DOCSLIB.ORG

Le Cas Du Wapikoni Mobile

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Le Cas Du Wapikoni Mobile UNIVERSITÉ DU QUÉBEC À MONTRÉAL PRATIQUES MÉDIATIQUES ALTERNATIVES ET ESPACES PUBLICS. LE CAS DU WAPIKONI MOBILE. THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN COMMUNICATION PAR ANTONIN SERPEREAU NOVEMBRE 2011 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» II Remerciements Je tiens en premier lieu à remercier mes directeurs de recherche. Pour son implication déjà ancienne, puisqu'il m'a accompagné également dans ma recherche de Master, pour sa rigueur de raisonnement, pour la confiance qu'jl m'a très tôt accordée, pour les effOlts qu'il a déployés pour que je puisse être financé et réaliser cette thèse en cotutelle, pour la cordialité de nos échanges, je remercie Philippe Bouquillion, mon directeur de thèse à l'Université Paris 8. Je remercie également Gaëtan Tremblay, mon directeur de thèse à l'Université du Québec à Montréal, qui a toujours été disponible pour me rencontrer lorsque j'en faisais (trop peu, sans doute) la demande. Il a su m'encourager dans des moments difficiles, trouver [es moyens de me relancer. La précision et la rigueur de ses lectures ont grandement contribué à am~liorer mon travail. Je le remercie également de m'avoir proposé de m'adjoindre Eric George (UQAM) comme codirecteur. Son implication a été un élément déclencheur dans l'avancée de mon travail. Je le remercie pour ses méthodes d'accompagnement, son intérêt pour mon objet d'étude et les théories que j'entendais manipuler. Je remercie enfin mes trois directeurs pour leur soutien, leur compréhension et leurs conseils lorsque mon travail de recherche a traversé une zone de turbulences. Pour leur soutien chaleureux, pour la confiance qu'ils m'ont accordée, pour leur implication bienveriue lorsqu'il me fallait chercher des finance,ments, je remercie également Carmen Rico de Sotelo (UQAM) et Michel Sénécal (TELUQ). Mes remerciements vont également à tous les acteurs du Wapikoni Mobile que j'ai rencontrés, tout particulièrement à Manon Barbeau et aux membres des équipes de formation qui ont accepté ma présence avec patience. Je les remercie également de s'être prêtés au dur jeu de la recherche, et d'avoir consacré du temps et des efforts considérables pour relire un document qui ne leur était pas nécessairement favorable. Je les remercie de m'avoir ouvert les yeux sur certains jugements hâtifs, et pour m'avoir en général poussé à affiner mes argumentations, à clarifier mes positions. Sans eux ma thèse n'aurait pu voir le jour, et elle aurait certainement été bien moins solide. Si je tiens à remercier mes collègues du doctorat conjoint, pour les discussions enrichissantes que nous avons pu avoir, ma gratitude va particulièrement à Guy Gendron, qui m'a fait découvrir le Wapikoni Mobile, m'a aidé à prendre contact avec eux, et à su m'aider avec tact et humour lors de moments difficiles, ainsi qu'à Evan Light, pour tous ces échanges, théoriques, politiques, académiques et tout simplement amicaux que nous avons pu avoir. Mes remerciements vont également à ma famille, pour leur écoute, leur soutien, leurs encouragements. J'ai une pensée particulière pour ma mère, qui m'a accueilli chez elle pour la première écriture de la thèse, dans son coin de campagne qui s'y prête tant. Sa relecture attentive a grandement contribué à la qualité finale de ce travail. Merci également à Guillaume et Flavie, pour leurs multiples accueils à Paris tout au long cette thèse transatlantique. Je voudrais enfin remercier Michel et Marie-Jo Carrière, de l'ONG Anamorphose, qui m'ont fait découvrir l'univers de la communication pour le développement, et fait III naître les interrogations qui m'ont poussé à reprendre mes études. Des remerciements également teintés de tristesse en mémoire de Nicole Alix, qui fut présidente de la fédération des Vidéos de Pays et de Quartier, avec qui j'ai travaillé et discuté sur le sens des télévisions participatives, ainsi qu'à Guy Pineau. Ma thèse leur doit beaucoup. Cette thèse a bénéficié de l'appui financier du ministère de l'Enseignement supérieur français et de la Fondation de l'UQAM. Cette thèse a été réalisée à l'aide des logiciels libres suivants: les suites NeoOffice et LibreOffice pour le traitement de texte et les tableurs ainsi que Zotera pour l'intégration des références bibliographiques. IV TABLE DES MATIÈRES Remerciements .11 Liste des figures XVIII Résumé .IX 1 Théorie des médias alternatifs et praxis: quelle place pour la diffusion? 11 1.1 Problématique 11 1.1.1 Critique des médias: la tendance expressiviste L3 1.1.2 Les médias alternatifs et leur polysémie .15 1.1.3 Produire différemment, plus que diffuser: « procès vidéo» contre« produit vidéo » .21 1.1.4 Praxis médiatique et réappropriation du symbolique .29 1.1.5 Peut-on réellement faire abstraction de la diffusion? 35 1.2 Le Wapikoni Mobile: description du cas étudîé .41 1.2.1 Interven ir et diffuser 4 L 1.2.2 Genèse et public du Wapikoni Mobile 43 1.2.3 Ressources humaines et matérielles 45 1.2.4 Une économie de subvention ..48 1.2.5 Escales et méthodologie de formation .52 1.2.6 Wapikoni Mobile et diffusion .55 1.3 Contextualisation du Wapikoni Mobile .57 1.3.1 L'héritage du programme Société nouvelle/Challenge for Change .57 1.3.2 Le contexte autochtone du Wapikoni Mobile 62 1.3.3 Bref aperçu du paysage médiatique autochtone 68 1.4 Questions de recherche 70 1.5 Éléments pour un cadre théorique 74 1.6 Méthodologie 78 1.6.1 Une observation participante 80 1.6.2 Observation participante et ouverture du processus de rédaction 85 1.6.3 Analyse documentaire: méthodologie et corpus 89 1.6.4 Observation directe: méthodologie et corpus 94 1.6.5 Les limites de l'observation participante 101 1.6.6 "Çntretiens semi-dirigés et questionnaires 104 1.6.7 Ethique 108 1.6.8 Place des communautés autochtones dans la recherche 109 1.6.9 Portée et limites de la recherche 112 v 2 Les diffusion du Wapikoni Mobile: arène médiatique et contre-publics subalternes 115 2.1 Espace public et espaces publics 115 2.1.1 Médias et espace public .115 2.1.2 L'espace public comme lieu de la rationalité politique .117 2.1.3 De l'espace public aux relations publiques généralisées 119 2.1.4 Les limites des relations publiques généralisées .122 2.1.5 Critique de l'Espace public et« contre-publics » 125 2.1.6 Contre-publics et médias alternatifs .130 2.1.7 Contre-public subalterne ou contre-publicité ? 133 2.1.8 Contre-public, contre-publicité et arène médiatique .136 2.2 Les diffusions du Wapikoni Mobile: en périphérie de l'arène médiatique 142 2.2.1 L'importance des diffusions pour le Wapikoni Mobile .142 2.2.2 Contextes de diffusion et espaces publics 146 2.2.3 Supports de diffusion: festi vals et manifestations événementielles plus que médias de masse .148 2.2.4 Internet, une arène réinvestie 158 2.2.5 Priorité aux diffusions présentielles : festivals et événements 166 2.2.6 Des contextes éditoriaux généralistes et autochtones qui prédominent. 169 2.2.7 Supports de diffusion / contextes éditoriaux .178 2.2.8 Contextes géographiques: une arène publique québécoise et urbaine. .187 2.2.9 Contextes éditoriaux et supports de diffusion au Québec .192 2.2.10 En périphérie de l'arène médiatique .197 2.2.11 Arène médiatique: quelle place pour les festivals et les diffusions événementielles ? 202 2.2.12 Diffusions,« présentiel » et discussion .204 2.3 Diffusions & contre-publics subalternes 209 2).1 Panorama des diffusions inscrites dans un contexte éditorial « autochtone » .211 2.3.2 Délimitations des contre-publics subalternes .214 2.3.3 Les diffusions « de fin d'escale» : portrait.. .217 2.3.4 Les diffusions« de fin d'escale» : valoriser. .219 2.3.5 Lesautres dimensions des diffusions « de fin d'escale » 226 2.3.6 Diffusions présentielles et débats dans les réserves .231 2.3.7 Peut-on parler d'un contre-public subalterne ? .237 2.4 Une diffusion qui privilégie l'arène publique québécoise 240 3 Accompagnement à la production et diffusion 244 3.1 Présence de la diffusion dans la pratique de création 246 3.1.1 Diffusion et genre cinématographique .246 3.1.2 Diffusion et « pré-visionnements » .249 3.1.3 Diffusion et exigence de qualité .256 3.2 En équilibre entre diffusion et création médiatique 261 3.2.1 Respecter les « envies» des jeunes .261 VI 3.2.2 Formation et accompagnement: quelle interaction? .265 3.2.3 Intégration de la diffusion dans l'accompagnement.
Load more

Recommended publications
  • Wapikoni from Coast to Coast Reconciliation Through Media Arts
    Press Release For immediate RELEASE WAPIKONI FROM COAST TO COAST RECONCILIATION THROUGH MEDIA ARTS Montreal, November 23, 2016 – Wapikoni Mobile, a travelling studio that gives a voice to Indigenous youth through mediation, training and audiovisual production, is proud to announce that it has been selected by the Government of Canada as a recipient of the Canada 150 Fund. “Through the project “Wapikoni from Coast to Coast: Building Bridges and Reconciliation through Media Arts”, young Indigenous Canadians will have the opportunity to be heard and to exchange ideas. Our government is proud to contribute more than $2 million to support the audiovisual and musical creative workshops that will give young creators the chance to express themselves. The resulting works will be presented in several communities across the country. Let’s take advantage of the 150th anniversary of Confederation to have a positive dialogue and to strengthen relations between us all,” said the Honourable Mélanie Joly, Minister of Canadian Heritage. On this occasion and for the first time ever, Wapikoni – a First Nations organization – will collaborate with the Metis and Inuit nations. Wapikoni will also meet with other First Nations across Canada and will reinforce its existing ties with minority language communities. This unique three-fold venture involves about 30 partners, including Indigenous communities, the imagineNATIVE Film + Media Festival, the Vancouver International Film Festival (VIFF), and the National Film Board of Canada (NFB), ensuring maximum reach and visibility. In the first segment of the project – and with a new mobile studio – Wapikoni will complete a Canadian audiovisual and music creation tour in 20 Indigenous communities and urban centres in eight provinces and territories.
    [Show full text]
  • Latin America Indigenous Funders Conference
    Latin America Indigenous Funders Conference Buen Vivir: Supporting the Role of Indigenous Peoples in Bio- Cultural Diversity, Human Rights, and Sustainable Economic Models Photo: Goldman Environmental Prize Berta Cáceres OCTOBER 24 –27, 2016 IFIP International Funders for Indigenous Lima, Peru Photo: Goldman Environmental Prize Goldman Environmental Photo: Berta Cáceres founded the National Council of Popular and Indigenous Organizations of Honduras (COPINH) to address the growing threats posed to Lenca communities by Illegal logging, fight for their territorial rights, and improve their livelihoods. LATIN AMERICA INDIGENOUS FUNDERS CONFERENCE We are delighted to welcome you to IFIP’s Latin America Regional Funders Conference in Lima, Peru. This conference brings together a diverse array of leaders from Indigenous communities, ngos, and donor organizations to highlight why Indigenous Philanthropy offers a tremendous potential to strengthen the self-development of Indigenous communities. Our conference theme is Buen Vivir: Supporting the Role of Indigenous Peoples in Bio-Cultural Diversity, Human Rights and Sustainable Economic Models. This year for the first time we have expanded the conference concurrent sessions into four tracks to meet overwhelming interest in this theme and accommodate the excellent session proposals received. At the same time, the agenda will offer plenty of networking opportunities designed to provide a fulfilling conference experience. Our goal is to bring together stories, experiences and ideas for collaboration, as well as ways of learning about the different grantmaking approaches and how funders work in partnership with local communities, social movements, ngos, and others to advance Indigenous peoples’ well-being, security and rights. It is our hope that, as you engage in the conference, you will take this opportunity to practice the “Four Rs of Indigenous Philanthropy”: • Reciprocity in the give-and-take of listening and speaking.
    [Show full text]
  • DIALOG Aboriginal Peoples
    Collaboration with RESEARCH AND KNOWLEDGE NETWORK INRS DIALOG Aboriginal peoples UQAM UQAT in the Université du Québec network DIALOG Research and Knowledge Network Relating to • Develop a better understanding of the historical, social, Aboriginal Peoples cultural, economic, and political realities of Aboriginal Quebec is home to over 140,000 Aboriginal people.1 Nearly Some 600 Aboriginal students attend Université du Québec communities, topical issues, and relations between Close cooperation with Aboriginal peoples is central to the three-quarters of this population live in non-urban areas institutions every year,2 12% of whom are graduate stu- Aboriginal and non-Aboriginal peoples by fostering the mission of DIALOG, an international research and knowledge served by Université du Québec member institutions. As a dents. A number of institutions have developed training co-creation of knowledge and taking into account the network relating to Aboriginal peoples. Three network insti- result, the institutions have forged close ties with Aborig- programs and student support and guidance initiatives needs, perspectives, and approaches of Aboriginal com- tutions and a number of affiliated researchers participate inal communities, and the network student body includes tailored to their cultural, geographic, and socioeconomic munities in research and public policy. in DIALOG, including INRS, the sponsor. DIALOG’s mission representatives of the ten First Nations and Inuit. realities. is to develop a better understanding of Aboriginal realities • Support university students, and Aboriginal students Over the past ten years, Université du Québec has awarded and the interaction between Aboriginal and non-Aboriginal in particular, by getting them involved in networking close to 1,000 diplomas to Aboriginal students.
    [Show full text]
  • Building Resilience Through Partnership
    BUILDING RESILIENCE THROUGH PARTNERSHIP 2019-2020 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS 9 ACHIEVEMENTS 11 ABOUT US 14 MESSAGES MANAGEMENT DISCUSSION 18 AND ANALYSIS INDUSTRY AND 19 ECONOMIC CONDITIONS CORPORATE 28 PLAN DELIVERY ATTRACT ADDITIONAL FUNDING 29 AND INVESTMENT EVOLVE OUR FUNDING 33 ALLOCATION APPROACH OPTIMIZE OUR 45 OPERATIONAL CAPABILITY ENHANCE THE VALUE 50 OF THE “CANADA” AND “TELEFILM” BRANDS 57 FINANCIAL REVIEW 64 RISK MANAGEMENT CORPORATE SOCIAL 66 RESPONSIBILITY 70 TALENT FUND 81 GOVERNANCE FINANCIAL 95 STATEMENTS ADDITIONAL 117 INFORMATION TELEFILM CANADA / 2019-2020 ANNUAL REPORT 1 The Canadian industry and audiences embraced female voices and HIGHLIGHTS Indigenous expression in fiscal year 2019-2020. Telefilm remained committed to greater representation in the films we support and to bringing Canadian creativity to the world. LOOKING TO THE FUTURE, our vision is for Telefilm and Canada to strengthen their role of Partner of Choice—creating and building ties, expanding opportunities and deepening impact. BRINGING CANADIAN CREATIVITY TO THE WORLD The Canada-Norway coproduction THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN, directed by KATHLEEN HEPBURN and ELLE-MÁIJÁ TAILFEATHERS, received praise around the world— premiering at the Berlin Film Festival in 2019, selected as “REMARKABLE” a New York Times Critic’s Pick and being called “remarkable” by the Los Angeles Times. The film went on to be picked up ★★★★★ by Ava DuVernay’s ARRAY releasing for U.S and international. levelFilm distributed the film in Canada, while Another World LOS ANGELES TIMES Entertainment handled Norway. TELEFILM CANADA / 2019-2020 ANNUAL REPORT 2 HIGHLIGHTS BRINGING CANADIAN CREATIVITY TO THE WORLD MONIA CHOKRI’s debut feature filmLA FEMME DE WINNER MON FRÈRE (A Brother’s Love), which she both wrote COUP DE CŒUR AWARD and directed, premiered at the Cannes Film Festival CANNES opening the Un Certain Regard section, bringing home FILM FESTIVAL the jury’s Coup de Cœur award.
    [Show full text]
  • "Nvtramkaiñ Kom Taiñ Ixofil Mogen"
    "NVTRAMKAIÑ KOM TAIÑ IXOFIL MOGEN" REFLECTION, LEARNING, AND KNOWLEDGE SHARING THROUGH INDIGENOUS COMMUNITY FILMMAKING FINAL TECHNICAL REPORT to the InternAtionAl Development ReseArch Centre (IDRC) CanAdiAn PArtnerships SmAll GrAnts AUTHORS ThorA HerrmAnn, DPhil | Project leAd AriellA OrbAch, MSc | Project co-leAd June 2014 PROJECT INFORMATION IDRC project number: 106616-00020699-036 IDRC project title: Nvtramkaiñ kom taiñ ixofil mogen: Reflection, leArning And knowledge shAring through indigenous community cinemA Countries: Chile (ArAucaníA region) And CAnAdA (Québec) ReseArch institution: Université de MontréAl C.P. 6128, succursale Centre-ville, MontréAl (QC) H3C 3J7 ReseArch teAm: Dr. ThorA HerrmAnn, leAd reseArcher, Université de Roberto ContrerAs, community reseArcher (Chile), MontréAl, [email protected] [email protected] AriellA OrbAch, co-leAd, StrAtegic Video InitiAtive, GerArdo Berrocal, community reseArcher (Chile), [email protected] Adkimvn, [email protected] JuAn RAin, community reseArcher (Chile), MAnon BArbeAu, collAborAtor (Québec), WApikoni [email protected] Mobile, [email protected] FresiA PAinefil, community reseArcher (Chile), KArine GrAvel, collAborAtor (Québec), WApikoni [email protected] Mobile, [email protected] AbstrAct: Indigenous communities fAce chAllenges to preserve the ecosystems upon which locAl livelihoods And culturAl identities depend, requiring collAborAtive efforts And innovative tools. Video is An Accessible, powerful informAtion And communication technology (ICT) thAt offers new possibilities for mArginAlized communities to communicate their reAlities, to plAy An Active role in influencing policy, And to breAk down bArriers of discriminAtion. Our project used video As A tool for enAbling two Indigenous MApuche communities in Chile, And pArticulArly their youth, to ApproAch And AnAlyze local development issues And bring local perspectives to the forefront of debAtes on bioculturAl diversity conservation And equitAble development.
    [Show full text]
  • Native American Film + Video Festival, 2009
    March 26 - March 29 NATIVE AMERICAN FILM+VIDEO FESTIVAL HOW TO ATTENd THE FESTIVAL NMAIyellow MANAGEMENT pantone 116 GGHC STAFF SUPPORT All festival programs are free. For daytime pro- Kevin Gover (Pawnee/Comanche), Director, NMAI Samir Bitar, Manager, Visitor Services grams in the Auditorium and Diker Pavilion, seating Tim Johnson (Mohawk), Associate Director, NMAI Quinn Bradley (Navajo), Public Affairs Assistant is on a first-come, first-served basis. For programs Museum Programs Group Leonor Bonuso, Administration in The Screening Room, which has limited seating, John Haworth (Cherokee), Director, George Gustav Marco Cevallos tickets will be distributed at the Will Call Desk Heye Center Margaret Chen, Special Assistant, Executive Office starting 40 minutes before each showtime. Peter Brill, Deputy Assistant Director for Exhibits, Gaetana DeGennaro (Tohono O’odham), Manager, Programs and Public Spaces GGHC Resource Center Reservations are recommended for evening Johanna Gorelick, Manager, GGHC Education programs at NMAI. No more than 4 tickets can FESTIVAL DIRECTORS Department be reserved by any one person. Pick up reserved Elizabeth Weatherford, Head of Film and Video Jorge Estévez (Taino), Cultural Arts tickets at the Will Call Desk starting 40 minutes Center, FVC Tamara Levine, Administration before showtime. Tickets not picked up by 15 Emelia Seubert, Assistant Curator, FVC Jeff Mann, IT Support minutes before showtime are released to the Wait LaKisha Maxey, Administrative Support, Education List. NMAI members are given priority for reserva- FESTIVAL PRODUCERS Scott Merritt, Deputy Assistant Director for tions until March 11. To reserve call 212-514-3737 or Michelle Svenson, Festival Producer, FVC Operations and Program Support email [email protected].
    [Show full text]
  • Report Submitted by UNESCO to the 19Th Session of the United Nations Permanent Forum on Indigenous Issues (UNPFII)
    Report submitted by UNESCO to the 19th Session of the United Nations Permanent Forum on Indigenous Issues (UNPFII) 13 - 24 April 2020 Executive summary: In 2017, the Executive Board of UNESCO noted with satisfaction its Policy on Engaging with Indigenous Peoples, a policy that harmonises the mandated programme work of UNESCO with the UN Declaration on the Rights of Indigenous Peoples. During 2019, all Sectors of UNESCO engaged in activities related to the IYIL2019. The United Nations Educational, Scientific and Cultural Organisation (UNESCO) served as the lead UN agency for the organization of the International Year of Indigenous Languages 2019, which is covered in a separate report to the UNPFII. In October 2019, the Director General appointed Mexican actress, Ms. Yalitza Aparicio, as the UNESCO Goodwill Ambassador for Indigenous Peoples. Her priorities are on human rights, dignity, indigenous languages, and the rights of domestic workers. Each Sector of UNESCO has contributed to the implementation of the UNDRIP System-wide Action Plan (SWAP). Some Regional Offices have been particularly engaged, owing to their circumstances. Notably, Santiago Office has been working on intercultural and multilingual education including the mobilization of indigenous knowledge systems. Montevideo Office has been concentrating on indigenous engagement in the Man and Biosphere programme, including indigenous knowledge and culture components. Bangkok Office has been engaged in a series of education events including on multilingualism and inclusivity. The Paris Headquarters has focused on indigenous knowledge of biodiversity, ecosystems and climate change. Contributing to the work plan of the UNFCCC Local Communities and Indigenous Peoples Platform (LCIPP). The Natural Sciences Sector hosts the IPBES Technical Support Unit on Indigenous and Local Knowledge (TSU on ILK).
    [Show full text]
  • Wapikoni Teaching Guide: an Introduction to the Diversity Of
    Wapikoni Teaching Guide: An introduction to the diversity of Indigenous cultures in Canada (Without Appendices) Wapikoni 400, Atlantic Avenue, suite 101 Montréal, Quebec Canada, H2V 1A5 514-276-9274 [email protected] All rights reserved © Wapikoni 2019 The use of this guide is restricted to the UNESCO Associated Schools Network. Cover photo: Still from the film Zuya, directed by Ariel Waskewitch ISBN 978-2-9817766-2-4 This teaching guide was created by Wapikoni mobile, with support from the Canadian Commission for UNESCO (CCUNESCO), in collaboration with Indigenous members and partners of CCUNESCO, and teachers from the UNESCO Associated Schools Network. We thank all those consulted and involved in its development. Research: Mélanie Brière Writing: Mélanie Brière, in collaboration with Isabelle Picard, consultant and First Nations specialist French Revision: Yvon Delisle Translation: Shannon Dacres Graphic design and layout: Nadia Roldan We would like to thank the following people for their contributions to this teaching guide: • Canadian Commission for UNESCO: Sébastien Goupil, Isabelle LeVert-Chiasson, Cassandre Pérusse, Angèle Cyr et Katharine Turvey • Indigenous CCUNESCO members and partners, as well as educators from the UNESCO Associated Schools Network, who were consulted during the development and revision of the guide • Filmmakers Sipi Flamand, Eileen Francis, Zach Greenleaf, Ashton Janvier, Tommy Kudluk, Réal Junior Leblanc, Virginie Michel, Joleen Mitton, Gloria Morgan, Russell Ratt Brascoupe, Donavan Vollant and Ariel Waskewitch • Mélanie Walsh • Nitsé Mathelier • Julia Dubé • Everyone who contributed to making the films About About Wapikoni CCUNESCO Co-founded in 2004 by the Conseil de la Nation Atikamekw The Canadian Commission for UNESCO serves as a bridge [Council of the Atikamekw Nation], the Conseil des Jeunes between Canadians and the vital work carried out by des Premières Nations [First Nations Youth Council of UNESCO, the United Nations Educational, Scientific and Quebec and Labrador] and filmmaker Manon Barbeau, Cultural Organization.
    [Show full text]
  • It Is the Festive
    DECEMBER 2018 HUF 1710 EUR 6 The end of the year is a festive time in most parts of the world and Hungary is no exception. IT IS THE Open air markets offer toys, handicrafts, souvenirs and culinary specialties in Budapest and throughout the FESTIVE countryside. SEASON! SEE MORE on page 41 18012 18006 9 771558 980700 9 771558 980700 18001 18007 9 771558 980700 9 771558 980700 18002 Japan18008 The overall goal Kuni Sato set for herself 15 years of when she began her tenure as the Japanese 9 771558 980700 9 771558 980700 Ambassador in Budapest was “to further develop DIPLOMACY&TRADE the close and amicable relationship with Hungary that we and our ancestors have built up, so far.” Thank you for the past 15 18003 In an 18009interview, she tells Diplomacy&Trade that years cooperation as we bilateral economic relations are built “through the goodwill and steady efforts of many people” look forward to our future 9 771558 980700 9 771558 980700 and that Japanese people have a surprisingly together. country good knowledge of Hungary. We wish our readers, 18004 18010 FOCUS see articles on pages 10-31 advertisers and partners happy holidays and a 9 771558 980700 9 771558 980700 prosperous new year! 977155898070018011 One-stop shop 18005 The 18011Hungarian Investment Promotion Agency (HIPA) has an important role in attracting German investments to Hungary. Its President, Róbert Ésik says in the Germany section of Diplomacy&Trade that in 2017, 30% of their projects 9 771558 980700 9 771558 980700 were related to German companies and this ratio is even higher, some 35%, when considering the number of jobs or the value of the investment that these German companies represent.
    [Show full text]
  • Samian: El Artista Como Puente Entre Las Culturas
    Samian: El artista como puente entre las culturas Julie Vivier Université de Montréal _____________ Samian. Música rap. Artista autóctono. Cultura de resistencia. Hibridez cultural. Identidad cultural. Relaciones interculturales. Quebec. _____________ Resumen La presente investigación estudia el trabajo artístico de Samian, un joven rapero anishnabe quebequense que se afirma como portavoz de las Primeras Naciones y cuya presencia en la escena artística quebequense se hace cada vez más importante. Por una parte, se interesa en el rap como género musical híbrido y rizomático por encontrarse en todas partes del mundo así como en todos los idiomas, pero también como forma artística de los sin voz percibida como una cultura de oposición (Hechter 1975, 1978), una cultura de resistencia (Mitchell y Feagin, 1995; Martínez 1997) y una resistencia vernácula (Potter 1995). Por otra parte, el artículo trata de destacar la propuesta intercultural, identitaria y política de Samian: a través de su estilo musical, su elección de cantar en lenguas autóctonas, las letras de sus canciones y el análisis fílmico de algunos de sus videoclips. Résumé La présente recherche étudie le travail artistique de Samian, un jeune rappeur anishnabe québécois qui s’affirme en tant que porte-parole des Première nations et dont la présence sur la scène artistique québécoise se fait de plus en plus importante. D’une part, elle s’intéresse au rap comme genre musical hybride et rhizomatique puisqu’il se retrouve dans tous les coins du monde ainsi qu’en toutes les langues, mais, aussi, comme forme artistique des sans voix perçue comme une culture d’opposition (Hechter 1975, 1978), une culture de résistance (Mitchell y Feagin 1995; Martínez 1997) et une résistance vernaculaire (Potter 1995).
    [Show full text]
  • Tiff Commemorates National Indigenous Peoples Day with Virtual Celebration
    June 18, 2020 MEDIA RELEASE TIFF COMMEMORATES NATIONAL INDIGENOUS PEOPLES DAY WITH VIRTUAL CELEBRATION TORONTO​ — On June 21, TIFF will screen ​11​ short films made by Indigenous youth, in partnership with Wapikoni Mobile, an initiative dedicated to audiovisual creation in Indigenous communities. These works celebrate the complexity, resilience, joy, and power of Indigenous life today. Audiences are invited to join a live Facebook watch party at 3pm EDT and enjoy these titles together at home. “For the past two years, TIFF has partnered with Wapikoni to showcase short films by Indigenous youth at TIFF Bell Lightbox,” said Cameron Bailey, TIFF Artistic Director and Co-Head. “We’re inviting viewers to unite online this year to experience Indigenous-made films that explore the complexity and joy of their communities.” The following short films will be screened: Batailles​ Karen Pinette Fontaine The Guest​ Nick Rodgers Healing Journey One Button at a Time​ Joleen Mitton Katatjatuuk Kangirsumi​ ​(​Throat Singing in Kangirsuk ​| ​Chants de gorge à Kangirsuk​) Eva Kaukai, Manon Chamberland | Canada’s Top Ten 2019 and TIFF Next Wave 2019 selection Kinauvunga​ (​Qui suis-je?​ / ​Qui je suis.​ | ​Who Am I? / Who I Am.​) Charlie Gordon Mitshishuss​ (​Petit aigle​ | ​Little Eagle​) Christopher Grégoire-Gabriel Nuhe nenë boghílníh​ (​Protégeons nos terres​ | ​Protecting our Homeland​) Ashton Janvier Rose Exposed​ (​Rose s’expose​) Rose Stiffarm Traditional Healing​ Raymond Caplin Walk with my Spirits​ (​Mes esprits et moi​) Tyler Jacobs Zuya​ (​Tracer son chemin​ | ​The Journey​) Ariel Waskewitch Following the screening, at 5pm EDT, participants are invited to continue the conversation with a Member Meet-up on Zoom in the Virtual Bell Blue Room for an intimate discussion on the films.
    [Show full text]
  • Read the 2018-2019 Annual Report
    ANNUAL REPORT 2018-2019 Table of xxxxxxxxxxxx Contents Opening Welcome 04 Message from Management 05 Board of Directors 06 Wapikoni’s Strategic Axes 07 Inspire & Belong 09 Create & Exist 11 Enhancement & Improvement 14 Transmission & Sharing 16 Communications in Numbers 19 Financial Statements 19 Partners 20 Final Word 21 WAPIKONI – ANNUAL REPORT 2018-2019 3 OPENING WELCOME Melissa Mollen Dupuis Innu, Ekuanitshit - President of the Board of Directors As president of Wapikoni for yet again another year, I have to say I couldn’t be prouder of the accomplishments of our beautiful organization. From the mobile studio stopovers in communities, to the traveling cinema tours, to the International activities, Wapikoni sure can shine! Every project we do is new and unique, which makes our organization in constant movement. This year, Manon Barbeau announced her retirement from her role of Executive Director and has worked closely with our new executive director Odile Joannette to ensure a smooth transition. Luckily for us, Manon is staying with us as Founding President of Wapikoni, this combined with Odile’s impressive record means that the sky is the limit. Working with this new team has been an absolute delight, and I am pleased to present this annual report which highlights the fruits of Wapikoni’s efforts in its numerous inspiring initiatives. 4 WAPIKONI – ANNUAL REPORT 2018-2019 MESSAGE FROM MANAGEMENT Odile Joannette, Innu, Pessamit - Executive Director It is an honour for me to join the great Wapikoni team and help celebrate 15 years of dedication to our voices and talents. Believing in the power of art and film to build bridges, connect and transform, I thank the Board of Directors for their confidence as the first Indigenous Executive Director.
    [Show full text]