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The Drums of Winter Uksuum Cauyai

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The Drums of Winter Uksuum Cauyai October 25, 2016 (XXXIII:9) Sarah Elder and Leonard Kamerling: DRUMS OF WINTER (1988), 90 min. (The online version of this handout has color images and hot url links.) UKSUUM CAUYAI: THE DRUMS OF WINTER Director, Producer, Writer… Sarah Elder and Leonard Directed by Sarah Elder and Leonard Kamerling Kamerling Editor…Sarah Elder Cinematographer…Leonard Kamerling Sound recordist…Sarah Elder Yup’ik language and culture consultant… Walkie Charles Re-recording mixer…Mel Zelniker Presented by…Emmonak Singers and Dancers and the Alaska Native Heritage Film Project Awards 1991, Flaherty International Film Seminars, Riga, Latvia, National Film Registry, 2006 1990, Hawaii International Film Festival, Honolulu, 1989, The Best of the Mead, Margaret Mead Film Festival, 25 Neighbor Islands Festival Week of the Hawaii Year Anniversary, Osaka, Japan, 2000 International Film Festival, Kauai, Kona, and Hilo, 1989, Best Documentary, Best Doc. Director, Best Anthropos International Film Festival, Los Angeles, 1989, Cinematography, Festival of the Native Americas, Santa Musica Dei Popoli Festival of Ethnomusicology Films, Fe, 1996 Florence, Italy, 1989,Tallin International Ethnographic The Heritage Award, Alaska International Film Festival, Film Festival, Estonia USSR, 1988, Margaret Mead Film Anchorage, 1995 Festival, American Premier, New York, September 1988 Award of Excellence, American Anthropological Assoc., New Orleans, 1991 SARAH ELDER (b.1947) is an international award Special Commendation, Royal Anthropological Institute, winning documentary filmmaker and Professor of Film in International Ethnographic Film Festival, Manchester, the Department of Media Study in the University at UK, 1990 Buffalo. Her documentary career focuses on the ethics and Grand Prix Best of Festival, Third International Arctic challenges of filming across cultural boundaries and Film Festival, Fermo, Italy, 1989 explores the political and moral consequences of filming First Prize, Blue Ribbon, American Film Festival, real people. Working in rural Alaska for 30 years, Elder Chicago, 1989 collaborated with Alaska Native communities and Silver Apple Award, Educational Film and Video Festival, pioneered a new community-collaborative approach to San Francisco, 1989 making documentary film in which the individuals and the communities who are filmed share control in the International Film Festivals and Exhibitions filmmaking decisions. From 1973-1990, Elder co-founded Institut Lumière Centennial Anniversary of the Invention and co-directed the Alaska Native Heritage Film Project of Cinema, Lyon, France, 1995, Northern Lights with Leonard Kamerling at the University of Alaska International Film Festival, Anchorage, 1996, Parnu Fairbanks. Her current film project, Surviving Arctic International Visual Anthropological Festival, Estonia, Climate Change, looks at the consequences of global Elder and Kamerling—DRUMS OF WINTER—2 warming on the small Yup’ik Eskimo village of Writing from UAF. In 1973, Kamerling co-founded and Emmonak, Alaska, near the coast of the Bering Sea where co-directed the Alaska Native Heritage Film Project with she filmed Drums of Winter some 35 years ago. Sarah Elder at the University of Alaska Fairbanks. He joined the Creative Writing Faculty at UAF in 1999 where In 2006 Elder’s documentary, The Drums of Winter he specializes in teaching writing for film, theater and (1988) was named to the National Film Registry at the television. He recently produced and directed with Peter Library of Congress. Her films have won four First Prizes Biella the documentary, Changa Revisited: Thirty Years in the American Film Festival, three Cine Gold Eagles and in the Life of a Maasai Family (2016). In 2013 he directed two American Anthropology the feature documentary, Association Awards of Strange and Sacred Noise, on Excellence. Elder has the wilderness music received grants from the performance/composition of National Endowment for the Pulitzer winning composer, Arts, Ford Foundation, John Luther Adams. His film, Alaska State Council on the Heart of the Country (1997), Arts, Aperture Magazine, was nominated for the Atlantic Richfield Corp. and International Documentary others. For many years she Association prestigious Pare served on the board of the Lorentz Award. In 2006, his Society for Visual documentary, The Drums of Anthropology. Her films Winter (1988) was named to have exhibited at the the National Film Registry at Museum of Modern Art, the Library of Congress. Cinématèque Française, Throughout his career, Freiburg Film Forum, Musée Kamerling has been de L'Homme, ARTE TV in concerned with issues of Europe, International Center cultural representation in for Photography, Smithsonian film, cross-cultural Institution, American communication and the role Museum of Natural History, that film and film writing can Parliament of the World’s play in eliminating Religion, Sofia International stereotypes and in credibly Festival of Ethnographic Film translating one culture to and the Field Museum. In another. 1995, the Institut Lumière in Lyon, France, honored Elder as a distinguished filmmaker, inviting her to show her body of work and speak as part of the 100-year Andi Coulter: Q&A with Sarah Elder, October 2016 anniversary celebration of the Lumière brothers' invention AC: Walk me through your first memories of film. of cinema. A UB faculty member since 1989, Elder received a bachelor's degree from Sarah Lawrence College SE: My first film memories were of Danny Kaye in and a MFA in film from Brandeis University. Elder the Court Jester and Hans Christian Andersen. [1950s continues to conduct research and make films in Alaska actor known for his comedy, singing and dancing in such and keeps a small log cabin outside Fairbanks. noted films as The Secret Life of Walter Mitty (1947) and The Inspector General (1949)]. I was a small kid. He LEONARD KAMERLING (b.1945) Leonard Kamerling made me laugh my head off. I didn’t come from a is Curator of Film at the University of Alaska Museum of particularly happy home life, and I thought it was the North and Professor of English at the University of incredible that someone could make me feel so happy and Alaska, Fairbanks. Over the last 25 years he has produced have this mysterious power to affect a deep part of me. numerous critically acclaimed, international award winning documentary films about Alaska Native cultures AC: Were you an avid film goer as a kid? and Northern issues, as well as pioneered a collaborative approach to producing cultural films that serves as a SE: No. I only saw a few films each year. foundation for all his work. He received his training at the London Film School and earned his MFA in Creative AC: How did your interest in film come about? Elder and Kamerling—DRUMS OF WINTER—3 AC: What else interested or informed your work from SE: I first started in still photography when I was this time? around 8 years old. I didn’t take any classes; my first camera was a little Brownie box camera. I still have it in SE: I also studied anthropology in college and that my office. It was magic. It captured forever what was really excited me. And creative writing with Grace Paley, happening - out there in the world. You could stand here Harvey Swados and poet Alan Dugan. This was in the and get an image or you could stand there and get an early ‘60s, and I was extremely political often entirely different image. You could be high or you could participating in some life-altering event. I was part of be low, and you could begin to make more meaning of civil rights protests; and protests against the Vietnam War. reality than what you immediately saw. AC: Did you go to Washington? AC: What did you take pictures of? SE: I went to Washington; I had my head SE: I took pictures of cut open by the police batons. things like stones because I I was tear gassed. In college, thought they had personality. I co-led the takeover of our I took pictures of my beloved administration for 10 days. aging baby sitter and my We (the students), kicked out dog’s paws. My dog’s paws the President, kicked out the meant a lot to me, so I took deans, kicked out the their picture. And my family secretaries and ran the school. laughed at me and asked, We asked the school to divest “Why are you doing this?”. I investments in apartheid thought, “Someone in the South Africa; we wanted world loves a dog’s paws; more minority students and and they’ll get it.” It was a way to go into a different faculty, more scholarships, college recognition of the reality, a more intuitive reality. Black Students Association and access to our own academic records. We had an entire list of demands. Our AC: How did you start to transition from this interest takeover made the New York Times. Several faculty came in photography to film? in with us. It was an idealistic time in America’s history when you thought you could do anything. SE: The simple answer is, I didn’t for a long time. There was no easy way to learn film in those days. When AC: How did you start transitioning into film? I was in college at Sarah Lawrence, I took no film classes until my senior year. However, I did study with the SE: In my senior year at Sarah Lawrence College, I famous art historian and curator, William Rubin, Director took a film class, and the film process was instantly of Painting and Sculpture at the Museum of Modern Art. natural for me. Film reflected how I engaged with reality He taught me how to see. How to think and how to talk both visually and conceptually. I could merge politics, about color, shape, movement and the ineffable. He was a writing, anthropology and art making. My brain, my eye passionate professor who filled his lectures with standing and my heart could merge.
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