKING WITH INDIGENOUS CONTENT THE NORTH/SOUTH RELATIONSHIP This may include providing additional training opportunities, investing in infrastructure, or "The hardest part of collaboration is working with exploring projects Indigenous creators or people from the south - they have a lot more communities want to do. experience than the people they are working with so there is a need to equal out the playing Working in community we put ourselves out field. We repeatedly see white people who make there to be held accountable. I would not put themselves indispensable through perpetually myself in the position of not having the control “helping” the Inuit, and never exiting; which to shut down a shoot if things are going wrong. ultimately stops people progressing in their You need to have the control if you are taking careers. Some of the best practices that can be the accountability." cited from recent experience include: — Alethea Arnaquq-Baril & Stacey Aglok MacDonald • leaning out and make more space for Indigenous on The Grizzlies (2018) creators in your process, which means not taking the lead all the time, not making yourself indispensible, and not placing yourself at the top of the creative tree. Sometimes it is subtle and other times it is blatant taking up of space; • acknowledging why decisions are important even if you don’t understand them. Understand that you don’t know the community. This requires a certain depth of humility and openness to learning over time, but it is integral to building trust; • investing in each other as producers and directors is an aspect of developing a mutual relationship. WORKING WITH INDIGENOUS CONTENT WORKING

29 30 WORKING IN INDIGENOUS COMMUNITIES 3. WORKING ININDIGENOUSCOMMUNITIES —AlanisObomsawin, Filmmaker “I goto locations the onmy own for several person’s face right on camera. even you though don’t always seethe really emotions the and come through really like process. that The This iswhy Iusealotofvoice-over. I person,another because itistoo difficult. of wouldn’t sayoncamera, orinfront crewthe arrives, they but alotofthings repeat certain oncamera, things when understanding. to Imightask them place,same there and isanautomatic the waythat isbecause we come from reason the And why we are ableto converse between person. particular one and me interviews are veryprivate. They are In99percentthem. cases, ofthe the film.Ilookupto ofthe important part it’s many they people,and are most the making onlyone film; the the I’m not level, same on the because inmy mind, advice. We converse seeifwe and are to I’mtrying what do, asking and their people,telling withthe lot oftime them weeks, Idon’t and goonlyonce. a Ispend

feelings 9 ”

a. Building respectful relationshipsa. Building based ontrust of respect. people –tobacco, feasts, providing for demonstration gas-isanother ensuring appropriate thatthe “gifts” are given to appropriate the Understanding “giving the culture” nation,and ofaparticular be inceremony, midstofacommunity orinthe land, on the crisis. protocols, cultural their and protocols; including they when may daily basis. Thismeans respecting administrative their time, their dealand withmultiple competing health social and priorities ona communitiesUnderstand Indigenous thatmost are under-resourced relationships occurs kitchen inthe withtea bannock. and of development more budgets. And often these building thannot, isoftenand financed by creators, individual parameters outsideofthe been completed. Obviously relationships these building takes time members often remain involved after aproject has community there relationship isanongoing community withthe and to any formal consultation. For many screen content creators, gettingand to know often them, through informal dialogue,prior This includes knowledgeable being way aboutthe people ofthe history.and as aprocess ofacknowledging respecting and community practice often honoured stories their when are portrayed, perceive and this are corner stones ofworking withcommunity. Communities are As Principles inthe outlined respect section, relationship and building

— “There people. to isaneed sitacross from This ishow we demonstrate respect”. food, transportation, medicines. and include anhonorarium, italsoincludes to betaken care of, whilethismay and all costume peoplewere use.These onset ensure appropriate and language translators cultural and keepers to communities I whichmeet budget. ofthe isalarge part relationships. People they eatwhen You have to kitchen bein the to build Consultation cannot be“dialed in”.

differentworked withelders from The RoadForwardThe (2017) Marie Director Clements, on day to help came that onboard as with changes. Elders

need

b. b. a missionstatement sharing and itbroadly community. withinthe they are to going berepresented. means One to achieve thisiscreating community include considering how willfeel subjects the abouthow members large. Questionsfor consideration indiscussionwith Educators, Holders, Language Knowledge Keepers, community and Council, Chiefand butalsoElders council, get buy-in onlyfrom not screen storytellers may alsopresent project their and Indigenous an what story you’re to trying tell they –and bothbeginwithhaving There are bothformal informal and ways to betransparent about

it willbedistributed filmintent,howOutlining how itwillbeusedand widely matter subject onthe open dialogue.Depending or content, — “If you are working inanIndigenous territory”.their story the get behind taking place on capacity the and community ofthe to Thisisaboutrespect story? Indigenous storyof the how and doesitrelate to an it willdevelop. complexion isthe What storyhow the isand what line is about, together informed and script the ofwhat community –they to need bebrought Cultural Elder Duke Redbird, Filmmaker,

31 WORKING IN INDIGENOUS COMMUNITIES 32 WORKING IN INDIGENOUS COMMUNITIES Barbara Hager used a vision statement to illustrate • casting Indigenous people in dramatic recreations how she would be collaborating with communities who are culturally affiliated with the stories being told; in the production of 1491: The Untold Story of the • including the history of Indigenous people from Americas Before Columbus. It was included in every region of the Americas; packages sent to communities and used by team • engaging a predominantly Indigenous crew in members as the basis of presentations to Chief key creative and technical positions. and Council, to community, and the framework for getting signed consent and community support Hager strongly recommends that even in the case and approval. The producers are committed to: of small projects, it is still necessary to contact the appropriate authority, whether that is the band • featuring Indigenous scholars and cultural leaders office, or an elder, or a language teacher. The entry as the primary interpreters of their history; point for a community is different all the time. • respecting the nations whose stories will be told by seeking permission to film in their territories; • consulting with cultural leaders to ensure appropriate depictions of their stories in the dramatic vignettes;

“Access is everything – if you don’t have access you don’t have a story. As a filmmaker, it’s important to build trust with the Indigenous community that you want to work with. You need to introduce your project to the proper authorities in the community, ask permission to engage the community or share their story, and agree upon the terms of approvals and compensation. The producer needs to assure the community that their story will be treated with respect and they won’t be misrepresented or exploited.”. IN INDIGENOUS COMMUNITIES WORKING

— Barbara Hager, Producer on 1491 (2017) 33 34 WORKING IN INDIGENOUS COMMUNITIES c. Hiringacommunity liaison c. using acommunityusing liaisoninyour production. working inInuitcommunities, bestway the and to achieve thisisby Knowledge was oflanguage considered when important particularly crew. withIndigenous • helping • knowledge or oflanguage; • hiring paying and community members; possiblyresolving and • identifying disputes, issues,orpermitting; • increasing communication outreach and community; withinthe • bringing askill providing setand ground”; “bootsonthe early development facilitating stages, your work inanumberofways: areThese meaningful ifthey positions,particularly are involved from funders, described and inapplications. budget to ensure thatthey are paid accordingly, recognized by Producer oraproduction beincorporated –should manager into extentpossible. The role ofthe -itmay even bethatofanAssociate allow aproduction to incorporate asmany community members as keepers, oreven ofeducationorhealth. departments the Thiswill with community members such Council, asChiefand orknowledge community the works who from liaison ornationliaison,someone A common much and promoted protocol useacommunity isthe — “When community outsidethe peoplefrom community”.the ofintermediary connection to –some sort film ordocumentary there to has besome approach acommunity to participate ina Jeff Bear, Producer

d. capacity agreements Developing community and benefits — — “Meaningful listening means participation “We gointo communities to bring rightwith the people.” goes wrong, ensure and you are working open to responsive being ifsomething to peopleyou the are working with,being something your artwork.” just your career, justyour not show, just not you’vewhat Notjustyou, beendoing. not communityday the benefited has from ofthe end atthe bringing And something. you are receiving butyou’re something just beaone-way street. to Ithas bethat France Trépanier, Filmmaker FilmmakerJessie Short, to then and take. Itcannot 10

• • organizing acommunity screening soonafter filmcompletion; and • • • • • employing community members oncrew; • exploring skills development and opportunities; • ensuring fees clearances and for jurisdiction; ontheir shooting considered abestpractice. agreements These may include: content, developing community orcapacity benefit agreements is spiritIn the ofreciprocity, nature onthe depending and ofthe new for model business working withcommunities. as away for community the to share profits inthe would represent a educational purposes. For example, creating alicense inperpetuity, exploring rights giving to show work the incommunity context for during production post; and showing work the to community the –asappropriate –for input programs, bringing giftsormedicines; to donating practicing and giving community the orcommunity community; providing access to materials –hardware software and inschools or cultural preservation; providing copies offootage for purposes the ofcommunity useand

odothey first getthe screening? • • How community willthe have avoice? community• Whatdoesthe want to putforward? • Whatare resources the community thatcanbeusedatthe level? framework: ofthe as part protocol ofthe dialogue aspart process, questions usesthese and Vanessa Animiki SeeProductions, Loewen, encourages open from How are you demonstrating reciprocal accountability? o how are they to going becompensated? community? o are you crew staffand using from communityo doesthe getcopies? o isthere to going beafee? o dothey getto lookatscripts?

35 WORKING IN INDIGENOUS COMMUNITIES 36 WORKING IN INDIGENOUS COMMUNITIES “The feature filming of SGaawaay K'uuna (The Edge of the Knife) structured the engagement to look like a community planning process so that it was community driven. While there was no existing Haida film protocols per se, by virtue of working with community the appropriate protocols were learned. There are standard government bodies and permissions (eg. Haida Nation) to be sought, thus engagement begins early in the script process. The producers and director met with the Haida Nation to work out the relationship, including giving a presentation at the Nation Assembly.

The production team used elders and Chiefs as an advisory board to ensure historical or cultural accuracy and identify anything inappropriate. There was also follow up with advisors to show them what was being used, and although the process was not formalized, it was done prior to lock to ensure their feedback was part of the process.

ISUMA had their own ideas and protocols stemming from their vision of leaving some long-term film commitments in community. These practices included ensuring that at least 75% - 80% of those involved in the production were Haida. Community involvement included everything from building long houses and props, to wardrobe, to cast and crew. The teams also ensured shadow positions available were available to learn and enhance capacity within the community.

Recognizing the need to celebrate with community, a community screening was held. It was also important for communities have a copy of all of the raw footage and permission / rights for it to be used for their own educational or community pursuits. The footage can be archived and housed at the Band Office so that families and community members have access or use without fees. High quality, IN INDIGENOUS COMMUNITIES WORKING usable footage is one way to help develop community resources.” 37

— Helen Haig-Brown, Director on SGaawaay K’uuna (The Edge of the Knife) (2018) 38 WORKING IN INDIGENOUS COMMUNITIES e. Script development • • This includes: involvement, inkeeping standards. withindustry toalso need properly credit orcommunities individuals for their writers, Indigenous using collaborators, orscript assessors, producers Not onlyisscript consultation required, which may beachieved by script editors, cultural community and advisors. proper acknowledgement advisors, ofIndigenous consultants, intellectual property appropriate attribution ofowners cultural ofIndigenous and — community.” outsidethat writing from community ifyou input–particularly are “When you are withacommunity dealing youabout what are orhaving doing script talking without to community the story the holds –youthat cannot write a story you to need community dealwiththe Hank White, Producer

— “Non-Indigenous writers differentiate donot Indigenous details subtletiesand the between to take into things these consideration.” to taking research the doing and time the advisor. Productions to need becommitted soscriptsnotions, always ascript need community withromantic distorted and often culprits the Indigenous seethe and Cultural Elder Duke Redbird, Filmmaker, groups Writers ornations. are

4. WORKING WITHINDIGENOUSCREWORCAST • • a. Paying ofactors community and members • relationships include: elders, knowledge holders keepers. orlanguage Fair respectful and value work. oftheir isexpected same The for contributions the of It isnormal to treat pay and acinematographer based onthe be reflected budget. inthe inpoverty,living instances inthese and paying to needs subjects paying Quite subjects. often documented peoplebeing the are –thatthere to isaneed this isespeciallytrueindocumentary start through amentorships program. consulted ofthose Some felt that co-workers non-Indigenous of their -even ifthey are employed crewIndigenous to belong aunion,thatthey bepaid equalto that standards. Itiscriticalindustry thatregardless ornot ofwhether saying gowithout It should thatactors bepaid should with inline for role their revitalization; language inIndigenous of, compensation and for, translators isessentialasasign ofrespect People’s cultural reclamation resurgence. and Proper acknowledgement ofIndigenous part translation language Indigenous isanimportant only feed crew acastand of40, butyou feed 120. there isaprotocol of“giving” in community, which means, you not communitiesenous organization; and compensation to contributors, Indigenous individual to and - Indig — “All cast crew and have right the to befree caringly atalltimes.” walkand responsibly, professionally and any cast other orcrew. We thrive to work threatening ordisrespectful from behavior discrimination,of harassment, sexism, and on Darlene Naponse,Director Producer and Falls Around Her(2018) 11 12

should be done in the pre-production inthe bedone should stage. community members. Thus,where crew the possible,sensitizing communitythe may risk valuable damaging relationships with up difficult/sensitive crews issues,and attempting thiswhilein community, by production the team. Thiskind ofwork canbring crew.the Crew sensitivity prior bedone should to arriving inthe Community members begiven not should role the ofsensitizing knowand people. the to sound editor,Everyone to need onproduction, understand from monitor relationship the between crew the community. and involved to around Itisalsoimportant filmed. whatisbeing members to appropriate behaviour/norms any and sensitivities Creators to stressed itisimportant sensitize crew non-Indigenous b. Sensitizing non-Indigenous crewb. non-Indigenous Sensitizing — “We explained work Inuitdonot the that they are your not assistants.” community equallyimportant and – about production butthey know about they mustberespected. You know may butthat with learning opportunities, they that and onlybeprovided mustnot production, ofthe in every department in hierarchies, there that willbeInuit Alethea Arnaquq-Baril, Filmmaker

39 WORKING WITH INDIGENOUS CREW OR CAST 40 WORKING WITH INDIGENOUS CREW OR CAST The Body Remembers When the World the BodyRemembers When The Broke Tailfeathers Open (2019) d.Elle-Máijá “Obstacles with crew are industry wide issues – a. there are not enough Indigenous people working as crew members (cinematographers and sound professionals), and b. the crew are the ones working directly with the community. When working with non-Indigenous crew who represent the voices and opinions of Canadian settlers you often encountered grave misunderstandings about our people. Not only a severe lack of knowledge of the impacts of colonial policies on our people, but also on issues such as addiction and how it impacts our community. Mentorships are an excellent way to fill the gaps in crew (eg. cinematography mentee or employing production assistance) and bring employment to the community; however, mentorships are not the best long-term plan for building capacity.”

— Elle-Máijá Tailfeathers, Filmmaker WORKING WITH INDIGENOUS CREW OR CAST WORKING

41 42 WORKING WITH ARCHIVAL MATERIALS 2. 2. 1. both contexts, ability the to reuse would images have parameters: community consultation. There are two general scenarios, in and in many instances, would to need bedetermined withappropriate original material sound and shoot thathasbeenpreserved), Appropriate useofarchival material (completed filmsaswell as story can grant who and permission for telling the ofthatstory. as complex questionsaround asfundamental tells who whose issueofaccessThe to reuse and ofaudio-visual archives isofcourse — “There isalotofarchival footage to belongs that CBC the 5. WORKING WITHARCHIVAL MATERIALS peoplesfornon-Indigenous rights the to ourown material.” communities, sowe can to having without usethem pay (much like goback should into museumartifacts) our this footage to having without Archival payfor it. images filmmakers Indigenous so that can have access to all back means) questionable to communities the orfamilies footage was that acquired past (often inthe through any right other give should holder ownership ofthis because he/she doesn’t have rights. the CBC/NFBand of someone’s grandparent, person butthat can’t useit to. For example, there archival mightbesome footage younger NFBthat or the generations don’t have access context; for useofimages/audio inaparticular filmand inaparticular Situations inwhich appropriate permissions have beengranted not be in the public eye beinthe not bereused. not should and werethings captured disseminated and quite thatshould, likely, worksthe within existing housed screen archives, thus,certain historically permissions were soughtorgranted not for many of requires returning to individuals/communities. As we know, cases there to isaneed determine use/reuse protocols, which Films where proper permissions were Inthese obtained. not Youth Respondent

• • • • Some a. Useofarchives inanew film to accordingly. likely first the area protocols ofthe thatwillbeupdated added and spiritThus, inthe document”, ofa“living working witharchives is intellectual property cultural and heritage Smithsonian. usedatthe Archive Sound and ofAustralia orprotocols to respect Indigenous Intellectual Property (ICIP) rightsFilm usedby guidelines National the use/reuse ofexisting archives, such Cultural Indigenous asthe and of global bestpractices for preservation the appropriate and NFBwillsoonundertakeThe aresearch project to create ascan media formedia community use. ensuring community the ability hasthe to preserve ofthis some archival materials inanew context; and and/or individuals approvals from communities for reuse of reflectthat donot community ornationownership) inobtaining exercising duediligence (beyond existing legalrequirements film; orpeopleinthe subjects confirming useofinterview the footage isby permission ofthe returning original allthe masters to community; the a principled access to archives may include concepts such as of the protocols cited for the use of archival materials include:

b. Archiving materials associated withafilm ownership the reverts back to community? the frame, time a certain ownership? Can we make contracts thatreflect idea the thatwithin product revert in10years to community owned? Can you revert Key questionsfor consideration moving forward include: Doesthe • • • access to own their stories. Protocols may include: determining protocols the around archiving having and continued of asignificantarchive, /communities individuals willbeinvolved in instanceIn the aninstitutionsuch when custodian NFBisthe asthe works. maintainthese and communitythat the resources hasthe capacity and to preserve determined development inthe then process. Itisalsoimportant access. Thishasimplicationsasto how rights are negotiated and to archival the collections control and permissions the and returned to communities. Thisensures communities have rights A recommended bestpractice isensuring thatmasters are community NFB'sKanehsatake (eg.the hasjustbeenversioned). ensure legacy thatthe filmlives ofthe isaccessible onand to versioning into (post-production) language anIndigenous to to in terms ofuse/reuse sound; and of images where,has beenshot, withwho, aswell aswhathasbeenconsented providing detailedcatalogueinfo sothere isaclear record ofwhat reuse;and wherespecifying archives are stored conditions and ofaccess

c. Virtual Reality Virtual c. accessibility archival and only extend life for afixed window. example inHTML5)would require significant resources will and be seenanymore, however, reprogramming work these (for entirely by manufacturer the by 2020. Many works ofthese can’t programmed -software inFLASH phasedout thatisbeing was ways. For example, NFBsearly alotofthe interactive work experiencethe itsintent and to needs bedocumented inother develops, original works beseen,so longer canno sometimes browsersand istherefore and unstable.As technology the kind ofwork ontransient issodependent technology, software, archiving continued and accessibility over term. long the This immersive works own posetheir uniquechallenges vis-à-vis questions applyto VR the experience. Ofcourse VR interactive/ and Participants noted thatmany archival same ofthe interests and

43 WORKING WITH ARCHIVAL MATERIALS 44 WORKING WITH ARCHIVAL MATERIALS “As a filmmaker living on their territory for 13 years, I had a responsibility to do something more with all of that footage so that it not just end up in archives. I wanted to recreate that sense of deep learning that I experienced in the interviews."

This project emerged as a legacy project based on a 3 part museum exhibition curated by the Museum of Anthropology, Museum of Vancouver and Musqueam Cultural Centre. With the blessing of the territorial team and community advisory board at Musqueam, Elle-Maíjá Tailfeathers did the video work for the 3 exhibitions and subsequently applied for a small grant to translate that footage into a feature length documentary as a kind of legacy project for the exhibition. During both the original exhibition, and subsequently in the film editing process, Tailfeathers consistently consulted with a community advisory board and the Musqueam curating team to determine what aspects of Musqueam culture can and should be shared with the public. A community screening was held at the rough-cut stage in order to invite and incorporate feedback. The Musqueam wanted the inclusion of the voices of their ancestors and elder that had past into the film. This was a huge challenge, as it meant going back to the Musqueam archives and looking at historical archives and physical documentation of statements from elders.

"Including quotes from the archives wasn’t something I had considered because I often feel that too much text on-screen doesn’t do anything to strengthen the narrative but it was what the community wanted. I had to let go of control of the project in that sense and recognize that my role as an independent filmmaker in this instance was to serve the community and respect their choices. Ultimately, the archival quotes only served to enrich the production. WORKING WITH ARCHIVAL MATERIALS WITH ARCHIVAL WORKING

The repatriating research is interesting and important. Footage of elders, interviews 45 with community – we have a responsibility to use these stories for community purposes as opposed to simply research for films. They should not be sitting in a vault or somewhere that no one has access to.”

— Elle-Máijá Tailfeathers, Director on cә’sna әm – the City Before the City (2017) 46 RELEASES • • • practice. Suggestionsinclude: developingapplication when standards of industry Indigenous practices standards and industry inthisregard haspractical As we know, release forms give producers ownership. Changing 6. RELEASES there to ensure appropriate itisinthe context; beshownit cannot unless acommunity orfamily is member clear rights community with the family. orthe Inmany cases rights to projects ifyou and want to show awork, you have to in New Zealand, there isaprecedent for community retaining that account for writing and language skills; alternative ways release ofdoing forms (such asrecordings) ensuring release forms are /ordevelop and inplainlanguage to prevent proper usedwithout itbeing permission; onyour line the adding release forms “for useinthisfilmonly” — “Mistrust avalid place mired comes from even fair balanced.” and more transparent, equitable, perhaps content; relationship the then could be much control they have actually regarding abilitiesfilmmakerswhat have how and advance sothey (communities) know creators. Materials can beprovided in positions before speaking withcontent sector by more them giving informed communities production outsideofthe ownership.and Itisimportant to equip perpetuity’.like It’s ‘in aboutlanguage in acomplex history. Releasesuseterms Jeff Bear, Producer

“It was to amazing shiftmy ideaaround release form Māori practice: Haig-Brown, understanding alotofher protocols from came director the or arelease to community. the form from For Helen optionishaving ofcommitments,Another document asecondary • determine how they would like to have influence.” familythat getting permissions based onvisionand grandchildren soitisimportant to with time spend familythe owns itwillgoto itand children and to own Idonot them. they what have inperpetuity; done visionforthe project make then and commitment that person versus way other the around. Itisvital to discuss lookatitasacommitmentand Iammaking that to the communities.”those communities ifthey available made footage the thatthey in shot would bemaking powerful ausefuland contribution to those property rights ofproducers, we suggestthatproduction companies traditions.and Without to trying interfere intellectual withthe fact thatthey are gifted being knowledge ancient withsometimes interviewingwhen Māori elders experts, to and besensitive to the consent forms. We would urge production companies, especially relationships, asthey terms the define included waivers inthe and final project; “… production companies power allthe hold inthese determining ifyou canprovide acopy interview ofthe or and/ 13

is or alternative distribution (such astrailblazers atISUMATV) which take doesnot model into account festival community and screenings / often biasedtowards commercial release. Unfortunately this driven thatmaximizes model paid audience. is Thus,funding As we know, private the sector focus isoften onashareholder around world. the producers Indigenous from from with amandate to promote sellcontent and to global the market distributors, based inCanada. ofAPTN Itisanarms subsidiary length noted, including VtapeAnimiki and SeeDistribution, aninternational toimportant connect with.There are afew exceptions thatwere ability to promote work their to variety the ofaudiences they it find Most distributors want anexclusive arrangement, anartist’s limiting — “We to more alsoneed support allow ourcreations to 7. MARKETING&DISTRIBUTION STRATEGIES and internationally).and a pathmapping to communities Indigenous bothdomestically mainstream community and of paths importance the (and alternative distribution ofIndigenous models thatbalance both more more and producers Indigenous seeking directors and are strategy ofdistribution to audiences.” Indigenous share; any production Indigenous commit should to a communities. bemandatory to Itshould give back and travel bothwithinourcommunity through and other considered Youth Respondent equally important to Indigenous creators. As

result,

• • • • seekingthose adifferent path? So how dowe create more space for distribution and opportunities gain. purpose ofmonetary preservation protection and ofculture, solelyfor not and the culture.Indigenous priorities Indigenous are often towards the CRAto the UNDRIPand protect distribute and stemming from in thisregard. As government there agencies, are obligations screenIndigenous storytellers seeroles for CBC CMFand the in synopses, descriptors, etc. messaging and trailers)media, ensuring and appropriate wording and language contextualization project ofthe inmarketing materials (social ensuring appropriate community consultation regarding the readnot mainstream press); having targeted outreach to communities Indigenous may (who contract withadistributor; beabarrier not Thisshould budget. ofthe toessential part a screenings celebrating and community withthe bean should an obligationto goback to community. the community Doing a top priority; orrecognizing inmany instances project the has acknowledging thattaking story the back to community the is families/ community, groups; Indigenous other acknowledgements, aswell ofsubjects/ asparticipation ensuring nightshave opening cultural territorial and

47 MARKETING & DISTRIBUTION STRATEGIES 48 IMPLEMENTING PROTOCOLS IMPLEMENTING PROTOCOLS enforcement isneeded. collaboration peoples.To withIndigenous avoid abuses, therefunding, issaid to beanabsence ofconsultation or Where productions are ofScreen benefit without made Australia of Indigenous content.of Indigenous however facilitate pathways the to respectful ethicalproduction and communities. protocols These are meant not to production, hinder filmmakersIndigenous beinteracting should withIndigenous want large institutionsto beinapositionto prescribe how communityIndigenous members were clear thatthey donot protectionthe cultural ofIndigenous intellectual and property.” Australian legalsystem customary Indigenous and laws concerning culturalIndigenous protocols are bridging gapsbetween the relevantobserve the protocols for production. their Inthisway, content provide statement aone-page onhow they planto all applicationsfor thatinvolve funding stories Indigenous and cultural intellectual and property. Screen Australia requires that Contracts create obligationsfor legallybinding useofIndigenous the broadcaster incorporated SBS)and into filmmaking contracts. (Australia Council, Arts Screen Australia Australian the and endorsed by professional and agencies funding associations “obligationthe to cultural observeIndigenous protocols isbeing For example, we when Australian lookatthe we model seethat practices.and how protocols the willbereflected internal intheir processes promoting,in disseminating, where and appropriate, determining entirethe industry. stakeholders Allindustry have arole to play protocols ofthe implementation The requires from participation 15

want to consider. bestpractice pointand approachstarting institutions may other CanadaThe Council was cited by many consulted asapragmatic “ attempting to policy UNDRIPwithintheir implement statements: approach Canada isthatofthe Council, which first isthe institution strategiesand asaresponse to TRCcallsto the Another Action. Film Board, are prioritizing screen-based Indigenous initiatives keylegislation. Some such National asthe partners, industry Reconciliation inthisvein canbeachieved through policy and • • • of screen productions, thismeans: includes concept the ofeconomic reconciliation. context Inthe For peoplesinCanada, Indigenous thisrenewed relationship relationships between peoples. non-Indigenous and Indigenous processis anongoing respectful maintaining and ofestablishing federalthe government. Core to principle the of“reconciliation” and Nation-to-Nation and Working Context inthe ofReconciliation (TRC) Calls to are Action, commitments thathave by beenmade Truth the UNDRIPand Implementing &Reconciliation Commission creative and for artistic support expression.” sovereignty for compromising peopleswithout Indigenous our make clear apath forward to self-determination cultural and UNDRIP withinourvalue the embedding and system, we peoples thatisrights-based comprehensive. and Bysupporting commits to relationship anation-to-nation withIndigenous By affirming UNDRIPDeclaration, the Canada the Council in telling own their stories getting and to them market; working collaboratively to screen Indigenous storytellers support serving toserving bothprotect monetize and products. made Indigenous tohelping bring productions Indigenous into mainstream, the narratives; and reclamation inthe participating cultural ofIndigenous

Moving Forward a. 2. distributors; and g. training institutions; f. broadcasters; e. councils; art d. professional and industry organizations; c. publicproducers publicdistributors; and b. federal provincial and agencies; funding a. 1. solutions. Next steps cited by contributors include: requireframeworks conversation ongoing term longer and considerations such aschanges to copyright changing and legal can beadopted implemented and term; short inthe other protocolsof the –such principles asguiding bestpractices and - both immediate mid-to-long-term and goals. Whilemany aspects Expectations for gatekeepers are multi-pronged incorporate and indecision-makingthose positions: Encouraging promotion and adoption the ofprotocols by around screening content: for policy change, decisionsaround decisions and funding, principles the using practices and aslevers guidelines and can bothreflect Protocols the uphold and Pathways, and stakeholders to need determine how internal their processes promoting and In adopting protocols, the screen industry h. festivals. b. processes;selection mechanismsestablishing for juries, committees and windows increasing and development budgets; protocols the meet by development longer establishing consideration administration and time the required to budgetsto and models funding adjusting take into

d. commercially viable. confirm to preconceptions non-Indigenous aboutwhatis aresult, filmmakersenough…As reported asked being to repeatedly specifically“Indian” cases not inother and niche specific, and that they received had critique the content thattheir was too feedbackthe received onscripts. filmmakers Some reported Pre-conceptions filmaffected anIndigenous aboutwhat defines produce content. as abarrier to working to larger withinthe industry develop and cultural content, understanding ofIndigenous process stories and writers,Indigenous directors producers and alike cited alack of often navigate a“culture gap” itcomes when to work. their means filmmakers thatIndigenous industry within the must organizations. representation under The people ofIndigenous networks, distribution companies, festivals film-related other and atlarge, broadcasting agencies, withinfunding film industry There remain few, ifany, peoplerepresented Indigenous inthe c. c. makers withinorganizations; incorporating representation Indigenous decision and reflecting respecting and languages Indigenous first creators. ofIndigenous language acknowledging where French and English are the not in processes to facilitate participation, Indigenous i. i. organizations may looklike; protocols ofthe implementation inyour institutionor have decisionmakers Indigenous determine what travel to thisend; take into account and exorbitant cost ofinfrastructure also ensuring remote envelopes funding northern and 17

49 IMPLEMENTING PROTOCOLS 50 IMPLEMENTING PROTOCOLS ownership control and isminimumof51%. or anot-for-profita partnership organization where Indigenous asasoleproprietorship,defined alimited company, aco-operative, productionThe company owned alsobeIndigenous should and line” positionsto talentisavailable. when beIndigenous, forcapacity “above all 3ofthese industry Indigenous inthe the be Indigenous. visionmoving The forward wherein isone the the currentThe standard developed inconsultation isthat2outof3 4. b. 3. serve asbestpractices, butalsoto: protocolsof these across industry, ofthe allaspects onlyto not Advocating promoting and awareness for adoption useand the First Inuitproduction. Nation,Métisand Adopting acommon production” definitionof“Indigenous –

key d. support capacity initiatives building d. support sector. inthe c. a. cultural competency training; ensure protocols are usedasanethicalcomponent of people; tions written, directed produced and by non-Indigenous storytellers Indigenous of using asconsultants onproduc mitigate prevailing the persistent and mainstream practice bringvisions and diversity back to form; art the conceptand ofstory telling to include artistic Indigenous decolonizedsupport stories by definition upthe opening

creative

positions inaproduction (Writer, Director, Producer) “To getwhere you want to go, you have to — jump ice.“ Zacharius Kunuk, Filmmaker

Council iscited asabestpractice: creators are fullyselffinanced. Again, approach the Canada ofthe alsodemonstratesmodel thatlittle ifnon-Indigenous canbedone contingent useofappropriate onthe protocols; however, that for thatmake agencies isviafunding implementation funding subsidies. As noted Australian inthe akey model, mechanism to public private the important sector, which from benefits Best practices publicsector inthe established canbe recommended on empowering communities ensuring and informed consent. principles ofequitableaccess beconditional should funding and suggested begoverned should useofpublicmonies thatthe by itcomesWhen down to protocols, ofthe implementation itis National and PublicFundingNational and “The Canada Council alsoconsiders itnormal to askthe issought.” support addressed by project the for which Canada the Council’s communitiesIndigenous culture whose orprotocols are to membersbeen made orother ofthe withartists engage be expected respectful and authentic that have efforts dictating aspecific ormandatory way to itcan goaboutit, culture and endeavours. intheir art Indigenous Without culture, to show they that have respect trueregard and for First ofthe uniqueaspects or depict Nations,InuitMétis address,that deal with,incorporate, comment on,interpret organizations and artists for applying grants for projects 18

respect to content the audience. the and informal mechanisms to ensure thatprotocols are observedin stories.Indigenous For example, APTN hasputinplace formal and to pointthatthere the are screen Indigenous storytellers telling It isanticipated thatbroadcasters respect protocols, the particularly — Cara Mumford, Filmmaker give back them spirit.’ their “ “Mainstream reflect donot media they awake, who artists itwillbethe people willsleepfor 100years, when and Louis Riel:‘My Iquoteactions. from pirations reasons the and for their people’sabout Indigenous lives as- and are often leftwithmistaken impressions pointsofview, Indigenous hear not they theywho are. Because Canadians do ownin their ways own their and words have little to opportunity tell Canadians poets orstorytellers. people Indigenous broadcasters, journalists, commentators, people to tell own their stories -as they offer much space to Indigenous Indigenous

realities very well. Nordo 19

available screen Indigenous onthe sector. tosignificantly add existing the information dearth ofdataand Broadcasting the peopleunder ThiswouldIndigenous Act. government to assesscompliance withitsobligationsto controlled-production companies, to federal enablethe how many programs ofthese were produced by Indigenous they have pre-licensed, acquired developed and specify and provide anannualinventory programming Indigenous onthe It hasbeensuggested elsewhere thatbroadcasters should — Jean Rose,CEO, La APTN “As world’s the first Indigenous our airwaves.“ voice for Peoples Indigenous beyond to industry, the ensuring astronger We believe itwillbeavaluable resource honoured to contribute to thisprotocol. committee producers. and APTN is supported by bothourIndigenous own innovative criteria, and guidelines mandate visionby and following our Peoples. Since 1999, we have our upheld respecting ourhistory, culture and value the and they create towards importance ofadhering to protocols broadcaster, APTN recognizes the 20 51 IMPLEMENTING PROTOCOLS 52 IMPLEMENTING PROTOCOLS a mechanism to protocols. implement economic environmental and around impacts productions, and but localpermitting isavaluable way to understand what the (wild life parks and permits). There iscurrently system no inplace, ofEnvironment instanceshamlets –orinsome Department the –itmay country the vest province, withthe municipalities, or permit broadcast no license”. Permitting uniform isnot across that process productions mustadhere to protocols: the “No a Commission (eg.Nunavut Film Commission), of aspart and mandatory permit system wherein allproductions register with protocols. ofthe implementation For example, creating a There are alsoroles for filmcommissions to play inthe Film Commissions • RoyalThe Commission onAboriginal People states: • • • for media. these original-controlled incentives and media for private support federalthe government provide should core for funding Ab people for positions; media federalthe government training ofAboriginal support should a greater Aboriginal presence offerings. intheir mainstream private, bothpublicand media, provide should for for anAboriginalairtime presence; in areas withsignificantAboriginal populationsto provide Commission require should broadcast hold who those licenses Canadianthe Radio-Television Telecommunications and 21 - Festivals /Showcases or associate members into collective their bargaining agreements. that to unionsbuildexceptions thisend, for non-union Indigenous consumingis very time verystrategic. butnot Itwas suggested basis, which unionsonone-off the dispensationsfrom individual crewlocal Indigenous Producers cast. and are currently negotiating trainees, waiving attimes requirements to promote useofthe the have allowances allmade for non-members Indigenous and consultedThose Technicians noted DGC, the thatACTRA, unions trainees are members not ofaunion. office, director’s props assistant, majority –butthe ofpotential capacity offer atrainee –wardrobe, positioninevery department members ofaunion.You to are trying industry buildIndigenous of potential crew castand community inanIndigenous are not but you have to hire ACTRA unionmembers. large The majority your community you and have speaking 30Indigenous roles – Consider conundrum: the You want to provide to opportunities Unions creators. productions “stories” ofIndigenous reduces space for Indigenous broader distribution, therefore and screening non-Indigenous works. For example, screenings increase possibilities for the protocols consider and broader the implicationsofscreening industry.the reviewing When works festivals respect should curators attimes and are considered privileged most the spotin protocols. the can adopt Festivals are considered a“quality stamp” Showcases festival and curators are alsokey decisionmakers who

storytelling cultural and practices. society, asystematic and repression oftraditional Indigenous contributingpeople and to racism ongoing withinmainstream perpetuatingmedia, stereotypes bothharmful to Indigenous historic misrepresentation peoplesinscreen-based ofIndigenous impacted cultural Indigenous expression. Thislegacy includes It hasbeenwidelyacknowledged thatyears ofcolonial history have “In Canada, process the ofcolonization aprofound had has own laws, customs, ofself-governing. methods and First Métishave and Nations,Inuit, to managed maintaintheir relocationthe denialofMétisstatus, ofInuitpopulations,orthe breakdown the schools, Act, Indian the treaty ofthe relationship, residential Canada. Despite legacy the ofinjustices stemming from government worldview Indigenous the policiesalsoimpact in enduringThe tools ofcolonization influence the and ofracist Genocide Cultural HISTORICAL UNDERPINNINGS PROTOCOLS INCANADA APPENDIX A:CONTEXT FORSCREEN healing.”and process ofdecolonization, reappropriation, reclaiming considermany contemporary artists practices art to bea practices. cultures their languages, art Today, their and onAboriginal their land, impact peoples,their lasting and 22

“Cultural structures ofthose destruction isthe genocide • • Commission onAboriginal Peoples, citing: communitiesIndigenous narratives, their astraced by Royal the persisted for over 100years. Canada hasahistory ofdenying culture Indigenous negating cultural the and that genocide A relatively ignored ofCanadian aspect history process isthe of generation one to next.” the values identity and from families are disrupted to prevent transmission the ofcultural destroyed. significantly most And, to issueathand, the forbidden, ofspiritual objects and value are confiscated and Spiritual leaders are persecuted, spiritual practices are movement their and isrestricted. Languages are banned. Land isseized, populationsare and forcibly transferred politicalthe targeted socialinstitutionsofthe and group. States incultural engage that setoutto genocide destroy practicesand allow that group the to continue asagroup. were suppressed. compulsory. Aboriginal customs, languages, habitsofmind and schools for Aboriginal children was opened…Attendance was firstin 1831,the ofwhatwould become anetwork ofresidential Participation was acriminal offence; central to cultures the ofprairie Aboriginal nations,was outlawed. coast Aboriginal nations,was outlawed. sundance, In1885,the potlatch the in 1884, ceremony, central to cultures the ofwest 23

53 CONTEXT FOR SCREEN PROTOCOLS IN CANADA 54 CONTEXT FOR SCREEN PROTOCOLS IN CANADA in which youth suiciderates are dramatically lower. serve rehabilitate and own their cultures are shown to bethose determined: “Communities thathave taken active steps to pre epidemicofsuicide inBCFirstthe Nationcommunities. They in1998byunearthed studying academics Lalonde, and Chandler culture health and physical, –mental, spiritual and –were first correlations The practitioners,medical artists. and between Truththe Reconciliation and Commission, butalsoby academics, havein particular beenwell documented, studiedand onlyby not traumaThe intergenerational and ofresidential impacts schools “The persistent aggressive and assimilationplanofthe manyhomes, inwhich homes ofthem heritage their was denied.” childrenof the apprehended were placed into non-Aboriginal third ofallchildren incare were Aboriginal. Approximately 70 percent 1960sonward. the 1970s, Bythe apprehended from roughly one alarmingly disproportionate numberofAboriginal children were families, inthisinstance incare them placing orfor “An adoption. school their tradition practice of taking Aboriginal children from school “60sScoop” The closed in1996. continued residential the ceremonialThe bans lasted lastresidential the until1951,and their relationshiptheir withpracticing culture. economic social,and mental, health peopleand ofIndigenous of many studiesthatdemonstrate direct linkages between the is now ofbecoming indanger extinct”. capacity knowledge, ofIndigenous result withthe it that Aboriginal peoplehave allcontributed to diminished the heritages through modernization urbanization and of knowledge, lossesto the and Aboriginal and languages in educational institutionscommitted to Eurocentric past century, marginalization the knowledge ofIndigenous Canadian government churches and throughout the 25 26 ” Thisisone

language law.language been working federal withthe government to develop anationwide of First Nations,InuitTapiriit Kanatami, MétisNationhave the and communitiesof whole cultures.” and Mostrecently, Assembly the on amassscaleinevitably leads to disruption,even the destruction, foundation isthe language ofculture, inindividuals itsdestruction University Thomas at St. Andrea Bear Nicholas hasnoted: “Since speakers. withlanguage beginning Former ChairofNative Studies process,building cultural revitalization process, is anongoing often and/or traditional cultural expressions. Akey nation ofthe aspect rights their toassert cultural their heritage, traditional knowledge culture, peopleare Indigenous inapositionwhere they have to As aresult ofcultural repression attempts and ateradicating — Jennifer Podemski, Filmmaker “There was little to reflected that nothing people everywhere were still being contemporary. communities, urban, rural, historical or narrative peopleand aboutIndigenous any kind reflection ofmeaningful or was wasn’t telling stories. those Because it persecuted that’s and why mainstream the experience.”and perspectives Indigenous delegitimizing celebrating colonial the experience and stories filtered through acolonial lens, was justsotired Indigenous ofseeing by systemic legislationand racism…I were continuing to be re-traumatized was thriving people whileIndigenous shameful. Shameful I realized 28 that that Indigenous our

society

deemed moredeemed knowledgeable you aboutwho are thanyourself… elsebecomessomeone expert onyour the experience is and dreams ofothers for own. their Appropriation alsooccurs when describes, represents, usesor recruits stories, images, the experiences, Appropriation occurs elsespeaks someone when for, tells, defines, aswell. arts Whatisappropriation? fine and internationalnational and onlyinfilm,butliterature not stages, to resurface every few years iscurrently and debate under on fade outoffashionable inand topic publicdiscussion.The tends stories.of Indigenous Cultural appropriation debates discussions and ofcultural heels On the cultural hasbeenthe genocide appropriation AppropriationCultural — France Trépanier, Filmmaker “For many years, ordecades centuries; and is universal.“ pyramidof the knowledge their that and Western world art they that are top onthe are soconvinced logicofthe the using theythat are right they And time. allthe very powerful are that and soconvinced We’releft. faced are withinstitutionsthat theyicine, took they then and everything they took they objects, the took- med the took.nities and They took knowledge, the nographers went into Aboriginal commu- people, researchers, anthropologists, eth- 29

number offilmsby screen-storytellers. Indigenous negatively culture Indigenous depict inCanada far exceeds the to numberoffilmsthatbothappropriate The list. wrongly and or too numerous –for commercialimportant –are benefit frankly cultureIndigenous (ceremony, regalia, story, thisis -and etc.) numberofworksThe appropriating by artists non-Indigenous — JesseWente, Filmmaker “Authorship isdictated incinema by who — Loretta Todd, Filmmaker “I wondered thisappropriation when shows by made people. Indigenous by there peoplethan non-Indigenous are shows peoplemade aboutIndigenous latest schedule ofshows, there are more does... Even CBCintroduced when their asmuch opportunity that asanyone have by been made not us.We deserve per cent people offilms aboutIndigenous throughout that means That history, 99 creatorsthe are, screen. isonthe who not artist’s own ideasorimages.” a sure application oranabsence ofan it was simplypersonal aggrandizement, paternalistic when mightbe),and asthat understand champion and ourcause (as to ofasaneffort might bethought 30

”

55 CONTEXT FOR SCREEN PROTOCOLS IN CANADA 56 CONTEXT FOR SCREEN PROTOCOLS IN CANADA marginalized people. cultures;Indigenous orworse, traumatizing analready further of negatively transmission the impacting preservation and of people for purpose the ofentertainment), there risks are further instance useoftraumatic the socialexperiences faced by Indigenous ofpoverty) objectification and (inthis or“traumatainment” stereotypes celebration the and porn” of“poverty (sensationalization What are implications? the Notonlydowe risk persistence the of communities, around signifies alostopportunity and reconciliation. representation has demonstrated to to bedamaging Indigenous to Canadian the cultural fabric? Misrepresentation orpartial culture. ofthe else-someone someone Why isitimportant from storiesIndigenous are taking away space orpotential opportunities worldview? reality The creators isthatnon-Indigenous telling Why iscultural appropriation to fundamental Indigenous the voices.”Indigenous that continues to thrive withininstitutions.Iterects barriers for system,this hegemonic filledwithstereotypes suppression and perspectives Indigenous in placing atasubordinate level. It’s identity through narratives filmand images, hasplayed itspart property history people.The ofIndigenous ofcolonizing Indigenous extension ofcolonialism settlers’ and ofrights over assertion the stories,of Indigenous ways artworks and ofbeing, issimplyan Canadian inthe context,understanding that, appropriation the mainstreamthe media’s attempt to withthistopic engage isthe lacking speech. “What’s inmuch of guiseoffree the under artists, storiesIndigenous orhistories practice inthe ofnon-Indigenous of Canada’s literary elite urged prevented thatnothing useof the 2017the debate media over an“Appropriation Prize”. Members apexThe incontemporary cultural appropriation debates was 32

“And there then portrayal isthe ofvictims. ofcare.need ofchildlike becomewho sort in and feeling for villains and sorry victims, the betterbeing terrible the peoplethan which gives twin usthe satisfaction of of storytelling into good/evil the dichotomy, oversimplification the and victims lift upthe desire to condemn and happened what correlation between well-meaning the unfortunately, there can and people.Infact, non-Indigenous wellintentioned stories created by people are portrayed even most inthe complexity. takingthem, away agency their and suffer. Thisdehumanizes infantilizes and characters.also one-sided role Their isto Victims are often voiceless, and helpless these renewed interest inourstories willyield I’mconcernedget, thisera that of role asvictims… experience Indigenous the beyond our perhapsthe challenging complexities and ourselves ways insome perpetrators inthe humanityof the allows that usto see you go, lessdiverse the gatekeepers the And because ladder upthe higher the

simplified

have to with meaningfully engage This is stories are that stripped generally

be how

strong Indigenous

thatisbetterone reflective history ofthe place: and There remains inthisdialogue, aplace for artists non-Indigenous — JesseWente, Filmmaker “If Canadian non-Indigenous want artists — LisaJackson, Filmmaker It getting mean may familiar withour youthat explore should deeply.“ yours to tell. Butthere story isasideofthe yours? story The ofsurvivors isreally not why tell story not ofthe is that part the to make work aboutresidential schools, settlerbut the aswell.” one experience Indigenous justaboutthe not meaningful audiences for much provoke and longer authentic But they willbemore compelling and signifiers are that easilydigested. desire the for simplecultural frustrate complicated rich, and attimes may and storytelling traditions, which are cultures communities and their and stories willstay that with conversations and 33 reflections,

Indigenous Culture and Intellectual and Culture PropertyIndigenous (ICIP) — “Colonial structures Iown saythat the filmmaking rights. separated from Research be should documenting and you mean does not own knowledge. the rightthe to own work the it–doing giveown doesnot Documenting one it. system works itsays Iown that Idon’t it. work Ihave that way –the done the original upthe messing story.“ to tell stories,creative without freedom it upfor future generations to have generations ofour history but setting weis that are robbing not future istelling who and Mostimportant it. from responsibility to respect where itcomes already.public domain We have more already –sosoutherners consider it Our stories are 75 olderthan years Canadian law. Anyone can useit. then years itgoesinto of publicdomain the rightthe to make 75 and story; that my own have Ialone imagination from According to copyright, ifIinvent astory Alethea Arnaquq-Baril, Filmmaker

57 CONTEXT FOR SCREEN PROTOCOLS IN CANADA 58 CONTEXT FOR SCREEN PROTOCOLS IN CANADA performances, recordings sound communication and signals. programs) subject-matter other and known asperformer’s for literary, dramatic or musicalworks artistic, (including computer context.”no owns responsibleand it”has for caring questionof“who The for it. that includes People things. sustainsallliving and are ofit part Peoplesdesignation. “Indigenous thinkofCreation assomething cultural reality inapost-contact world preoccupied withownership ofcontemporaryby people)isanassertion Indigenous Indigenous modern concept Cultural ofIndigenous Property (asdeveloped Style: AGuidefor Writing Peoples About Indigenous Byand , the As discussedby Younging Gregory of Indigenous inElements rights for any original creative work. Copyright ownership individual establishes Act permission and According to Canadian law, regardless ofcommercial value, the transferits useand isguidedby traditionw allaws customs.” and “knowledge iscreated owned and collectively, responsibility and for customs laws and worldview, Indigenous withthe and inwhich Property (IP) regimes are saidto beinconsistent withIndigenous protections individual the afforded by existing Intellectual intellectual property ofcommunities, Thus, onlyofindividuals. international Canadian and copyright laws protect donot inherentlyis not protected by Intellectual Property laws. Both confidential content, Indigenous traditional knowledge Indigenous Although there are cultural Aboriginal and laws thatprotect average until50years isinstanding past death. owner’s the You mustapplyfor acopyright inCanada, pay afee iton and 37 34 Copyright provides protection

• • • • • • “ intellectual property rights (IPRs) following inthe ways rights to conventional knowledge their culture and differ from As described inaUnited peoples’ Indigenous Nationsreport, history witnessing and ofexpressing and one’s world views.” could begiven orshared withothers asaway extending ofpreserving, redistributed, buthistory stories and to belonged originator the and property asunderstood by Europeans. the Material wealth was stories and objects thatwere considered to beproperty, butnot families, nationscreated and individuals dances, songs, rituals, we recorded nonetheless history knowledge. and Communities, Ownership was upwithhistory. bound Without awritten language descendantstheir inperpetuity, rather thanfor alimited period. traditionalIndigenous knowledge by isusuallyheld owners the and IPRs canbe; areand soldoralienated usuallynot inways thatconventional owned inaccordance withcustomary codes rulesand ofpractice, cultural heritage, expressions and objects are and managed material forms to thatpertain conventional IPRs law; therefore to subject not requirements same the regarding peoples’knowledgeIndigenous istransmitted orally, is and which are protected conventional under IPRs law; such cultural asintangible products expressions, and of none rightsIndigenous include allforms oftraditional knowledge, creator, orproducer; author beassociatedcannot identifiableindividual withasingle, peoples’culturalIndigenous heritage expressions and often groups;family socio-political orother peopleshaveIndigenous collective rights, often vested inclan, 39 : 38

“Indigenous knowledge isbestprotected sections under — Youth Respondent “We have auniqueway oftelling ourstories by In Canada, according to Dr. Marie Baptiste: plants… medicinal symbolism to communicate empirical knowledge of ly protect aceremony usesstriking that sacred society a patent, atrademark, oracopyright cannot adequate useful scientificknowledge (withpatents). For example, commercially valuable symbols (withtrademarks), and rights” to performances), “neighboring artistic and guish sharply between works artistic (withcopyright for intellectual orcultural property laws, which distin- protect Canadian ICIPunder copyrights patents and academia ininstitutionsand underway to adequately 35 52 and Constitution ofthe Whilework 1982. Act, is responsibility to share disseminate and work“. the creator role the thusfulfills ofintermediary the has and is different for soleproprietorship. has us-nothing A tobelong entire the community. ideaofcopyright The iscollective,our cinema filmswe the and produce contextualizing oursetofvalues; assigning and them -

cultural teachings”. don’t who those understand story the connections and are and meaning misinterpreted and/or appropriated by translationsThe losemuch original ofthe and humour adapted to fitapredominantly Western education system. stories to shaped fitaWestern literate form, stories and Aboriginal to languages English, translations from social value dueto colonization, which resulted inweak Indigenous stories have lostmuch educational and knowledge. implies responsibilities for various possessing kinds of peoples equallyrecognize responsibilities); their and acquiring sharing and ofknowledge allIndigenous (not established has meaning; customs withrespect to to each knowledge system; localized has content and categories,linguistic relationships rules,and unique relationships withinaspecificecological context; contains Indigenous knowledge thusembodiesaweb of 41 42

59 CONTEXT FOR SCREEN PROTOCOLS IN CANADA 60 CONTEXT FOR SCREEN PROTOCOLS IN CANADA Free, Prior &Informed Consent • • • • Indigenous cornerstones ofUnited NationsDeclaration Rightsof onthe in Canada. Free, Prior Informed and Consent (FPIC) ofthe isone Consent beenacontentious haslong work for peoples Indigenous “ Australian Indigenous ing arts: media According to Australia the Council Protocols for Arts the for produc “ emerging standard to rights. Indigenous upholding regarding any decision-making thataffects seenasan and them, of self-determination increasingly usedby people Indigenous refers to activity resource inthe sector, itisbecoming astandard protected by humanrights law. WhileinCanada FPIC generally respectand for Peoples Indigenous decision-making processes.” John. “A central ofFPIC element inclusion, isgenuine disclosure, for permission before you come in,” explains Grand Chief(Ed) In plainterms, FPIC isknocking asking doorand onsomebody’s Itemphasizes onconsent. ausefulsection and four points: traditional owners before traditional using culturalfrom expressions, There of aproject.”aspect appropriate the sure quarter for consent aparticular comes from respect views the of allfactions withinacommunity make and requirements ofaproject; edge operating communities inIndigenous may conflict withthe be prepared to for take ananswer: ‘no’ different kinds ofknowl- outside; justknowledgenot brought infrom remember internal thatother factors willinfluence decision, the to maybe be made, more meeting; thanone allow for time communication the ofaproposal for and adecision is much Peoples discussion (UNDRIP) 44 about Resolution, obtaining free and and as such informed is a standard consent

“One foundational principle underlies development of innovation.”and encouragement and artists ofcreativityof individual be balanced withacknowledgement authority ofthe priorand informed consent mechanisms. Thismust peoplethrough ofIndigenous engagement consultation communal rights over cultural heritage material, and is acknowledgement oflocal community authority, ofthissupport Anessentialpart of ICIPmanagement. control Indigenous mustsupport infrastructure life, arts positively contribute to integrity the cultural ofIndigenous (ICIP) to and itinappropriate manage ways. Inorder to peoples to control intellectual their cultural and property Indigenous culture 45 and arts. That is, the need for Indigenous

“ “ including peoplesrights: Indigenous cultural ofIndigenous productionsupport dissemination, and Several components ofUNDRIPaffect expectations for Canada’s to protect Traditional Indigenous Knowledge cultural and rights. basisand for thatrelationship. UNDRIPregards duty the ofstates relationships people,cites withIndigenous framework UNDRIPasthe Canada’sin 2016. sitting government, inmoving forward withnew Assembly in2007 officiallyadopted and by Canadian the government human rights adopted instrument by United the NationsGeneral Peoples RightsofIndigenous on the (UNDRIP), aninternational underpinnings ofnarrative sovereignty UNDeclaration isthe prominent most The instructive and to document inform the narrativeis supporting sovereignty through storytelling onscreen. overarchingThe screen Indigenous visionofthe content creators NarrativeUNDRIP and Sovereignty heritage, traditional knowledge, traditional and cultural expressions.” protect develop and intellectual their property over such cultural performing They alsohave arts. right the to maintain,control, literatures, traditional and visualand and games designs, sports knowledge offauna properties ofthe flora, and oral traditions, including resources, genetic humanand seeds,medicines, manifestationsas the sciences, oftheir technologies cultures, and traditional knowledge traditional and cultural expressions, aswell to maintain, control, protect develop and cultural their heritage, technologies performing visualand literature.” and and arts And, archaeological historical and sites, artefacts, designs,ceremonies, presentpast, future and manifestations cultures, oftheir such as This includes right the to maintain,protect develop and the to practise revitalize and cultural their traditions customs. and 46

relationship Canada: withnon-Indigenous expectations ofcommunities withregard to view their ofarenewed only relevant to screen the protocols, butalsoillustrate existing the peoples inCanada. RCAP proposes four principles that are not relationships between non-Indigenous and Indigenous reframe Reconciliation Commission (TRC) have putforward principles to Force onAboriginal Cultures and Languages Truth the and and RoyalThe Commission onAboriginal Peoples (RCAP), Task the informedbenefits, community and consent, empowerment. reciprocaland relationships, fair compensation sharing the and of to intellectual their cultural and property heritage, and partnership recognition ownership ofIndigenous control and over rights their for customary peoples,their Indigenous laws traditions, and in research contexts. Key include respect principles to draw from protectionand knowledge ofIndigenous cultures, and particularly peoples have developed own their principles for preservation the National associationsrepresenting First Métis Nations,Inuitand Relationships Reframing — Ryan Rice, Curator Educator and “I thinkby moving forward withmutual across aglobalstage.” collective Indigineity ofIndigenous our own withinalarger and nations It’s aform within building ofnation nation. withinthe identify a distinct everyone inmany ways because it gives our contemporary practices willbenefit protocols, traditional knowledge and understanding relationships and 47

61 CONTEXT FOR SCREEN PROTOCOLS IN CANADA 62 CONTEXT FOR SCREEN PROTOCOLS IN CANADA honesty goodfaith and toward another. one served ifwe standards highest withthe act ofresponsibility, best interests peoplewillbe non-Indigenous and ofIndigenous other.of the Becausewe always doand willshare the land, the accountableand well-being onthe for actions oftheir impact the promises they have accountable made, for behaving honourably, Partners insuch arelationship mustbeaccountable for the Responsibility central to treaties. the would have not lived to prosper. principle The ofsharing is whattheyand knew many land, aboutthe newcomers ofthe been unwilling peopleshad if Indigenous to share whatthey had in fair measure. basis Itisthe onwhich Canada was founded, for principleThe ofsharing callsfor receiving and giving the ofbenefits Sharing heritage, to needs ofCanada’s become part nationalcharacter. personIndigenous withavaluable asanindividual culture and for uniquerights the statusofFirst and Peoples, for and each of positive mutual regard between peoples.Respect among and principleThe ofrespect callsonallCanadians to create aclimate Respect mutual benefit. to respect each laws co-operate institutionsand other’s and for thatstatus.Itrequires bothsides responsibilitiesand flowing from caretakersinhabitants and have and ofthisland distinctive rights Canadians to recognize people are thatIndigenous original the principleThe ofmutualrecognition callsonnon-Indigenous Recognition 48 mechanism by which ownership canbeasserted protect. and concrete. Itrefers to physical the control ofdata.Possession isa informationtheir in principle, possession orstewardship ismore While ownership relationship identifiesthe between apeopleand achieved, in practice, through standardized, formal protocols. regarding access to collective their information. Thismay be communities organizations and to make and manage decisions currently principle The held. alsorefers to right the ofFirst Nations themselves communities, their and regardless ofwhere itis First Nationsmusthave access to information dataabout and soon. and processes, process, planning the information ofthe management principlefinish. The extends to control the ofresources review and to research start include ofaparticular allstages project-from processes First them. thatimpact Nationscontrol ofresearch can control over ofresearch allaspects information and management representativeand bodiesare rights withintheir inseeking to principleThe ofcontrol affirms thatFirst communities Nations,their way owns thatanindividual personal hisorher information. community orgroup owns information collectively same inthe knowledge, information. data,and Thisprinciple states thata Ownership refers to relationship the of First Nationsto cultural their into protection the stories. oftheir about how to protect information, their which caneasily translate proliferation ofOCAP serves to inform First Nationcommunities communities. they Though focus oninformation data,the and collection processes communities, intheir to drive research within possession),whichand means thatFirst Nationscontrol data widelyusedprinciplesthe ofOCAP (ownership, control, access, FirstThe NationsInformation Governance Centre hasdeveloped Ownership, Control, Access, &Possession 49

APPENDIX B:RESOURCESFORCOMMUNITIES — “The –the fact medium isittheir exercise ouropinion.“. last20in the years. We have begunto wasn’t ourculture. have Things changed it didn’t seemto matter to usbecause it community; we were getting paidand because onusasa impact itdidnot days we justdidwhatever we were told do whatever they wanted. early Inthe pastweIn the allowed producers to them. stories getaway donot from have creative some control sothat companies the and come that to inand up to communities the to vet stories the we have should control; some butitis howand ourstories gettold. way In that to doesbelong What usisourstories tradition to belong doesnot –that us. television offilmand medium our isnot Cultural Elder Duke Redbird, Filmmaker and What can these protocolsWhat canthese do? Developing Community Protocols television• guidediscussionswithfilmand crews. • determine outcomes your thatwillbenefit community; and • provide safe environments for filmed; being those appropriate the • identify permissions for needed filming; respectful ways• identify ofworking inyour community; • ensure community the isrepresented accurately; • • ensure respect for your community; or television production. yourhelp community ofafilm understand possibleimpacts the to knowledge, Indigenous stories content. and Protocols willalso your community may alsowishto develop protocols withrespect your community isrepresented accurately. Ifyou have already, not forguidelines ethicalbehaviour practices and ensure and that production company approaches you, aprotocol canprovide pointfor developingserve asastarting your own protocols. Ifa informationThe bestpractices and found can inthisdocument traditional stories; ensure protection the ofyour cultural knowledge and 63 RESOURCES FOR COMMUNITIES 64 RESOURCES FOR COMMUNITIES 4. 4. 3. 2. 1. DEVELOPING PRINCIPLES FOR COMMUNITY PROTOCOLS customs protocols? and program involving your community, concepts culture, orstories? For example, respect for traditional to peoplewishing makeWhat are forms the afilmor of respect thatyoutelevision expect from any existing policiesthatwould have to befollowed? never Whatshould befilmed? stories? For example, doyou have Council? anElder’s Traditional Knowledge holders? keepers? Language Are there permissions How to necessary obtain the community? doessomeone useyour knowledge, concepts culture, or How doyou treat sacred sites, knowledge objects, orstories involved? What are sources the ofpermissions inyour For example, isthere arole for Council? Band the television production? Having involvement indecision-making thatconcerns your community? What forms ofcontrol over content Indigenous for your isimportant community during afilmor filmed on filmed Areyour land? therenot beused? locationsthatshould Are there any environmental betaken issuesthatshould into consideration productions when are • Will work the expose confidential, personal and/or sensitive material? community willthe oWhatbenefits getfor participation? (seereciprocity below) • How doyou intend to collaborate onyour project? o • community oDoesthe first getthe screening? • How production willthe beaccountable to community / community members? writer, oIsthe director, orproducer Indigenous? • Are peopleinkey Indigenous creative roles? istelling story who Whose isitand story? the QUESTIONS TO ASKWHEN WORKING WITH SCREENPRODUCERS heritage material inany way? Are you proposing to oralter use,adapt traditional knowledge, communally owned material orcultural o Is the use of language and framing of the issueappropriate? ofthe framing and useoflanguage o Isthe o Doesitreinforce negative stereotypes? o How willyou acknowledge communities Indigenous the where project the islocated? o Will members community ofthe beasked to signrelease forms? o Whatprocess willyou follow to getconsent? communityo Doesthe getcopies offootage? o Isthere to going beafee? o Dothey getto lookatscripts? o Will community the beproviding feedback? o Doyou planto involve project? ofthe peopleinallstages Indigenous script onthe isadvising o Who project? ofthe stages orother haseditorialo Who control over story? the o How story willthe betold? television program copyrighted? What legalissues(ifany) are involved? For example, content Indigenous isthe intended for filmor the 65 RESOURCES FOR COMMUNITIES 66 RESOURCES FOR COMMUNITIES o • Possible Revenues • knowledge• Using keepers holders language and • Employment Opportunities • • Use ofMaterial basis for anagreement production withthe company. on locationfor anextended period. What follows canserve asthe use ofyour knowledge, and land, ifthey particularly willbefilming Your DEVELOPING RECIPROCITY AGREEMENTS from the production? the from Are for there community the opportunities to earn revenues television filmand nous makers? Are there any training ormentorship for Indige opportunities staff,Using crew, community the actors and from Will itbetranslated into your language? want footage for educationalpurposes? Promotional purposes? apurposealso define for community. the For example, doyou youWhen how define material filmed the canbeused,you can o o Are there training ormentorship for community? opportunities o How willthey becompensated for expertise? their o o How are they to going becompensated? programs? Can there beany contributions to cultural orlanguage licensing, co-ownership, co-production? If so, whatlegal arrangements to need beputinplace eg. Or costume design? Are for there catering? jobopportunities Setdesign? community may wish to benefit from a production company - music and sound and visualeffects. and sound music and are edited together inpost-production, atwhich pointare added captured elements sound visualand the during production the monitors and shoot, budgetclosely. the Director’s the Under lead, producerline monitors physical the oversees aspects, principal the directing technical the crew castto and bring script the to life. A DirectorThe project, of the shooting actual the implements productionscript, schedule, budget. and producerThe alsowillscout approve locationsand finalshooting the personnel, work etc., specialists, transportation picture. motion onthe technical people,such assetdesigners, camera operators, lighting Production key and Designer castmembers. Asmallarmy of producerthe willhire Director, the Director ofPhotography, director, the members cast, ofthe crew. the and Inpre-production, easier ifhe/she hires awell-regarded screenwriter key some and producerThe often which initialfinancing, mustobtainthe is property. producer The alsohires ascreenwriter to write script. the developmentIn the producer phase,the acquires intellectual development, pre-production, production, post-production. and There are four phasesto television filmand production: ofProductionStages TELEVISION ANDFILM BASIC INFORMATION ONSTAGES OFPRODUCTION IN

between production, the technical creative and teams. bringing film,then of the itto life. Director The link asthe acts responsible for style the defining and visualizing structure and majorcreative isthe and force director The project. the behind is Director: director The makes person isthe actually who film the producerthe oversees longer no marketing distribution. and distribution company. Once rights sitwithadistribution company, distribution which project, ofthe are ultimately by handled a to completion. producer The often oversees marketing the and beginning filmorprogram.finished They steer project the from can flourish. Producers are accountable for success the ofthe create anenvironment where crew castand talentsofthe the approve production whole the team. key Their responsibility isto a filmortelevision project’s production. They bring together and producer.the Producers have overall control onevery of aspect Producer: Central to creating any television orfilmproduction is intelevisionimportance production: “showrunner”. the director ofphotography. Increasingly, afifthposition televisionfilm and programs: producer, director, screenwriter and There are four key creative positionsresponsible for creation the of Key Creative Positions in has gained

responsible for overseeing every making ofthe aspect show. ofthe own series for television networks. person Thisisthe ultimately screenwriter producer. and Showrunners write produce and their Showrunner: Intelevision, thispositioncombines roles the of screenplay. for researching developing and story ideas for and writing the into ascript for useduring production. the They are responsible Screenwriter: Screen The Writer transforms abasic story idea todepartment achieve desired the look. work and filming Director, withthe camera crew lighting and visual identity, film.They ofthe ofthe allaspects manage orlook, Director ofPhotography: DOPisresponsible The for creating the

67 RESOURCES FOR COMMUNITIES 68 RESOURCES FOR COMMUNITIES professional2,200 screenwriters language English- across Canada. WGC Writers isthe GuildofCanada, which represents more than film, television media. and association ofprofessional musiccomposers producers and for SCGC Screen isthe Composers GuildofCanada. national Itisthe It represents French-language writers inallaudiovisual sectors. SARTEC Société isthe des auteurs delaradio, télévision etcinéma. animator to theater usher. picture motion workers behind-the-scenes incrafts ranging from States, ItsTerritories Canada. and Itrepresents allthe virtually Moving Picture Technicians, AlliedCrafts and United ofthe Artists IATSE International isthe Alliance ofTheatrical Employees, Stage covering allareas ofdirection, design, production editing. and key creative logisticalpersonnel and screen-based inthe industry DirectorsDGC isthe GuildofCanada, which represents over 4,800 ItrepresentsQuébec. directors inQuebec. AssociationARRQ isthe desréalisateurs etdesréalisatrices du TV, film,radio digitalmedia. and working recorded inEnglish-language inCanada media including ItrepresentsArtists. more than23,000 professional performers ACTRA Alliance isthe ofCanadian Television Cinema, Radio and such aswriters, producers, directors. and describes labourorganizations thatrepresent creative people, operators directors and ofphotography, term the and “guild” organizations thatrepresent technical personnel, such ascamera termThe “union” creative inthe industries describes labour Television Production Sector Canadian Guildsinthe FilmUnions and and

• get an indemnity from the licensor. the • getanindemnity from rights the ofany third party; infringe • itdoesnot footage• the isorigina; • licensor offootage; • obtainwarranties from retains• who copyright footage; inthe • • term, territory, license fee; • inwhatforms willitbe usedin(tv, ofmedia internet, DVD rights); rights• the granted; being of: an outline actor. the studio) and footage The license agreement have should copyright boththe Clearance (such holder isrequired asthe from Film television and footage clearance with copyright permission permit and you to filmyour story there. owner the property ofthe toObtain arelease provide from you Location/site release releases thatmay beexpected by community the oryour citizens. Permission for Film. Whatfollows isanoverview types ofthe of EntCounselThe website provides for Copyright obtaining asummary Releases actors, orothers musicians,models appearing footage); inthe they have all rights the to footage the (including allrights from synchs etc.); isresponsiblewho for clearances footage inthe (actors, music,

dead) mustbecleared. All characters onreal orwholly based partially or people(living Character clearances • • • is used. recognizable production inthe orlikeness image name, orwhose Written are who allindividuals releases from mustbeobtained Releases defamatory remarks). (ie. Butmake sure they are associated being not withany shownis not for more thanafew seconds ofgiven specialemphasis ofacrowdperson ispart orbackground image his/her and short Background –Releases shots are recognizable ifthe necessary not of thatperson personal the representative youthen mustobtainarelease from Deceased recognizable –Ifthe oridentifiableperson isdeceased, musthave and binding parental consent (parents signrelease) Minors is minor, individual –Ifthe release the mustbelegally ETIQUETTE FOR FILMINGINFIRSTETIQUETTE NATION COMMUNITIES • • • community expectations ofproduction companies. ideasthe here to own their adapt Code ofConduct, depicting of APTN’s &Marmalade Moosemeat . Communities canuse followingThe Code was developed for useduring filming the Sample Code ofConduct aware localcharacter ofthe ofacommunity orterritory. fit for ourstoryline butdirectors bestto alsodotheir should be to inadvance things these identify to determine it’s whether a story orbetter reflect localculture. the office The crew willtry events, landmarks and ofsignificance thatmay enhance our feasible,When we have to beopento incorporating localhistory, for need no crew-members other to repeat acknowledgement. the Once it’s by established agroup representative there isusually it’s goodfor representing someone crew the to dothispublically. so early onduring any welcomes, speeches orgroup meetings, It iscommonplace now to acknowledge territory the we are in to bewilling and follow uponcommitments. Assure localsthatwe willcontact regarding them airing dates gestures like thankyou cards, calls,emailreminders phone etc. fieldcrewthe arrives. Beprepared to follow upwiththoughtful Office relationships establishthese staffshould early on,before is agoodway to earn community’s the respect cooperation. and community the recognizing and localexpertise feedback from It isbestto utilize arelationship-building approach. Beopento exploited by outsideinterests yet remain opento collaboration. First Nationcommunities have beenstudiedto death and 69 RESOURCES FOR COMMUNITIES 70 RESOURCES FOR COMMUNITIES • • • • film. We canalways check practitioner indoubt. withthe when is forbidden ceremonies butmost thathappenonsetare to fine controlling orpatronizing behaviour. Filming ceremonies ofcertain have continually them repeat gestures, asthismightbeseen as can beconsidered rudeto askanelderto repeat aprayer orto Ceremonies socameras canbespontaneous mustbeflexible. It with interested crewmates. crewmembers may to alsobewilling share perspectives their crewthe know aboutany potential surprises. Indigenous besttowill dotheir basics outthe find ahead let and oftime still have protocols inplace butthey are Producers same. allthe not laid-back communities caseofNWT). (asinthe Allcommunities political structures systems) caseofhereditary (asinthe to more verytraditional There isdiversity inourcommunities ranging from courteous, gracious, and especiallytowards Elders leaders. and normal ontheir imposing duties.We mustalways befriendly, good exposure”, it’s better to remember thatwe mightbe upon heavily by people.Rather their of“it’s oldline thanthe workwho for nationsare their often extremely busy relied and Don’t thateveryone assume for hastime individuals us;some faux pas. any scene involving arespectedfrom community isa member proper oftraditional spelling To names. leave anameplate off orany to titleand other getthe chief” is ahead chief or“wing finalcredits.used inthe It’s ourresponsibility to know ifsomeone Take to time the learn traditional ifthat’s names whatare to be

• • • • integrity aspossible.Thatisourbottom line. are to willing share we withusand aimto dothiswithasmuch present community the to ouraudience through stories the they but don’t getdrawn into any internal conflicts. We are there to Like everywhere else, there are often politicalfactions. Becourteous practised as part of the decisionmaking ofthe process.practised aspart protocols such offering asthe oftobacco to involved elders, is swag i.e. ablanket orsmallbox of tea communities Incertain etc. gifts. Giftsfor key leaders orelders canbemore significantthan communities, soproduction always should swag carry small and production are who getting not paid, isstandard inmost Small giftsortokens of appreciation to anyone our helping commonand sense. this,please relax usediscretion and be addressed. Aside from appearing intoxicated orhung-over onset isaproblem thatwill a FNcommunity, getting drunkwithcommunity members, or alcoholic beverages after aworkday, publicdrunkenness within have alcohol bans orby-laws. to enjoy Whilecrew canfeel free problemsaddiction remote some and communities may even Regarding remember socializing, communities thatmost face we visit. with anorientation thatexplains ourprocess ineach community with communities butit’s stillalways goodto offeach start visit early inthe ofplanning stages our bestto explain thisupfront organization and oftimeliness importance to afilmcrew. We do be,sotakenot to time the explain process filming the the and may individuals Some befamiliar withfilmcrews, others may

Mino bimosdawinMino –goodlife Collaborating, collectively working with respect! respect needed, when askabout protocols. and to seekpermission. and engage Practice reciprocity, acknowledge workingWhen community inthe please land, the and remember governed by community. the opento Itisnot public. ofAtikameksheng lands The Anishnawbek are collectively desecrate) orride, walk, outsidelocationarea etc. permission. without members/residents (take land usethe cannot from/alter/disturb/ We request thatyou wander donot location.Non outsidethe Humility –Truth -Love grandfathers teachings Honesty –Wisdom -Bravery -Respect - Work walk and witha“Goodway oflife”. seven the Honour caringly atalltimes. We thrive to work walk and responsibly, professionally and any castorcrew. other from discrimination, sexism, threatening and ordisrespectful behavior crewAll castand ofharassment, have right the to befree dimadawin?mino How dowe work withrespect towards each practice and other a (2018) developed following the protocol for respectful : action Director Darlene producers the Naponseand ofFalls Around Her Sample Protocol onSet for Action Respectful

openly and harmoniously.openly and weofficials and willmake every attempt to collaborate withthem We shallrespect Inuitelders, community leaders elected and life more onlyasagreed. and thannecessary inevery way shalltry drugs and to possiblenot disruptcommunity We shallbesensitive to community rulesregarding alcohol and community Inuitcanexpress and concerns their whenever needed. effective constant and communication local ispossiblewiththe isfluentinInuktitutand/or who someone sothat Inuinnaqtun We shallhire have and present during atalltimes ourstay inNunavut, or HTO office aswell regional asthe Claimsorganization. Land have localHamlet received the and notified permission to filmfrom thatwas notification filming distributed to thisneighborhood. We withcourtesy.well public, asthe Thisnotice hasbeenattached to the To ourCompany: You are treat should guestsand thislocation,as codes ofresponsibility : inNunavut. Communitiesfilming may want to develop own their community production and public, both the company regarding developed by Nunavut the Film Commission isshared and with followingThe production Code ofProfessional Responsibility was Sample Filmmaker’s Code ofProfessional Responsibility

71 RESOURCES FOR COMMUNITIES 72 RESOURCES FOR COMMUNITIES 5. 4. 3. 2. 1. what we are attempting to accomplish. appropriate sothatcommunities locallanguage canunderstand community itsrepresentatives and asynopsis translated into the To we thisend shallmake available to property owners to and each base shots, ing camps,meal areas, etc.) is directly affected by company the (thisincludes parking, travel- istonotification beprovided to each merchant orresident who proper inaneighborhood filming When district, orbusiness jurisdiction, driveway orthe owner. driveways express the without permission municipal ofthe parking areas only. park Donot production vehicles in,orblock as soonpossible.Cast crew and shallobservedesignated They permit. in the park should by one turning one, offengines neighborhood enter shallnot area the before stipulated time the Production vehicles arriving onlocationinornear aresidential removed from location. removed from craft construction, strike service, personal and trash mustbe cups thatare course usedinthe working ofthe day. Allcatering, receptacles for disposalofallnapkins, the plates coffee and locationagreementin the Usecompany-supplied orpermit. Cast crew and meals shallbeconfined to area the designated permitted for filming. boundariesRemain withinthe property ofthe that hasbeen trespassDo not onto neighbors’ ormerchants’ property. owner vehicle. ofthe expressthe permission municipal ofthe jurisdiction orthe Moving ortowing vehicles public’s ofthe isprohibited without

11. 10. 9. 8. 7. 6. the location. the remember to remove allsignsposted to direct company the to stipulatedotherwise by locationagreement the Also, orpermit. or replaced uponcompletion useofthatlocationunless ofthe All signserected orremoved for purposes filming willberemoved cigarettes inbutt cans. Observe designated smoking areas always and extinguish property owner. is prohibited unlessapproved by permit the authority orthe Removing, trimming and/or cutting ofvegetation orfauna low aspossible. Every crew castand ofthe member shallkeep levels noise as the land as they travel from site to asthey land the travel site. from inornear artifacts and premises the objects oron filmed being disturb willnot and inany orhandle way gear, hunting sleds, Cast crew and willavoid contact ofany kind withlocaldogs lewd orimproper language. useof the (i.e., from pin-upposters...). Cast crew and willrefrain or invehicles reflect thatdonot common senseorgoodtaste Crew members display shallnot signs,posters orpictures on

8. 8. 7. 6. 5. 4. 3. Alloriginal footage isto begiven to knowledge the holder; 2. 1. Safety Protocols: program atCapilano University developed Community these DigitalFilmmaking Independent Indigenous Students ofthe Sample Community Safety Protocols require releases; additional footage; useofthe time future alladditional footage usesofthe interviews ofknowledge exact the holders mustspecify one Develop arelease form, which stipulates footage thatthe ofany interviews (there may beexclusions for studentfilms); lessthan$200,no willbenegotiated thisamount for multi-day knowledgeThe willbecompensated holder withanhonorarium safetyadditional protocols mustbeadhered to; knowledge holders any and band protocols filming and FirstThe Nationsband office prior mustbenotified to contacting be given to knowledge the holder; finalproject the alloriginal and footageexcluded must from eventin the information thatthishappens,their mustbe knowledgeThe right hasthe holder to take back release, their present to testimony; their witness knowledgeThe isencouraged holder to have arepresentative choice;their knowledgeThe may holder request interview the site of band and office;holder A copy ofallfinalprojects mustbegiven to knowledge the

3) 12. 11. 10. 9. production company; forand follow expense be,atthe up;ifneed interviewer’s ofthe similar organization present ofstanding) during interview the (approved by ResidentialSchool Indian the SurvivorProgram or has qualifiedProvincially recognized counselling support childhood trauma, interviewer the willensure subject thatthe interviewsIf the are charged ofanemotionally such subject as protect bothparties; request other All locationand approvals willbeinwriting to ofsexual, racial and gender harassment; 1)environment free Producers willensure thatcultural protocols are adhered to: condition;same of $150 willbecharged exact leftin the locationisnot ifthe condition willbedocumented, acleaning fee ofaminimum extreme attention to detailonreturning locationto the original In consideration, knowledge thatmost holders are elders, location willbetaken uponarrival to cross reference atdeparture. down to smallestdetail.Photographs the interview ofthe exactlocation inthe condition same asitwas uponarrival, filmmakersThe willleave knowledge the interview holder’s 2) forbidden. there Onthislastpoint, are standard protocols any filming not events specificallyidentifiedasrestricted or DO NOT filmceremonies. strictestthe allowance for permissions, filming meaning question regarding permissions, producer the mustfollow allowdo not ofceremonies, filming the where there isa order to inceremony engage asawellness procedure; respect and time given to any to need stop interview the in that

73 RESOURCES FOR COMMUNITIES 74 END NOTES 13 12 11 10 9 8 7 6 5 4 3 2 1 END NOTES Younging p45 directors) producers Indigenous and ofscreen-based content. This term isusedto refer to creators bothIndigenous (writers and Younging p97 Deadman”: Canadian The Journal ofNative StudiesXVIII, p339. 2(1998): Lawrence Abbott, “Interviews withLoretta Todd, Shelley Niro Patricia and November 2017. p2 National DialogueDiscussionPaper”, Institute onGovernance, Marcia Nickerson, “Characteristics Relationship: ofaNation-to-Nation Playback,Regan Ried,Bringing May voices Indigenous 2018. to forefront, the Fund, December p23 2016. inCanada: AStrategy,Media Industry prepared for Canada the Media Marcia Nickerson, &Developing Supporting Screenbased Indigenous the May published Magazine 3rd, 2016. CanadaA 1987Cinema interview filmmaker”, withthe Point of View Alanis Obomsawin Maurie SusanSchouten Alioff and Long Walk Levine, “The of and-humility.pdf http://www.fnha.ca/documents/fnha-policy-statement-culturalsafety- FNHA’S Policy Statement onCultural Safety withMe” &Humility: “ItStarts imagineNATIVE,Report, August 15,2017. p13. with First InuitCommunities Nations,Métisand inCanada: ABackground Communications MDR:Developing aMediaProduction Guideto Working September 20, 2017. filmmakers · aboutpossibility responsibility” —and CBCArts Nyla Innuksuk, “How ‘Atanarjuat’ taughtanew generation ofInuk July 2013. P62 Production, Ngā MelissaWikaire, and Dr. EllaHenry THEBROWN BOOK:Māori inScreen arts.on.ca/oac/media/oac/news/2016/Indigenous-Arts-Protocols.pdf Council:Ontario Protocols, Arts Arts Indigenous October 2016 http:// www. Whakaari:Aho Association of Māori inScreen Production, 14 26 25 24 23 22 21 20 19 18 17 16 15 CMFStrategy p16 imagineNATIVE,Report, August 15,2017. p21 with First InuitCommunities Nations,Métisand inCanada: ABackground Communications MDR:Developing aMediaProduction Guideto Working tion to Nation.Looking Forward, Looking Back: Royal The Proclamation. Royal Commission onAboriginal Peoples (RCAP). People to People, Na- Media Arts Festival.Media Arts 2013. p. 43-44 Canada: International ANationaland Perspective. imagineNATIVE Film + Kerry Danis,and Goulet, Swanson. Feature Indigenous Film Production in and Visualand RCAP Arts submission Marie Mumford, Association for Native Development Performing inthe cultural self-determination appropriation. opposing and Nd.p2. spirit inthe of Canadian art Council Indigenous Supporting for Arts. the cultural self-determination appropriation. opposing and Nd.p3. spirit inthe of Canadian art Council Indigenous Supporting for Arts. the imagineNATIVE,Report, August 15,2017. p38 with First InuitCommunities Nations,Métisand inCanada: ABackground Communications MDR:Developing aMediaProduction Guideto Working University ofSaskatchewan, 2005. p2 Marie Baptiste, Knowledge: Indigenous Foundations for First Nations, Commission ofCanada, p1 2012. Future:the Truth ofthe Final ofthe Reconciliation and Report Summary Truth &Reconciliation Commission, Honouring Truth, the Reconciling for tj128945779310055866.htm 2009. http:// www.canadacouncil.ca/publications_e/research/art_abo/ Canada Council “Aboriginal for Arts. the Research.” Arts October 12, SuicideinCanada’sagainst First Nations”, First 1,1998 June Published Michael J. Chandler, Christopher “Cultural Lalonde, Continuity asaHedge November 20 2018. https://indigenousfoundations.arts.ubc.ca/sixties_scoop/Accessedfrom: Erin Hanson, “The Sixties Scoop & Aboriginal child welfare”, UBC. Accessed 40 39 38 37 35 34 33 32 31 30 29 28 27 Lorretta Todd, Notes onAppropriation, Parallelogramme Vol. 16No. 1 Lorretta Todd, Notes onAppropriation, Parallelogramme Vol. 16No. 1 Updated: 22 June narrative ofCanada”, CBCNews ·Posted: AMET|Last Jun21,2018 4:00 McCue,Duncan “How anew wave ischanging cinema ofIndigenous the topic.nsf/eng/h_wr02281.html Law, Retrieved here: https://www.ic.gc.ca/eic/site/cipointernet-interne Government ofCanada, Canadian Intellectual Property Office, Copyright straight”. Mail,August Globeand 27, 2018. Lisa Jackson, storytellers Indigenous “Giving space to record setthe May 2017. 16, sorry, it’s aboutlistening to voices. Indigenous Policy OptionsPolitiques. cultural appropriation shows thattruereconciliation aboutsaying isnot Couchie, Aylan. Returning OurVoices to recent Us:The debate about Peoples. AboutIndigenous and BrushEducation, p25. 2018. Younging,Gregory Style: ofIndigenous Elements AGuidefor Writing By 2015.Languages, Assembly ofFirst Nations, ACloserLook: Revitalizing Indigenous 19, 2015. by Expert the Mechanism Peoples, RightsofIndigenous onthe August rights peopleswithrespect ofindigenous to cultural their heritage, Study United Nations HumanRightsCouncil, Promotion protection and ofthe arts.on.ca/oac/media/oac/news/2016/Indigenous-Arts-Protocols.pdf Council:Ontario Protocols, Arts Arts Indigenous October 2016 http://www. call for representation Indigenous inmedia”, February 27, CBCArts, 2018. powerJennifer to Podemski, save “‘The lives’: Jennifer Podemski’s mustread html#protectValuableCreations https://www.ic.gc.ca/eic/site/cipointernetinternetopic.nsf/eng/h_wr02281. For Background imagineNATIVE, Report, August 15, 2017. p4 Working withFirst Inuit Communities Nations,Métisand inCanada: A Communications MDR:Developing aMediaProduction Guide to additional information on Canadian Copyright protections please - visit:

41 50 49 48 47 46 45 44 43 42 University ofSaskatchewan, Saskatoon. 2005 p8. Dr. Marie Battiste, Knowledge: Indigenous Foundations for First Nations. Council, May 10, page 9. 2006, prepared for Aboriginal Torres and Board, Strait Arts Islander Australia in2006, industry mainissuesforproperty: the arts Indigenous the Terri Janke Robynne and cultural Quiggin,Indigenous intellectual and arts.on.ca/oac/media/oac/news/2016/Indigenous-Arts-Protocols.pdf Council:Ontario Protocols, Arts Arts Indigenous October http://www. 2016. free-prior-and-informed-consent-protecting-indigenous https://www.culturalsurvival.org/publications/cultural-survival-quarterly/ Decision-Making. Cultural Survival Quarterly December Magazine: 2012. Peoples’Indigenous Rightsto Self-Determination, Participation and Agnes Portalewska, Free, Prior Informed and Consent: Protecting Body, UBCPress, Spirit, and pp3-7. 2008, Archibald,Jo-ann Storywork: Indigenous Mind, Educating Heart, the Communities inCanada: Annexes to Background August 15, 2017. Report, a MediaProduction Guideto Working withFirst Inuit Nations,Metisand Maria Marilyn DeRosaand Burgess (Communications MDR),Developing clarification,further please watch thisinformative video. ernance Centre (FNIGC)”Please refer to (https://fnigc.ca/OCAP) for and “OCAP® isaregistered trademark First ofthe NationsInformation Gov references. Add.1)] and Dfor 61/295.SeeAppendix (A/61/L.67 UNDRIP additional adopted by General the Assembly reference [without to aMainCommittee United NationsDeclaration Peoples RightsofIndigenous Resolution Peoples”. Minister Canada Services ofSupplyand 1996. Royal ofthe report the Commission onAboriginal nation: Highlightsfrom Royal Commission onAboriginal Peoples. “People to people,nationto Promotion Foundation February 2011. p7 for guidelines and community-based projects”: Victorian arts Health Cultural Development Network, “Informed consent project: Literature review

75 END NOTES 76 BIBLIOGRAPHY / RESOURCES www.cbc.ca/news/entertainment/nfb-indigenous-cinema-site-1.4567620 more 200 then filmsto stream.” March Retrieved 2018. 22, here https:// CanadianThe Press. “NFBLaunches Website Cinema Indigenous with strong-demand-from-europe-and-us: https/::cmpa.ca:cmpa_press_release:canadian-contentsees-Retrieved from Europe Canada.” US, and May 30, 2017. from Demand file://localhost/ Canadian MediaProducers Association. “Canadian Content seesStrong cultural self-determination appropriation. opposing and Nd. spirit inthe of Canadian art Council Indigenous Supporting for Arts. the tj128945779310055866.htm 2009. http:// www.canadacouncil.ca/publications_e/research/art_abo/ Canada Council “Aboriginal for Arts. the Research.” Arts October 12, Forestry. 2016. JUNE22, Culture Study: Canadian Art. Affects Economy and More ThanSports 2004. Heritage CBC. the and Television Fund, NationalFilm the Board, ofCanadian Department the Bear, Jeff. At Crossroads. the Prepared for Telefilm Canada, Canadian the University ofSaskatchewan. 2005. Battiste, Marie. Knowledge: Indigenous Foundations for First Nations. 2015.Languages, Assembly ofFirst Nations, ACloserLook: Revitalizing Indigenous Body, UBCPress. Spirit. and 2008. Archibald, Storywork: Indigenous Jo-ann. Mind, Educating Heart, the http://www.nativescience.org/communities/code.htmRetrieved from -Code Alaska Native Science Commission. Ethics Protocols. and Anchorage, AK. www.academy.ca/2018/13533/ Academy ofCanadian Television. and Cinema https:// retrieved from XVIII, 1998. Issue2. Patricia Deadman.” Canadian The Journal ofNative Studies.Volume Abbott, Lawrence. “Interviews withLoretta Todd, Shelley Niro and BIBLIOGRAPHY /RESOURCES Accessed November 20 2018. https://indigenousfoundations.arts.ubc.ca/sixties_scoop/Accessed from SixtiesScoop &Aboriginal childHanson, Erin. welfare.” “The UBC. Festival.Media Arts 2013. Canada: International ANationaland Perspective. imagineNATIVE Film + Kerry Danis,and Goulet, Swanson. Feature Indigenous Film Production in EMICNjtnooQDjky-_:2FGL7OAHS5 https://www.ic.gc.ca/app/scr/app/cis/gdppid/51;jsessionid=000142pfyn Statistics. Retrieved from Government ofCanada. Gross Product Domestic -Canadian Industry wr02281.html https://www.ic.gc.ca/eic/site/cipointernet-internetopic.nsf/eng/h_ Law. Retrieved here Government ofCanada. Canadian Intellectual Property Office. Copyright https://fnigc.ca/OCAP First NationsInformation Governance Centre. OCAP®. Retrieved from documents/fnha-policy-statement-cultural-safety-and-humility.pdf on Cultural Safety Humility. and Retrieved athttp://www.fnha.ca/ First NationsHealth Authority. FNHA’s #itstartswithme Policy Statement — it’s aboutcontext.” May 2017 16, CBCArts. cultural speech appropriationElliott, Alicia.“The debate isn’t aboutfree Aboriginal Screen-Based Production Sector inCanada. 2016. De Rosa,Maria (Communications MDR).Background Information onthe Health Promotion Foundation. 2011. review for guidelines and community-based projects.” arts Victorian Cultural Development Network. “Informed consent project: Literature May 2017. 16, sorry, it’s aboutlistening to voices.” Indigenous Policy OptionsPolitiques. cultural appropriation shows thattruereconciliation aboutsaying isnot Couchie, Aylan. “Returning OurVoices to recent Us:The debate about Background imagineNATIVE. Report. 2017. Working withFirst InuitCommunities Nations,Métisand inCanada: A Communications MDR.Developing aMediaProduction Guideto Psychiatry. Volume pp191-219. 35, 1998. Issue2. SuicideinCanada’sas aHedgeagainst First Nations.” Transcultural Chandler, Michael J., Christopher and “Cultural Lalonde, Continuity National Film Board. Website. Cinema Indigenous Retrieved www.musqueam.bc.ca/departments/finance-admin/protocol/ Musqueam website. Band Indian Culture. 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Todd, Teslin Council. Tlingit Traditional Knowledge Policy. 2013 women-film-2016-birks-dia. releases/2016/07/27/telefilm-canada-and-birks-pay-tribute-12-canadian- Telefilm website. https://www.telefilm.ca/en/news/ Retrieved from on.ca/oac/media/oac/news/2016/Indigenous-Arts-Protocols.pdf Council.Ontario Protocols.” Arts Arts “Indigenous http://www.arts. 2016. inCanada: AStrategy.Media Industry Canada MediaFund. 2016. Nickerson, &Developing Marcia. Supporting Screenbased Indigenous the lang=en&sort=year:desc,title&year=1917..2018 https://www.nfb.ca/indigenouscinema/?&film_from and About Indigenous Peoples. AboutIndigenous and Brush Education. 2018.. Younging, Gregory. Style: ofIndigenous Elements AGuide for Writing By duction-2013/. www.nzonair.govt.nz/document-library/working-with-maori-in-screenpro Association ofMāori inScreen Production). http:// 2013. Retrieved from Working withMāori in Screen Production. Whakaari NgaAho (the Wapos http://waposbay.com/blog/. Bay production blog.Retrieved from by Expert the Mechanism Peoples. RightsofIndigenous onthe 2015. rights peopleswithrespect ofindigenous to cultural their heritage: Study United NationsHumanRightsCouncil. Promotion protection and ofthe unpfii/documents/SOWIP/en/SOWIP_web.pdf. Peoples.Indigenous Volume 1.2009. http://www.un.org/esa/socdev/ United NationsEconomic SocialAffairs. and State The World’s ofthe Main Committee Add.1)] and 61/295. (A/61/L.67 Resolution. Adopted by General the Assembly reference [without to a United Nations.United NationsDeclaration Peoples RightsofIndigenous Commission ofCanada. 2012. Future:the Truth ofthe Final ofthe Reconciliation and Report Summary Truth &Reconciliation Commission. Honouring Truth, the Reconciling for Manitoba. 2012. Truth Reconciliation and Commission ofCanada. Calls to Action. Lorretta. “Notes on Appropriation.” Parallelogramme. Volume 16, Number - 1. 77 BIBLIOGRAPHY / RESOURCES