Mother Tongue Film Festival

2016–2020 Mother Tongue

Film Festival Five-Year Report

RECOVERING VOICES

1 2

3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices

Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4

The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC. We have years to come. knowledge loss. screened at venues as far-reaching as the John F. Kennedy Center for the In 2015, NMNH curator and anthro- Performing Arts and as communi- Our Misson pologist Dr. Joshua Bell conceived of ty-focused as the Mexican Cultural the Mother Tongue Film Festival as Institute. We have garnered support Honoring the United Nations’ Inter- a way to highlight the work of lan- to welcome 74 filmmakers, producers, national Mother Language Day on guage revitalization around the world actors, and cultural leaders from 43 February 21, the Mother Tongue Film through the most powerful medium communities and nations, to present Festival celebrates language and cul- now widely available to communities: their films live and dialogue with di- tural diversity by showcasing films the moving image. The first festival verse audiences. We have screened and filmmakers from around the opened on February 21, 2016, which works with no dialogue, music videos world. Through digital storytelling, the is the United Nations’ International in Indigenous languages, and works festival amplifies the work of diverse Mother Language Day, and the festi- in the mother tongue of ASL. We have practitioners who explore the pow- val continues to be presented around hosted behind-the-scenes tours of er of language to connect the past, Introduction this date. Partnerships within and Smithsonian collections for our par- present, and future. Mother Tongue outside the Smithsonian have been ticipants and offered local youth the 5 6

By the Numbers 168 10,758 FILMS ATTENDEES 142 58 LANGUAGES PARTICIPANTS 55 29 REGIONS PARTNERS 16 5 VENUES GRANTS

An audience member at the Last Whispers Want to learn more? screening, Terrace Theater, Kennedy Center. See the appendices on page 63. Photo courtesy of Lena Herzog 7 8 2016 Year 1: The Beginning

19 languages 8 regions 31 films

Burning Sun, dir. Elle Márjá Eira 9 10

2016 February 21-27

The first Mother Tongue Film Festival screening of five short films followed 2016 Smithsonian Folklife Festival’s day with the screening of four films launched on International Mother by a 2016 version of Star Wars: Epi- Basque: Innovation by Culture pro- about music at the Wallace H. Coulter Language Day, February 21, to cele- sode IV – A New Hope (1977; George gram, Monday night’s screening of Performance Plaza in the NMAH. brate mother tongues of communities Lucas) dubbed into Diné bizaad (Na- the documentary Loreak (2014; Jon around the world. The week-long fes- vajo) with English subtitles. The team Garaño and Jose Mari Goenaga) tival showcased both short and fea- behind the translation and dubbing, showcased the Euskara language. ture-length films representing nine- Manuelito and Jennifer Wheeler The DC Basque Club introduced the teen languages and eight regions, (Diné), were joined by filmmakers Zoe film in both Euskara and English at presented by various directors. The Leigh Hopkins (Heiltsuk/Mohawk) Landmark’s Atlantic Plumbing Cine- festival presented seven screening and Steven Paul Judd (Kiowa/Choc- ma. The Tuesday evening program of programs in five venues around Wash- taw) to discuss the making of Indig- nine dramatic shorts was co-hosted ington, DC: the National Museum of enous language films. The second by BloomBars, a DC artist and non- Natural History (NMNH), the National program featured five short films fol- profit incubator, performance space, Museum of American Indian (NMAI), lowed by the premiere of the docu- and gallery. On Thursday, the festival the National Museum of the American mentary Breath of Life: Revitalization featured films with an Arctic focus at History (NMAH), Landmark’s Atlantic of North America’s Native Languages NMAI’s Rasmuson Theater, with com- Plumbing Cinema, and BloomBars, a (2015), which showcases the work and mentary by staff from NMNH’s Arctic community arts center. In addition to research by Native American commu- Studies Center. On Friday night, NMAI presenting varied film programming, nity scholars involved in the Nation- hosted the DC premiere of the ac- each venue catered to different audi- al Breath of Life Archival Institute for tion-packed Māori drama The Dead ences, with several evening programs Indigenous Language, hosted at the Lands (2014; Toa Fraser). This pro- at capacity. The curatorial team con- Smithsonian. Following the screening, gram was presented with support sisted of Joshua Bell (NMNH), Melis- National Breath of Life co-director from the Embassy of New Zealand, sa Bisagni (Media Initiatives, NMAI), and Curator of Linguistics Dr. Gabri- and we were pleased to have Tim Judith Andrews (Collections Program ela Pérez Báez (NMNH) and Nation- Groser, Ambassador of New Zealand, Assistant, NMNH), and Dr. Mary Linn al Breath of Life Steering Committee offer introductory remarks. An in- Melissa Bisagni speaks with Manuelito and Jen- (Curator of Language and Cultural Vi- member and Mary Linn discussed depth discussion with one of the film’s nifer Wheeler, who translated and dubbed Star tality, CFCH). issues of language revitalization with producers, Tainui Stephens (Te Rara- Wars: Episode IV A New Hope into Navajo. director Gaston Lacombe. wa), followed the screening, and au- The festival opened on a Sunday diences were treated to outtakes from at NMNH’s Baird Auditorium with a Presented in partnership with the the film. The festival closed on Satur- 11 12

Sunday, February 21 Tuesday, February 23 Friday, February 26

Opening Narrative Shorts Dinner and a Movie 12 pm—Baird Auditorium, NMNH 7 pm—BloomBars 5:30 pm—Rasmuson Theater, NMAI Shhh! Shhh! Shhh! Neil Discovers the Moon dir. Steven Paul Judd dir. Steven Paul Judd both dir. Steven Paul Judd Spelling Bee Stones Star Wars Trash Compactor dir. Zoe Leigh Hopkins dir. Ty Sanga dir. Zoe Leigh Hopkins Little India The Dead Lands Star Wars: Episode IV A New Hope dir. Mahesh Pailoor dir. Toa Fraser dir. George Lucas; in Navajo Search for the World’s Best Indian Taco dir. Steven Paul Judd 3 pm—Baird Auditorium, NMNH Huyhuy (trade) Saturday, February 27 Shhh! dir. Sky Hopinka dir. Steven Paul Judd Neil Discovers the Moon Music Program Clouds of Autumn dir. Steven Paul Judd 12 pm—Coulter Performance Plaza, dir. Trevor Mack Goldilocks and the Bears NMAH Shimásání dir. Zoe Leigh Hopkins Shhh! dir. Blackhorse Lowe The Longest Sun dir. Steven Paul Judd Living Language: Menominee dir. Patrick Smith Byron Nicholai of I Sing, You Dance Language Revitalization; Wapawekka dir. Tara Young Language Apprentice dir. Danis Goulet The Ways: Prayers in a Song: Learning both dir. Finn Ryan Language Through Hip-Hop Breath of Life dir. Finn Ryan dir. Gaston Lacombe Thursday, February 25 One Voice… Our journey begins with song Arctic Focus dir. Lisette Marie Flanary Monday, February 22 2 pm—Rasmuson Theater, NMAI Shhh! Basque Program dir. Steven Paul Judd 2016 7 pm—Atlantic Plumbing Cinema 7 Sámi Stories Shhh! International Sami Film Institute, Sámi Film At a Glance dir. Steven Paul Judd Lab; dir. Elle Sofe Henriksen, Marja Bal Nan- Sikumi/On the Ice go, Per Josef Idivuoma, Elle Marja Eira, Ann dir. Andrew Okpeaha Maclean Holmgren, Silja Somby, Egil and Peterse Loreak Attendance: dir. Jon Garaño and Jose Mari Goenaga ~600 13 14

2016 Budget Snapshot

Travel E xpe ns es

s e e F

o i

Budget Snapshot L s

Screening Fees $1,241 e

Location Fees i

$3,167 n

r c

Travel Expenses $7,370 S

Total Budget $11,778

Sponsors & Partners The festival was carried out thanks to the combined efforts of the Mother Tongue Film Festival committee members. Financial support was provided by the collaborating Smithsonian units NMNH, CFCH, and NMAI as well as funds from the Smithsonian Folklife Festival’s Basque program. Additional support was provided by the Embassy of New Zealand, the Elizabeth and Whitney MacMillan En- Shimásáni dowment, Landmark’s Atlantic Plumbing Theater, and BloomBars. dir. Blackhorse Lowe 15 16 2017 Year 2: Growing Awareness

31 languages 12 regions 32 films

Before the Streets, dir. Chloé Leriche 17 18

2017 February 21-25

A major goal of our second festi- Secretary for Museums and Research Grandfather Drum (2015; Michelle umentary Sonita (2015; Rokhsareh val was to strengthen awareness of at the Smithsonian Richard Kurin. Derosier), an animated short in En- Ghaemmaghami), about an undoc- Mother Tongue across the Smith- Joshua Bell introduced the program, glish and Anishinaabe, and the dra- umented Afghan immigrant living in sonian Institution. Over the course which began with the shorts Wiñoy matic feature Avant les Rues/Before the outskirts of Tehran and fighting to of five days, more than 750 people Tañi Kewvn/Volvió Mi Lengua (2014; the Streets (2016; Chloé Leriche), live as an artist, singer, and musician, gathered in various venues in Wash- Gonzalo Luanko, Leonardo Ramirez, about the troubles faced by an Ati- was screened alongside music videos ington, DC, to watch 32 films in 31 and Anthony Rauld) and Four Faces kamekw youth. This film was cast al- “Wall Building Song” (2016; Delek Nor- languages from across six continents. of the Moon (2016; Amanda Strong), most entirely with non-professional bu) and “Hablando” (2016; Viajeros Thanks to Smithsonian partnerships, followed by the visually powerful and Atikamekw actors performing in their del Tiempo). The Q&A featured pan- internal pool awards, and external poetic documentary Mele Murals own language and in their own vil- elists Mazi Mutafa, executive director support, we were able to bring six- (2016). A post-screening Q&A fea- lage. Janice Ottawa, an Atikamekw of the local hip-hop nonprofit Words teen filmmakers and community cul- tured Mele Murals director Tadashi language teacher from Quebec fea- Beats & Life, and William Youmans, tural leaders from around the world Nakamura and the star of the film, tured in the film, participated in a Q&A assistant professor at the School of to engage with audiences through renowned graffiti artist John “Prime” session. Our third day presented the Media and Public Affairs at George discussions and panels, each show- Hina, moderated by Michael Mason, “Next Gen” shorts program at NMAI, Washington University. Our film fes- casing a unique mother tongue. We Director of CFCH. bringing together eight geographi- tival program coordinator, Torell Tay- were pleased to garner the support of cally and linguistically diverse shorts lor, facilitated an engaging discussion the Smithsonian Latino Initiative Pool, Prior to the screening, and in part- targeted to a younger audience. A about hip-hop, identity, and film. administered by the Smithsonian nership with the Hirshhorn, the festi- notable film from this program was Latino Center. The curatorial team val organized an invitational session A Kid Under the Tree (2014; Detsaje) The festival garnered support to consisted of Joshua Bell, Melissa Bisa- with the ARTLAB+ digital art studio for about a Tibetan boy who creates an bring five directors who convened on gni, Dr. Amalia Córdova (Latinx Digi- teens. Local youth from the DC met- outdoor classroom, teaching rocks as our first Filmmaker Roundtable. On tal Curator, CFCH), and Mary Linn. ro region met with Nakamura and his imaginary students after having Friday, the festival screened an ex- “Prime” to hear about film production to abandon school to take on family tended shorts program at NMAI, fol- The 2017 festival opened on Tuesday, techniques, career options, and how herding duties. lowed by a panel of filmmakers and February 21, at the Hirshhorn Mu- the artists found their voices. language experts. This impressive seum and Sculpture Garden, with a The Thursday evening program host- panel included four groundbreak- welcome and song from local Pis- The Wednesday evening screened at a new partnering venue, NYU ing filmmakers and cultural leaders, cataway tribal member Sebi Medi- ing was held at Landmark’s Atlan- Washington, DC, focused on the pow- facilitated by curator Mary Linn and na-Tayac, followed by introductory tic Plumbing Cinema. This program er of music, with a specific emphasis translated by Amalia Córdova. Pan- remarks by Acting Provost and Under showcased two Canadian films, on global hip-hop. The powerful doc- elists included Mexican director Ga- 19 20

briela Badillo, creator of the 68 Vo- moderated by Gabriela Pérez Báez. ces/68 Voices project; Akosua Adoma Both directors’ travel was supported Owusu, Ghanaian American director by the Embassy of Mexico in Wash- of the experimental short Kwaku An- ington, DC, and the Mexican Cultural anse; Alexandra Lazarowich (Cree), Institute. award-winning director of Cree Code Talker; Kayla Briet (Prairie Band On Saturday, NMAI screened the Potawatomi/Neshnabe/Chinese/ award-winning feature film from the Dutch-Indonesian), director of Smoke Venezuelan Amazon, Dauna: Gone that Travels; and traditional arts per- with the River (2015; Mario Crespo) in former Gary Wiskigeamatyuk (An- in Warao and Spanish. Isabel Lorenz, ishnaabe/Neshnabe/Prairie Band the film’s co-producer and screen- Right to Left: Mary Linn and Amalia Córdova with directors Gabriela Badillo, Akosua Adoma Owusu, Alex- Potawatomi), featured in Smoke that writer, introduced the film and partic- andra Lazarowich, Kayla Briet, and Gary Wiskigeamatyuk at the shorts program filmmaker panel. Photo by Laura Sharp Travels. A major takeaway from this ipated in a post-screening discussion panel was the fact that many films with Amalia Córdova. That evening about language revitalization were we closed with the documentary Poi spearheaded by women directors. E: The Story of Our Song (2016; Te Arepa Kahi), which was introduced by The Friday evening program host- the Ambassador of New Zealand, Tim ed by the Mexican Cultural Insti- Groser. The film explores how a 1984 tute of Washington, DC, showcased number-one hit song by the group the dramatic feature El Sueño del Patea Māori Club set the stage for the Mara’akame (2016; Federico Ce- revitalization of the Māori language. cchetti), a Wixárika (Huichol) and Tracy Maihi, Raiha Howard, and Lara Spanish-language story of a young Andrew, members of the Māori cul- Wixáritari musician whose dream is tural group Tihei Mauri Ora, offered a to play with his rock band in Mexico song before the film, and participat- City. Preceding the feature were four ed in a discussion with Joshua Bell. animated shorts in the Seri, Mayo, Náhuatl, and Wixárika (Huichol) languages produced as part of the Tracy Maihi, Raiha Howard, and Lara Andrew, members of the Māori cultural group Tihei Mauri Ora, discuss the film Poi E following its screening. They graciously opened the screening and closed it with song. 68 Voces/68 Voices project. Masha Photo by Katherine Fogden Kostiurina, producer of El Sueño del Mara’akame, participated in a Q&A 21 22

Tuesday, February 21 Thursday, February 23 cont’d Friday, February 24 cont’d

Opening Next Gen Shorts Program Shorts Program and Panel 4 pm—Lerner Room, HMSG 11 am—Rasmuson Theater, NMAI 2 pm—Rasmuson Theater, NMAI Hirshhorn ARTLAB+ Program Respondan a Esta Videocarta Osage Speaker de Chicahuaxtla dir. Ryan Redcorn 7 pm—Ring Auditorium, HMSG dir. Guillermo Monteforte Kwaku Ananse Four Faces of the Moon Hawai`i Aloha dir. Akosua Adoma Owusu dir. Amanda Strong dir. Ruben Carillo Juka Tájjita Ániat Yew Maachiako/ Wiñoy Tañi Kewvn/Volvió Mi Lengua Story At Priest Point About the origin of fire dir. Gonzalo Luanko, Leonardo Ramirez, dir. Longhouse Media dir. Gabriela Badillo/68 Voices and Anthony Rauld Soeur Oyo Nulla Nulla Mele Murals dir. Monique Mbeka Phoba dir. Dylan River dir. Tadashi Nakamura El primer amanecer/ 7 pm—Abramson Family Auditorium, About the first sunrise dir. Gabriela Badillo/68 Voices Wednesday, February 22 NYU DC “Wall Building Song” 7 pm—Mexican Cultural Institute Archival Screening dir. Delek Norbu “Hablando” 68 Voces/68 Voices Shorts 2:30 pm—Q?rius Theater, NMNH dir. Viajeros del Tiempo dir. Gabriela Badillo/68 Voices To Live with Herds El sueño del Mara’akame/ dir. David MacDougall Sonita dir. Rokhsareh Ghaem Maghami Mara’akame’s Dream dir. Federico Cecchetti 7 pm—Atlantic Plumbing Cinema Grandfather Drum Friday, February 24 dir. Michelle Derosier Saturday, February 24 Avant les rues/Before the Streets Shorts Program and Panel dir. Chloé Leriche 2 pm—Rasmuson Theater, NMAI Next Gen Shorts Program Hant quij iti cötpacta ipatjc hac/ 12 pm—Q?rius Theater, NMNH Repeat Program Thursday, February 23 About the origin of the Earth dir. Gabriela Badillo/68 Voices First Contact 2 pm—Rasmuson Theater, NMAI Next Gen Shorts Program dir. Steven Paul Judd and Ryan RedCorn Dauna: Gone with the River 11 am—Rasmuson Theater, NMAI Cree Code Talkers dir. Mario Crespo Kid Under A Tree dir. Alexandra Lazarowich 2017 dir. Detsaje Smoke That Travels 7pm—Rasmuson Theater, NMAI Vowels and Consonants dir. Kayla Briët Poi E: The Story of Our Song At a Glance dir. Tsering Cuando, Muere auna Lengua/ dir. Tearepa Kahi Miwok Pride When a language dies dir. Melissa Leal dir. Gabriela Badillo/68 Voices Attendance: Chubby Bunny Bihttoš dir. Te Ao Kawharu dir. Elle-Máijá Tailfeathers ~750 Jáaji Approx. dir. Sky Hopinka 23 24

2017 Budget Snapshot

S creen ing Fe es

L o c a t i o

r T Budget Snapshot F e r e a h e t v

e Screening Fees O

$3,719 l

x p

Location Fees e

$1,200 n

s e Travel Expenses $12,777 s

Other $6,250

Total Budget $23,946

Sponsors & Partners The festival was carried out thanks to the combined efforts of the Mother Tongue Film Festival committee members and staff of Recovering Voices. Financial support was provided by the collaborating Smithsonian units NMNH, CFCH, and NMAI. This program received federal support from the Smithsonian Latino Initia- tives Pool, administered by the Smithsonian Latino Center. External supporters included NYU Washington, DC; the Embassy of Mexico; the Elizabeth and Whit- ney MacMillan Endowment; the Mexican Cultural Institute; and the Mexican Kwaku Ananse Agency for International Development Cooperation. dir. Akosua Adoma Owusu 25 26 2018 Year 3: Opening the Call

29 languages 14 regions 28 films

Waru, dir. Briar Grace-Smith, Casey Kaa, Ainsley Gardiner, Katie Wolfe, Renae Maihi, Chelsea Cohen, Paula Jones, Awanui Simich-Pene 27 28

2018 February 21-24

The 2018 Mother Tongue Film Festi- the director of the documentary Ka Indigenous traditions from a fellow Ngāti Porou), one of the eight wom- val attracted over 600 people to en- Duu, Yolanda Cruz (Chatina), and inmate serving a life sentence. Out of en directors involved in Waru (2017; gage with 28 films in 29 Indigenous the film’s subject, master weaver Por- State was preceded by several short Briar Grace-Smith, Ainsley Gardin- or endangered languages. Recover- firio Gutiérrez (Zapotec), along with films including The Wolf Dance with er, Renae Maihi, Casey Kaa, Awanui ing Voices brought awareness to the Karen Lynn Weinberg, director of the Ted Mayac, Sr., Aroha Bridge: Radical Simich-Pene, Chelsea Cohen, Katie importance of mother languages by award-winning documentary Niugaa Bro by Jessica Hansell, and Shaagua/ Wolfe, and Paula Jones), spoke to the holding screenings in three locations Yugaa/Keep Talking, which explores The Wind, part of the 68 Voices proj- Friday night audience from Āotearoa/ across the Smithsonian and hosting the experiences of participants in a ect. Kālewa Correa moderated the New Zealand. The use of these tech- several filmmakers at each screening. Kodiak language nest. Sadie Cole, discussion that followed. nologies allowed filmmakers and For the first time, the festival made an an eighteen-year-old Kodiak Alutiiq audiences who could not travel to open call for films and reviewed nine- language nest participant, and Ali- Friday included the programs Truth to Washington, DC, to connect with the ty-five films submitted from around sha Drabek, executive vice president Power, which presented seven short festival. the world. We also welcomed the ad- of Afognak Native Corporation, also films, an inspiring Women Directors dition of Dr. Kālewa Correa, Curator of participated in the discussion. We are Roundtable in NMAI’s Rasmuson The- The festival concluded on Saturday Hawai‘i and the Pacific at the Smith- grateful to the Arctic Studies Center ater, and an evening program called with the programs Speaking the Land sonian Asian Pacific American Center, for their support of this screening. This, For You. Along with providing and In the Periphery, which screened to the Mother Tongue selection team. our audience with an insightful con- in the Meyer Auditorium of the Freer Thursday began with a series of films versation on the role of women in Gallery of Art. The first program fea- Opening night was held at NMAI on from Kayapo communities in Brazil, mother-tongue film, the roundta- tured the animation Sicigorousawa Wednesday, February 21. Guests were followed by a conversation with film- ble highlighted the augmented role un Cironnop/The Fox of Shichigoro- welcomed with a reception and mu- makers in conversation with scholars that technology played at this edi- sawa (2014; Tune Sugihara) and the sic by the local drum circle Uptown Richard Pace and Laura Zanotti in tion of the festival, as the discussion documentary Sailing a Sinking Sea Boyz. Opening remarks were offered NMNH’s Q?rius Theater. The day con- was webcast and later uploaded for (2015; Olivia Wyatt). Each film was by David Penney, Associate Direc- cluded at NMNH with a screening of streaming. On two occasions, direc- centered on the varied relationships tor of Museum Scholarship at NMAI; the award-winning documentary Out tors connected via video conference between Native peoples and their Recovering Voices director Gwyneira of State (2017) directed by Ciara Lacy to discuss their films with the audi- territories. The festival closed with the Issac (NMNH); and Joshua Bell. The (Native Hawaiian). The film follows ence after their screenings. Out of experimental feature Zerzura (2017) festival opened with two powerful the journey of two Native Hawaiians State producer Beau Bassett joined written, produced, and filmed entirely films and a discussion with direc- shipped thousands of miles away and remotely on Thursday night from in Niger, followed by a Q&A with di- tors and participants. Gabriela Pérez incarcerated in the Arizona desert. Hawai‘i, and Paula Whetu Jones (Te rector Christopher Kirkley and mod- Báez, facilitated a conversation with Over time, they are introduced to their Aitanga a Mahaki, Whakatōhea, erated by festival advisor and film- 29 30

maker Mariano Bartolomeo. the fate of the Earth and her children In partnership with the Environmen- through the journey of a paq’o (heal- tal Film Festival in the Nation’s Cap- er), Hipólito Peralta Ccama, through ital, five Mother Tongue Film Festi- different parts of the Peruvian sierra, val shorts that dealt squarely with and narrated entirely in the Quechua environmental issues screened at language. These two programs add- NMAI on two weekends, to stand- ed five Indigenous languages to the ing-room-only audiences. The pro- Mother Tongue Film Festival’s count gram presented on Saturday, March and further broadened the reach of Right to left: Curator Mary Linn speaks with directors Karonhiarokwas Roxann Whitebean, Chaska Ro- 17, began with a short film from Pan- awareness of mother languages to jas-Bottger, Mimi d'Autremont, and Shelby Bean from Gallaudet. Photo by Katherine Fogden ama called Identidad (2017; Iván Jar- new audiences. ipio), followed by the animation We Prayed in Water (2012; Joseph Erb), the Navajo-produced and directed documentary Shash Jaa’/Bears Ears About the (2016; Angelo Baca), and the documentary Then, Now, and Forever: Zuni Environmental Film Festival in the Grand Canyon (2017; Daniel The Environmental Film Festival in the Byers). The screenings were followed Nation’s Capital (DCEFF) is the world’s by a discussion with directors Angelo premier showcase of environmentally Baca (Diné/Hopi), Daniel Byers, and themed films since 1993. special guest Octavius Seowtewa (Zuni), moderated by Melissa Bisagni. Mission On Saturday, March 24, we present- To advance understanding and stew- ed the feature documentary Los Ojos ardship of the environment through del Camino/The Eyes of the Journey the power of film. (2017), followed by a Q&A with direc- Left to right: Angelo Baca, Octavius Seowtewa, and Daniel Byers onstage at an Environmental Film Festi- tor Rodrigo Otero Heraud and pro- val Q&A at NMAI. Photo by Amalia Córdova ducer Maja Tillmann Salas via Skype from Peru and facilitated by Amalia Córdova. This visual poem explores 31 32

Wednesday, February 21 Friday, February 23 Saturday, February 24

Opening Ceremony Truth to Power Speaking the Land 5 pm—Potomac Atrium, NMAI 1 pm—Rasmuson Theater, NMAI 3 pm—Meyer Auditorium, FGA Tarinakusun: Quechua in Seattle Sicigorousawa un Cironnop/ Keep Talking dir. Chaska Rojas-Bottger The Fox of Shichigorosawa 7 pm—Rasmuson Theater, NMAI Karihwanoron: Precious Things dir. Tune Sugihara Ja b’ajlami sok ja chulchuli/ dir. Karonhiarokwas Roxann Whitebean Sailing a Sinking Sea The Tiger and the Grasshopper Aviliaq: Entwined dir. Olivia Wyatt dir. 68 Voices dir. Alethea Arnaquq-Baril Ka Duu Listen In the Periphery dir. Yolanda Cruz dir. Hamy Ramezan and Rungano Nyoni 7 pm—Meyer Auditorium, FGA Niugaa, Yugaa/Keep Talking Mother Tongue Wire natzu/The Witch dir. Karen Lynn Weinberg dir. Pamela Yates dir. 68 Voices Tifa Zerzura dir. Jeftha Pattikawa dir. Christopher Kirkley Thursday, February 22 Anyone Like Me dir. Mimi d’Autremont Kayapo Video Talkback Presentations at the 2:30 pm—Q?rius Theater, NMNH Women Directors Roundtable Environmental Film Festival Kwyrykango Metoro A’Ukre/ 4 pm—Rasmuson Theater, NMAI Manioc Festival A’Ukre Saturday, March 17 dir. Pat-i Kayapo This, For You A Festa no Meio da Amazonas/ 7 pm—Rasmuson Theater, NMAI 12 pm—Rasmuson Theater, NMAI The Festival in the Middle of the Amazon Te binut’il ayin te k’aal sok te ue/ Identidad dir. Bpunu Mebêngôkre The Origin of the Sun and the Moon dir. 68 Voces dir. Iván Jaripio We Prayed in Water Reclaiming Our Time Gwen ‘bii Yern/It Will Be Yours dir. Natalie Grube dir. Joseph Erb 7 pm—Q?rius Theater, NMNH Shash Jaa’/Bears Ears The Wolf Dance with Ted Mayac, Sr. Waru dir. Chelsea Cohen, Ainsley Gardiner, Casey dir. Angelo Baca dir. Anchorage Museum Kaa, Renae Maihi, Paula Jones, Katie Wolfe, Then, Now, and Forever: Zuni in the Aroha Bridge: Radical Bro Briar Grace-Smith, and Awanui Simich-Pene Grand Canyon dir. Jessica Hansell dir. Daniel Byers Shaagua/The Wind 2018 dir. 68 Voices Out of State Saturday, March 24 At a Glance dir. Ciara Lacy 2 pm—Rasmuson Theater, NMAI Los Ojos del Camino/ Attendance: The Eyes of the Journey ~568 dir. Rodrigo Otero Heraud 33 34

2018 Budget Snapshot

ion ot s m e ro e P F g in n e e r c S g n i

n Budget Snapshot e

Screening Fees $1,200

a v

Promotion e

$6,397 l

Travel Expenses $8,269 n s

e s Opening Reception $580

Total Budget $16,446

Sponsors & Partners The festival was carried out thanks to the combined efforts of the Mother Tongue Film Festival committee members. Financial support was provided by the collaborating Smithsonian units NMNH, CFCH, and NMAI. This program also received federal support from the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center, as well as the Smithsonian’s Asian Pacific American Center, Freer Gallery of Art, National Museum of African Art, and the NMNH Arc- tic Studies Center. Additional supporters included Indigenous Media Initiatives, the Mexican Cultural Institute, the Embassy of New Zealand, Dr. Richard Pace, Middle Tennessee State University, Dr. Laura Zanotti, Purdue University, and the Listen Elizabeth and Whitney MacMillan Endowment. dir. Hamy Ramezan and Rungano Nyoni 35 36 2019 Year 4: UN International Year of Indigenous Languages

66 languages 22 regions 60 films

To Wake Up in the Nakota Language dir. Louise BigEagle 37 38

2019 tributed to our impact and reach, with language. The screening was fol- discussion moderated by Amalia Cór- February 21-24 several of our programs presented lowed by a Q&A with Edge of the dova with director Batalibasi (Aus- at maximum capacity. Attendance Knife co-director Gwaai Edenshaw tralian-Solomon Islander), visiting increased to 2,200, nearly quadru- (Haida), Sherri Dick (Haida elder and filmmakers David Hernández Palmar The 2019 Mother Tongue Film Festival pling 2018’s audience. We attribute actor), Jay Bellis (Haida artisan and (Wayuu) and Divino Tserewahu (Xa- proved to be a highly successful and this jump to our improved curatori- member of the film’s art department), vante) with translation and contextual well-attended event. The year 2019 al process, our distinctive web pres- and Sam Osborn, moderated by Me- support by Laura Graham of the Uni- was proclaimed by the United Na- ence and social media campaign, as lissa Bisagni. The Uptown Boyz closed versity of Iowa. tions as the International Year of In- well as the festival’s incorporation of the evening by inviting the audience digenous Languages, and the Moth- cultural performance, and highly in- on stage to participate in a traditional The at-capacity evening program er Tongue Film Festival was proud teractive discussions and Q&As with song. was held at NYU Washington DC’s to be an official event of this global participants from diverse regions and Abramson Family Auditorium in coor- endeavor. The festival also contrib- backgrounds discussing issues of cul- Friday began at the Meyer Auditori- dination with NYU’s Stonewall 50 cel- uted to the first Smithsonian Year of tural relevance. um at the Freer Gallery of Art, open- ebration. The theme of the program Music, presenting numerous musical ing with Pasts, Presents and Futures, was Reclaiming Identities, featuring performances as part of the film fes- The festival opened Thursday, Febru- a program focused on education, the short films Tama Koriva (2017; tival, and presented two major stand- ary 21, NMAI. The opening reception launching with the short films To Wake Jared Flitcroft and Jack O'Donnell) alone events across the year, nation- included remarks by Joshua Bell and Up the Nakota Language (2018; Louise and Voicemail (2019; Robert Poleki), ally and internationally. Our fourth Amalia Córdova, as well as Michael BigEagle) and episodes from the col- followed by the documentary Leitis festival featured 60 films and audio- Mason and Denis Chouinard, pub- laborative Zapotec learning project at in Waiting (2018; Dean Hamer and visual experiences from 22 regions lic affairs counselor at the Canadi- Haverford University, Dizhsa Nabani/ Joe Wilson). Leitis in Waiting follows in 66 languages, which doubled the an Embassy. The reception featured Living Language, followed by the fea- a vibrant and resilient community of nuber of languages in comparison a buffet created by award-winning ture documentary from Zambia Co- transgender women in Tonga known to previous years. Through a care- chef Freddie Bitsoie (Diné) of NMAI’s lours of the Alphabet (2016; Alastair as leitis. The post-screening discus- fully curated selection of films, and a Mitsitam Café, and a performance Cole). The program was followed by sion was moderated by Jeanette new website developed at CFCH, the by the Uptown Boyz. The evening’s a panel focused on language peda- Soon-Ludes, director of scholarships festival celebrated language revital- film program, Renewal and Hope, in- gogy called Breaking from the Past, and programs at the Asian & Pacific ization around the world by exploring cluded the first film to be made in the moderated by Mary Linn. The second Islander American Scholarships Fund, the relationship between language Haida language, SGagwaay K’uuna/ program featured the international in dialogue with co-director Joe Wil- vitality and personal as well as com- Edge of the Knife (2018; Gwaai Eden- shorts Blackbird (2015; Amie Batali- son, as well as one of the film’s pro- munity well being. shaw and Helen Haig-Brown), pre- basi), Imfura (2017; Samuel Ishimwe tagonists, Joey “Joleen” Mataele, and ceded by the animation Tǫǫ Oozhrii Karemangingo), and the stop-mo- story creator and producer Hinalei- Dedicated outreach to international Zhit Tsyaa Tsal Dhidii/Boy in the Moon tion animation Biidaaban/The Dawn moana Wong-Kalu, who both joined partners resulted in the doubling of (2018; Sam Osborn), a traditional Comes (2019; Amanda Strong). The remotely. support for the festival, which con- Athabaskan story told in the Gwich’in shorts were followed by a roundtable 39 40

performances were made possible Blood (2016; Amanda Kernell), which Saturday featured a mix of screen- feature In Times of Rain (2018; Itan- through funding by the Smithsonian follows Elle-Marja, one of the many ings and performances across NMAI dehui Jansen) depicting a Mixtec Year of Music. Indigenous Sami children removed and NMNH, attracting audiences of family caught between the rural and from their parents and forced to over 1,000. The morning program, the urban. These films were followed The day closed at NMNH’s Baird Au- choose between their language, cul- Family Stories, screened at NMAI’s by a roundtable discussion with Lille- ditorium, featuring a second perfor- ture, and history and the chance to Rasmuson Theater, featured two haugen and Lopez of Dizhsa Naba- mance of Zhungdra and Drametse become part of mainstream society. short films from Dizhsa Nabani, fol- ni, joined by lead actor of In Times of Nga Cham before filmmakers Dorot- The film was followed by the music lowed by The Girl Who Talks to the Rain, Alejandra Herrera, and mod- tya Zurbó and Arun Bhattarai intro- video “Goaskinviellja” (2018; Ernesto Moon (2018; Rebecca Campbell), and erated by Amalia Córdova. This produced their film The Next Guardian Calderón), a single-take music video closing with the animated feature gram was made possible thanks to (2017). The immersive documentary featuring the Finnish duo Vildá per- Maisa, the Chamoru Girl Who Saves the support of the Embassy of Mexico follows the story of two siblings, Gy- forming a song by Mari Boine Persen Guåhan (2015; Michael Q. Ceballos). to the United States and the Mexican embo and Tashi, in a remote Hima- (Sami). The first animated film to feature the Cultural Institute of Washington, DC. layan village within the Kingdom of Chamorro language, the animation Bhutan, who must learn to navigate The festival closed with the U.S. pre- follows young Maisa, who must find Concurrently, a pop-up performance the expectations of their father and miere of the multimedia experience the courage to lead the women of with Bhutanese dancers and mu- their own dreams. Following the Last Whispers (2019; Lena Herzog) at Guåhan (Guam) into battle and stop sicians Khando, Tashi Tsering, Leki, screening, Zurbó and Bhattarai were the Kennedy Center’s Terrace Theater. a powerful creature from devouring Wangchuk, Sherab Jamtsho, Yeshi joined on stage by Dawa Sherpa and Last Whispers is an oratorio, a virtual their island home. The screenings Tangbi, Lhaki, Tshering Dema, Pema Bruce Bunting of the Bhutan Foun- reality experience, and sound instal- were followed by a panel featuring Yudon, and Tshering Choden took dation for a discussion of Bhutanese lation featuring forty-one languag- director Michael Q. Caballos and art place at NMNH’s Rotunda. Some representation in a global setting, es, the greatest number of minority director Mathew Kawika Ortiz, with 500 visitors enjoyed a performance moderated by Nafisa Isa (APAC). languages in any of our programs to Brook Lillehaugen of Haverford Col- of Zhungdra (zhung meaning “cen- Bhutanese performers then closed date. Multimedia artist Herzog was lege and Felipe Lopez (Zapotec) of ter, mainstream,” and dra meaning the evening with Tashi Labay, a col- joined by sound designers Marco Ca- Dizhsa Nabani, and moderated by “music”) and Drametse Nga Cham laborative song/dance traditionally palbo and Mark Mangini to introduce Joshua Bell. The event opened and (mask dance of the drums from performed at the end of an event. This the cinematic experience, which was closed with a riveting Chamoru per- Drametse, nga meaning “drum” and dance is performed on important oc- followed by the largest synced VR formance from Håle’ Para Agupa’, a cham means “mask dance”), a sacred casions to summon the gods of pros- screening of a film to date. With close local Chamoru community organiza- dance that is inscribed in UNESCO’s perity by glorifying a place, natural to 500 attendees, the venue was near tion. Representative List of the Intangible elements, and the ancestors. capacity. The screening was followed Cultural Heritage of Humanity. The by a discussion with Herzog, Capal- The Migrations program featured performance was followed by a Q&A The final day began at the Eaton bo, and Mangini, moderated by Mary Gue’ Bac/Tlacolula Market (2018; in the Q?rius Theater where muse- House Cinema, a new festival part- Linn and Amalia Córdova. Dizhsa Nabani), a short exploring um visitors were invited to meet and ner, with the dramatic film Sami Zapotec identity, and the dramatic speak with the performers. These 41 42

Bhutanese dancers and musicians Khando, Tashi Tsering, Leki, Wangchuk, Sherab Jamtsho, Yeshi Tangbi, Lhaki, Tshering Dema, Pema Yudon, and Tshering Choden perform Drametse Nga Cham (mask dance of the drums from Drametse). Photo by Joshua Bell 43 44

With funds from Asian Pacific Amer- both events follows our 2019 schedule. ican Initiatives Pool, Kālewa Correa led a Mother Tongue Film Festival col- In partnership with the Environmen- laboration with the Pasifika Film Fest tal Film Festival, the Mother Tongue in Salt Lake City (January 31–February Film Festival screened A House in the 3). Fifteen films focused on the Pacific Fields (2017; Tala Hadid) at NMNH were screened to 150 people over five on March 17. Following the screen- days at the Gateway in downtown Salt ing was a discussion moderated by Lake City. This collaboration featured Joshua Bell with Georgetown Univer- a 48 Hour Film Challenge resulting in sity PhD student Mohamed Lamallam the winning film, Voicemail, screening and Dr. Fatima Hadjji, Adjunct Profes- at the main festival. sor in International Affairs at George Left to right: Erica Wortham, Ayelén Avirama, Amalia Córdova, David Hernández Palmar, Simone Giovine, Antonio Peluso, Kaitlin Harris, Emily Colón, Bepkadjoiti Kayapo, and Laura Zanotti at the 2019 opening night Washington University, both of whom ceremony in the Potomac Atrium, NMAI. Photo by Katherine Fogden From October 25–28 2019, the Mother are members of the diasporic Ama- Tongue Film Festival and Pasifika Film zigh community. Festival collaborated at the Smithso- nian/Auckland Museum Te Whāinga The last Mother Tongue event of 2019 Culture Lab in Auckland, New Zea- was in partnership with the Unit- land, showcasing over twenty emerg- ed Nations’ International Year of In- ing Pacific Islander films from all digenous Languages: Perspectives corners of Oceania. This three-day conference at Purdue University Fort intimate screening ran for ten hours a Wayne. On November 1, the festival day, allowing for thirty hours of Pacific screened Edge of the Knife and Boy Island films to be presented to about in the Moon at the historic Embassy 4,500 Culture Lab attendees. Theater in downtown Fort Wayne, In- diana. The conference brought in 420 This Pacific collaboration is a direct registered participants from six conti- result of the Mother Tongue Film Fes- nents and presented over seventy-five tival breakout session in Salt Lake, languages. Mary Linn led a panel of which helped to decentralize and ex- language educators and storytellers A Mother Tongue screening affiliated with the UN International Year of Indigenous Languages is an- pand the reach of the festival to tradi- from the Haida and Myaamia nations nounced on a marquee in Fort Wayne, Indiana. Photo by Mary Linn tionally underserved communities. A after the screening. complete list of the films screened at 45 46

Thursday, February 21 Friday, February 24 cont’d Saturday, February 23 cont’d

Opening Ceremony Reclaiming Identities Across Generations 5 pm—Potomac Atrium, NMAI 7 pm—Abramson Family Auditorium, 6:30 pm—Baird Auditorium, NMNH NYU DC Performance: Bhutanese Cham Renewal and Hope Voicemail The Next Guardian 7 pm—Rasmuson Theater, NMAI dir. Robert Poleki dir. Dorottya Zurbó and Arun Bhattarai Tǫǫ Oozhrii Zhit Tsyaa Tsal Dhidii/ Tama Boy in the Moon dir. Jared Flitcroft and Jack O’Donnell dir. Sam Osborn Koriva Sunday, February 24 SGaawaay K’uuna/Edge of the Knife dir. Euralia Paine dir. Gwaai Edenshaw, Helen Haig-Brown Leitis in Waiting Reconciliation dir. Hinaleimoana Wong-Kalu, Dean Hamer 2 pm—Eaton Cinema, Eaton Hotel and Joe Wilson Performance: Bhutanese Cham Friday, February 22 Sameblod/Sami Blood dir. Amanda Kernell Pasts, Presents, and Futures Saturday, February 23 “Goaskinviellja” 11 am—Meyer Auditorium, FSG dir. Ernesto Calderón Dondero My Heart Speaks Sauk Family Stories The Boarding School Experience 11 am—Rasmuson Theater, NMAI Closing Night dir. Shawnee High School Students Dizhsa Nabani: “Gal Ria’t Chuculat” 7 pm—Terrace Theater, Kennedy Center To Wake Up the Nakota Language Living Language: “Grinding Chocolate” Last Whispers: Oratorio for Vanishing dir. Louise BigEagle dir. Moisés García Guzmán and Voices, Collapsing Universes and Dizhsa Nabani: “Gal Rxal Lo Dich”/ Brook Lillehaugen a Falling Tree Living Language: “Language Access” The Girl Who Talks to the Moon dir. Lena Herzog dir. Moisés García Guzmán and dir. Neil Grahn Brook Lillehaugen Maisa: The Chamoru Girl Who Colours of the Alphabet Saves Guåhan Presentations at the dir. Alastair Cole dir. Michael Q. Ceballos Education Panel: Breaking from the Past Environmental Film Festival Migrations Shorts Program and Panel 3 pm—Rasmuson Theater, NMAI Saturday, March 17 2019 2 pm—Rasmuson Theater, NMAI Dizhsa Nabani :“Gue’ Bac” Blackbird Living Language: “Tlacolula Market” 12 pm—Rasmuson Theater, NMAI dir. Amie Batalibasi At a Glance dir. Moisés García Guzmán and A House in the Fields Imfura Brook Lillehaugen dir. Tala Hadid dir. Samuel Ishimwe Tiempo de Lluvia/In Times of Rain Attendance Biidaaban (The Dawn Comes) dir. Itandehui Jansen dir. Amanda Strong ~2,670 Filmmaker Roundtable: Unbroken Lines 47 48

Mother Tongue X Pasifika Film Festival

January 31–February 3, 2019 Forgotten Dawn Children Pasifika First Fridays dir. Joshua Iosefo and Corey Sio The Gateway, Salt Lake City Salamasina’s Daughters dir. Aruna Po Ching

Banabans of Rabi My Friend Michael Jones dir. Blessen Tom and Hele Ikimotu dir. Ian Leaupepe and Samson Rambo

Koriva Too Familia dir. Euralia Paine dir. Marie Chanel

The Education of Grayson Toki Panguna dir. Glenill Burua dir. Carmen Smith

I Hinanao-ta Blackbird dir. Cara Flores dir. Amie Batalibasi

I Matai dir. Mighty Island

Maisa: The Chamoru Girl Who Saves Guåhan dir. Michael Q. Ceballos

Mou Piri dir. Multinesia

Hae Hawai’i dir. Ty Sanga Attendance

’Aho’eitu ~150 dir. Jeremiah Tauamiti Blackbird dir. Amie Batalibasi 49 50

Mother Tongue X Pasifika Film Festival

October 25–28, 2019 Making Good Men Te Whāinga Culture Lab dir. Fiona Apanui-Kupenga Auckland Museum, Auckland Merata dir. Heperi Mita

Ali’s Wedding Milky Pop Kid dir. Jeffrey Walker dir. Johanna Garvin

Crossing Spaces Mother, Child dir. Lola Quan Bautista and Shirley Thompson dir. Tin Pang

Culture Strong Our Voices dir. L-FRESH The LION & Erin Moy dir. Dima Zeidan, Fahmi Seid, and Marah Zeidan Elders dir. Tony Briggs Slam dir. Partho Sen-Gupta For My Father's Kingdom dir. Vea Mafile’o The Body Remembers When the World Broke Open Garage Barbershop dir. Elle-Máijá Tailfeathers and Kathleen dir. Charles Lomu Hepburn

Herbs - Songs of Freedom The Final Quarter dir. Te Arepa Kahi dir. Ian Darling

In My Blood It Runs Yesterday dir. Maya Newell dir. Danny Boyle and Richard Curtis

Leitis in Waiting 2040 Attendance dir. Hinaleimoana Wong-Kalu, Dean Hamer, dir. Damon Gameau and Joe Wilson ~4,500 Audience members at the Te Whāinga Culture Lab sit in front Liliu dir. Jeremiah Tauamiti of the screening space: a twenty-foot shipping container. Photo courtesy of the Te Whāinga Culture Lab 51 52

2019 Loc atio Budget Snapshot ning Fe n F Scree es ee n s tio p e c e R g in n e T r p a O v e Budget Snapshot n l o i E t x o p

e Screening Fees $2,400 m n o

r s

e P Location Fees $4,086 s

Travel Expenses $17,785

Promotion $1,514

Opening Reception $4,251

Total Budget $30,036

Sponsors & Partners The festival was carried out thanks to the combined efforts of the Mother Tongue Film Festival committee members, staff, interns, and volunteers. Financial support was provided by NMAI, NMNH, and CFCH. Additional support was provided by New York University DC/Stonewall 50, the Embassy of Australia to the United States, the Embassy of Canada to the United States, the Bhutan Foundation, MoMA’s Doc Fortnight, Eaton Workshop DC, the Kennedy Center for the Performing Arts, the Embassy of Mexico to the United States, the Mexican Cultural Institute, Perdue University Fort Wayne, the Georgetown University Department of Anthropology, Dr. Laura Graham (University of Iowa), and the Elizabeth and Whitney MacMillan Endowment.

This program has also received federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center; the Latino Initiatives Pool, administered by the Smithsonian Latino Center; as well as the NMNH Arctic Studies Center; the Smithsonian Year of Music; Freer Gallery of Art & Arthur M. Sackler Gallery; and Q?rius, The Coralyn W. Whitney Colours of the Alphabet Science Education Center. dir. Alastair Cole 53 54 2020 Year 5: Women in Filmmaking

28 languages 22 regions 21 films

Winter’s Yearning dir. Sidse Torstholm Larsen and Strurla Pilskog 55 56

2020 February 20-23

The 2020 festival featured a diverse minority language in film, to establish As is now customary, the 2020 festival Marie-Hélène Cousineau and Made- set of films from 22 regions of the an audience for those films in the DC began on Thursday, February 20, with line Ivalu), a narrative film about a world featuring 15 languages not metro area, and to amplify accurate a reception in NMAI’s Potomac Atrium young Inuk woman who draws cour- previously screened. The festival also representations of diverse communi- and a performance by Uptown Boyz. age and strength from her rugged saw sustained growth as in previous ties. The Associate Director of Museum land to become a woman as inde- years with an audience of 1,520 over Scholarship, Exhibitions, and Public pendent as the river that cuts across four days of screenings, with added Women writers, directors, and pro- Engagement at NMAI, David Penny, it. Both films linked experiences of partnerships both within and beyond tagonists have always played a key offered welcome remarks, followed women and water, a theme promi- the Smithsonian. We were pleased to role in the festival; the principal focus by a land acknowledgment and nent throughout the festival. A discus- establish a new partnership with the of 2020 was to highlight the accom- words from Joshua Bell and Ama- sion following the screening featured Smithsonian American Art Museum plishments of women in filmmaking lia Córdova, closing with comments Cousineau in person and producer (SAAM), expanding our One Smithso- and the role they play in amplifying by Denis Chouinard, Public Affairs Lucy Tulugarjuk (Inuk) participating nian reach to a total of six units. marginalized and Indigenous voices. Counselor of the Embassy of Canada virtually from her home in Nunavut, Five of the seven feature films were to the United States. The reception in- moderated by Melissa Bisagni. The Established partnerships with the Ca- either directed or co-directed by cluded a tasting of wine from Nk’Mip Uptown Boyz closed the evening by nadian Embassy to the United States women, and a total of twenty women Cellars, the first Indigenous winery in inviting the audience onstage to par- and the Anthropology Department at directors were featured. Notably, the North America, generously donated ticipate in a traditional song wishing Georgetown University were essential feature film Vai was screened on Feb- by the Canadian Embassy. Thanks all safe travels home. to the success of the festival. The 2020 ruary 21, in celebration of Internation- to ongoing mentorship initiatives, we festival saw improvements in several al Mother Language Day, in the Baird welcomed stellar interns from near Friday began at NMNH with the pro- areas. The opening night reception Auditorium of NMNH to an audience (The College of William and Mary, gram Moving Forward, Looking Back was organized for 200 guests, twice of nearly 400. The film portrays the George Washington University, and in the Q?rius Theater. This program the size of the previous year. Thanks lives of eight women from seven Pa- the University of Maryland) and far focused on the lives of two distinct to increased staff support from CFCH, cific Island nations, by nine women di- (Auckland University of Technology). women in male-directed films. The we developed an evaluation plan, rectors. The film presents an uplifting program opened with the premiere recruiting over twenty volunteers to look at the range of issues impacting The evening program began with of Felicia: The Life of an Octopus Fish- conduct a comprehensive survey at women across the Pacific, allowing us “Pire” (2016; María Manzanares), a erwoman (2020; José Carlos Pons), every screening. Based on 501 re- to expand our theme of women’s em- music video in the Mapuzungun lan- a documentary about a Malagasy sponses, we found that the core ob- powerment through traditional and guage combining traditional instru- fisherwoman of Madagascar whose jectives of the festival were met: to contemporary messages, reaching ments with contemporary influences. life is increasingly threatened by po- raise awareness of Indigenous and an intergenerational audience. The feature was Restless River (2019; litical marginalization and climate 57 58

change. It was followed by N!ai, The Máximo Cortés). The screening was Story of a !Kung Woman (1980; John followed by the Cinemática Indígena Marshall and Adrienne Miesmer), an Roundtable on Translation & Collabo- intimate portrait that reflects the ex- ration, moderated by Mary Linn, fea- perience of Ju/'hoansi communities, turing directors Marilén Llancaqueo which Marshall began documenting (Mapuche), Eduardo Mutzumá Say in 1950. This chronicle of the Ju/'ho- (Ixil), Raúl Máximo Cortés (Purépe- ansi is held in the Human Studies Film cha), and José Pons, and Charlotte Archive and is recorded in UNESCO’s Gleghorn, Latin American film scholar Memory of the World Register. A dis- from the University of Edinburgh, with cussion followed with director Pons, interpretation by Amalia Córdova. Left to right: Raúl Máximo Cortés, Eduardo Mutzumá, Charlotte Gleghorn, Naomi Mizoguchi, Melissa Bis- and archivists Karma Foley, Director agni and daughter, Amalia Córdova, and Angelo Baca following the screening of Ainu at the Baird Audito- of Library & Archives, Smithsonian The day culminated with the Women rium, NMNH. Photo by Katherine Fogden Channel; and Pam Wintle, Senior Film Directors Panel featuring one of the Archivist, NMNH, who shared their in- directors of Vai, Becs Arahanga (Kai timate knowledge of Marshall’s films Tahu/ Ngati Raukawa ōku Iwi, Kati with the public. Mako te Hapū), Marie-Hélène Cous- ineau, Sidse Tortholm Larsen (direc- The program Cinemática Indígena tor, Winter’s Yearning), and Naomi was produced in partnership with the Mizoguchi, (director, Ainu: Indigenous University of Edinburgh, which sup- Peoples of Japan), moderated by ported the English subtitling of four Amalia Córdova. short films from Latin America: Kiñe Rupa: Treng Kai Kai (2018; Andrea The evening program at NMNH’s Salazar, Lucía Pérez, and Marilén Baird Auditorium honored the United Llancaqueo), Kat at Kat’ex/Where Nations International Mother Lan- Are They? (2017; Eduardo Mutzumá guage Day. The theme of the pro- Say with Colectivo Cine en la Calle), gram was Sea of Islands, featuring Puhi toprao/To be happy (2018; Car- the film Vai. Created by nine Pacific ol Cazares), and Tata Jenaru Uajpa/ women directors, this portmanteau The Son of Tata Jenaro (2019; Raúl feature film was shot in seven dif- Closing song by Uptown Boyz on opening night of Mother Tongue at Rasmuson Theater, NMAI. Photo by Katherine Fogden 59 60

ferent Pacific countries: Fiji, Tonga, sionate about their language but lack struggles with addiction and fami- sented a horror film, Jeff Barnaby’s Solomon Islands, Kuki Airani (Cook the confidence to speak it. This was ly, and Hooghan (2019; Blackhorse Blood Quantum (2019), at NYU DC. Islands), Samoa, Niue, and Āotearoa followed by the premiere of a fea- Lowe) which documents a Diné family To honor the film, the Quebec Gov- (New Zealand). In each of these na- ture documentary, Ainu: Indigenous as they build a traditional dwelling. ernment Office in Washington, DC, tions, vai means water. The film rep- Peoples of Japan (2019; Naomi Mizo- The program closed with the dramat- sponsored a pre-screening “Zombie resents a journey of empowerment guchi), which explores Ainu life in ic short Beles (2019; Sam Gebremi- Happy Hour” with Candian beer and through culture over the lifetime of Hokkaido through the stories of four che), starring a group of children col- snacks for guests over twenty-one. one woman called Vai, played by a elders. Mizoguchi sheds light on Ainu lecting fruit from the mountains, and NYU PhD student and filmmaker An- different Indigenous actress in each traditions, both past and present, and the playful fiction Mino Bimaadiziwin gelo Baca (Diné/Hopi) offered open- country. Guests were welcomed by the efforts to keep the culture and (2017; Shane McSauby) in which a ing remarks on the colonial history of NMNH Director Kirk Johnson, followed language alive in Japan. Amalia Cór- transgender Anishinaabe man meets zombies and how Indigenous per- by NMNH intern Anahera Hare of the dova and Recovering Voices I2F Fel- a mysterious woman who only speaks spectives are making their mark on University of Auckland who intro- low Sydney Hamamoto moderated a to him in their language. The shorts the genre. The music video “Uts taj duced the film, giving a stirring wel- Q&A with Mizoguchi. program featured the Nuu-chah- wich/Te gusta” (2019), featuring Yu- come and opening remarks in her nulth, Diné/Navajo, Trgrinya, and An- catec Maya hip-hop artist Pat Boy, language (Te Reo) and in English. The We then moved to the Nan Tucker ishinaabe languages. opened the screening. Musician Jesús screening was followed by a Q&A with McEvoy Auditorium at SAAM for the Pat Chablé, aka Pat Boy, forms part of director Becs Arahanga (Kai Tahu/ festival’s shorts program, Returning Our evening program at SAAM pre- ADN Maya, a collective of artists from Ngati Raukawa ōku Iwi, Kati Mako te Home. The documentary The Gringo sented the feature documentary Win- the Yucatec Peninsula who all sing in Hapū), moderated by Joshua Bell. Mapuche: Carlos Catrileo (2012; An- ter’s Yearning (2019; Sidse Torstholm Maya, carrying a message of Indige- thony Rauld), established the theme Larsen and Strurla Pilskog), a portrait nous pride. The third day of the festival took of return by following Chris Culbert- of the Greenlandic town of Maniitsoq, place at various venues throughout son, also known as Carlos Catrileo, caught in a holding pattern after an The U.S. premiere of Blood Quan- the city. The morning program held at as he travels to southern Chile to find industrial project fails to materialize. tum screened to a sold-out crowd. NMNH’s Baird Auditorium featured a his family. Uu?uu`tah (2019; Chad Sidse Larsen participated in a Q&A The dead come back to life outside short titled Grá & Eagla (2019; Caitrío- Charlie) tells a pre-contact story of a with the audience, moderated by the isolated Mi’gmaq reserve of Red na Ní Chadhain), which in Gaeilge young chief led by his grandmother Mary Linn, discussing issues of de- Crow, except for its Indigenous inhab- (Irish) means “love and fear.” Spark- along the hard path of growth. Two pendency, survival, and the renewal itants, who are strangely immune to ing thoughtful discussion and laugh- Diné-directed films followed,Mud/ of hope. the zombie plague. It falls to the local ter, director Áine Gallagher explores Hashtł’ishnii (2017; Shaandiin Tome), tribal law enforcement to protect Red why so many Irish people feel pas- a dark, experimental film about For the first time, Mother Tongue pre- Crow. Following the screening, we 61 045662

connected with Barnaby (Mi’gmaq) The festival continued online, stream- via video conference for a discussion ing eleven shorts available to audi- with Baca before taking questions ences internationally. from the audience.

The festival closed with a screening of One Day in the Life of Noah Pi- ugattuk (2020; Zacharias Kunuk) at Georgetown University ICC Audito- rium, co-presented with the GU An- thropology Department. The film is set in the Canadian Arctic and takes place over a single day in 1961. In Ka- puivik, north Baffin Island, Noah Pi- ugattuk’s nomadic Inuit band lives and hunts by dog team as his ancestors did. When an agent of the Canadian government arrives, what appears as a chance encounter soon opens up the prospect of momentous change, revealing Inuit-settler relationships humorously and tragically lost in translation. Our screening was followed by a discussion with Colleen Strawhacker, the program director of the Arctic Sciences Section, Office of Polar Programs at the National Sci- Vai director Becs Arangha sits with Joshua Bell ence Foundation, in conversation with after Sea of Islands. Photo by Eduardo Mutzumá Joshua Bell. Vai, dir. Becs Arahanga, Amberley Jo Aumua, Matasila Fresh- water, Dianna Fuemana, Mīria George, ‘Ofa-Ki-Levuka Gutten- beil-Likiliki, Marina Alofagia McCartney, and Nicole Whippy 63 64

Thursday, February 20 Friday, February 21 cont’d Saturday, February 22 cont’d

Opening Ceremony Directors Panel Seizing the Future 6 pm—Potomac Atrium, NMAI 4 pm—Q?rius Theater, NMNH 3 pm—Nan Tucker McEvoy Auditorium, SAAM 7 pm—Rasmuson Theater, NMAI Sea of Islands Winter’s Yearning “Pire” 7 pm—Baird Auditorium, NMNH dir. Sidse Torstholm Larsen and Strurla Pilskog dir. María Manzanares Vai Restless River dir. Becs Arahanga, Amberley Jo Aumua, dir. Marie Hélène Cousineau and Matasila Freshwater, Dianna Fuemana, Mīria Beyond Dispossession Madeline Ivalu George, ‘Ofa-Ki-Levuka Guttenbeil-Likili- 8 pm—Abramson Family Auditorium, ki, Marina Alofagia McCartney, and Nicole NYU DC Friday, February 21 Whippy “Te gusta (uts taj wich)” Saturday, February 22 dir. ADN Maya Films with Jaime Magaña Moving Forward, Looking Back Blood Quantum 11 am—Q?rius Theater, NMNH Resurgence dir. Jeff Barnaby Felicia: The Life of an Octopus 12 pm—Baird Auditorium, NMNH Fisherwoman Grá & Eagla dir. José Carlos Pons dir. Caitríona Ní Chadhain Sunday, February 23 N!ai, The Story of a !Kung Woman Ainu dir. John Marshall and Adrienne Miesmer dir. Naomi Mizoguchi In Real Time 3 pm—ICC Auditorium, GU Cinemática Indígena Returning Home One Day in the Life of Noah Piugattuk 1:30 pm—Q?rius Theater, NMNH 3 pm—Nan Tucker McEvoy dir. Zacharias Kunuk Kiñe Rupa: Treng Treng Kai Kai Auditorium, SAAM dir. Andrea Salazar, Lucía Pérez, The Gringo Mapuche: Carlos Catrileo and Marilen Llancaqueo Puhi toprao/To Be Happy dir. Anthony Rauld Uu?uu~tah dir. Carol Cazares Kat At Kat’ex/Where Are They? dir. Chad Charlie dir. Eduardo Mutzumá Say, and Mud/Hashtł’ishnii Colectivo Cine en la Calle dir. Shaandiin Tome Tata Jenaru Uajpa/ Hooghan The Son of Don Jenaru dir. Blackhorse Lowe dir. Raúl Máximo Cortés Beles 2020 dir. Sam Gebremiche At a Glance Translation & Collaboration Mino Bimaadiziwin 2:30 pm—Q?rius Theater, NMNH dir. Shane McSauby Filmmaker Roundtable Attendance: ~1,520 65 0466

2020 Budget Summary

Loc ation Fe es

s e s n e p x E

r Budget Snapshot e h t

Screening Fees r

$3,653 e

i n

Location Fees $6,397 g

e e

Travel Expenses $14,268 s

Other Expenses $8,526 v

Total Budget s $32,844 e s

Sponsors & Partners Financial support was provided by NMAI, NMNH, and CFCH. This program received federal support from the Smithsonian American Art Museum and Q?rius, The Coralyn W. Whitney Science Education Center. Additional support was provided by the Embassy of Canada to the United States, the University of Edinburgh, New York University at Washington DC, the Québec Government Office in Washington DC, Eaton Workshop DC, the Georgetown University Department of Anthropology, the Elizabeth and Whitney MacMillan Endowment, Mino Bimaadiziwin and Ferring Pharmaceuticals, as well as anonymous donors. dir. Shane McSauby 67 68

Looking Ahead

We wish to thank the Smithsonian units, staff, interns, volunteers, and advisors who have generously contributed to making the Mother Tongue Film Festival a successful annual event. We are proud of the efforts that we’ve made over the past five years to advance our mission and the goals of Recovering Voices, and to play an active role in the United Nations and UNESCO International Year of Indigenous Languages.

We are committed to continuing our work in raising awareness of language diversity through our growing network of filmmakers, scholars, and partners, and to expanding audiences for these extraordinary films.

The sixth Mother Tongue Film Festival will be presented as a virtual event in 2021.

Languages and cultures are essential to the flourishing and well-being of Indigenous From left to right: Edge of the Knife graphic designer Jay Bellis, peoples in the United States and around the world. Looking to the United Nations International Decade of Indigenous Languages (2022–2032), Mother Tongue will continue actor Sherri Dick, and director Gwaii Edenshaw sit with to amplify the work of storytellers who explore the power of language to connect the Boy in the Moon director Sam Osborn post screening. past, present, and future. Photo by Katherine Fogden 69 70

Regions Represented

1. Āotearoa (New Zealand) 20. Guam 39. Papua New Guinea

2. Argentina 21. Guatemala 40. Peru

3. Australia 22. Hungary 41. Republic of Namibia

4. Belgium 23. Iran 42. Rwanda

5. Bhutan 24. Ireland 43. Samoa

6. Brazil 25. Japan 44. Sámpi (Sweden/Norway)

7. Canada 26. Kuki Airani (Cook Islands) 45. Solomon Islands

8. Chile 27. Madagascar 46. Spain

9. China 28. Micronesia 47. Switzerland

10. Colombia 29. Mexico 48. Thailand

11. Cook Islands 30. Morocco 49. Tibetan Plateau

12. Democratic Republic of the Congo 31. Myanmar (Burma) 50. Tonga

13. Denmark 32. Netherlands 51. Uganda

14. Eritrea 33. Niger 52. United Kingdom

15. Fiji 34. Niue 53. United States

16. Finland 35. Norfolk Island 54. Venezuela Appendix 1 17. Germany 36. Norway 55. Zambia Regions & 18. Ghana 37. Palestine Languages 19. Greenland 38. Panama 71 44. Iñupiaq 93. Pite Saami 72 45. Ixcatec 94. Purhépecha Languages Represented 46. Ixil 95. Qaqet 47. Japanese 96. Quechua 48. Jie-Karamonjong 97. Roviana (Solomon Islands) 49. Ju|’hoan 98. Sadu 1. Åarjelsaemien gïele (South Sami) 50. Kanien’kéha/Mowhawk 99. Sami 2. Ahom 51. Kannada 100. Samoan 3. Ainu 52. Kayapó (Mebêngôkre) 101. Sauk 4. American Sign Language 53. Kikongo 102. Selk’nam (Ona) 5. Anishinaabemowin 54. Kinyarwanda 103. Selkup 6. Arabic 55. Kiowa 104. Seri 7. Atikamekw 56. Kodiak Alutiiq 105. Soli 8. Ayoreo 57. Kotiria (Wanano) 106. Solomon Islands Pijin 9. Bathari 58. Koyukon 107. Southern Thai 10. Bemba 59. Laklãnõ Xokleng 108. Spanish 11. Bodewadminwen (Potawatomi) 60. Light Warlpiri 109. Sumtu (Sone Tu) 12. Burmese 61. Lingala 110. Surel 13. Bwanaba 62. Los Capomos Mayo 111. Swedish 14. Central Balsas Nahuatal 63. Lushootseed 112. Tamazight 15. Chamacco (Ishir Ibitoso) 64. Malagasy (Vezo Dialect) 113. Tamesheq 16. Chamorro 65. Mani Manx 114. Te reo Māori (Māori) 17. Cherokee 66. Māori 115. Tehuelche 18. Chilcotin 67. Mapudungun 116. Tewa 19. Chinuk Wawa 68. Maya Ixil 117. Thai 20. Choctaw 69. Mayo 118. Tibetan 21. Cook Island Māori 70. Mbya Guarani 119. Tigrinya 22. Cree 71. Menominee 120. Tlahuica 23. Dalabon 72. Mi’gmaq 121. Tojolabal (Chiapas) 24. Danish 73. Michif 122. Tok Pisin 25. Diné (Navajo) 74. Miwok 123. Tongan 26. Dinju Zhuh K’yuu (Gwich’in) 75. Mixtec 124. Triqui 27. Duoxu 76. Môhiks (Mohgehan) 125. Trung (Dulong) 28. Dutch 77. Moken 126. Tseltal 29. Dzongkha 78. Motu 127. Tuareg 30. Embera 79. N|ng 128. Twi 31. English 80. Náhuatl 129. Warao 32. Enxlet Norte 81. Nakota 130. Warlpiri 33. Euskara (Basque) 82. Niuean 131. Wazhazhe (Osage) 34. Fijian 83. Nivkh 132. Wixárika (Huichol) 35. French 84. Norf’k 133. !Xung (!Kung) 36. Gaelige (Irish) 85. Nuu-chah-nulth 134. Yanesha Appendix 1 37. Great Andamanese 86. Nyanja 135. Yanomami 38. Greenlandic 87. Ojibwe 136. Yauyos Quechua 39. Haida 88. Olekha 137. Yoloxóchitl Mixtec 40. Hočak (Ho-cunk) 89. ‘Ōlelo Hawai‘i (Hawaiian) 138. Yucatec Mayan Regions & 41. Ikaan 90. Ongota 139. Yupik 42. Ingrian 91. Paunaka 140. Zapotec Languages 43. Inuktitut 92. Persian 141. Zoque-Ayapaneco (Tabasco) 142. Zuni 73 74

Auckland Museum—2019 Hirshhorn Museum and National Museum of American The Auckland Domain Parnell, Sculpture Garden (HMSG)—2017 History (NMAH)—2016 Auckland, New Zealand Ring Auditorium Coulter Performance Plaza Independence Avenue & Seventh 1300 Constitution Ave. NW, BloomBars—2016 Street SW, Washington, DC Washington, DC 3222 Eleventh St. NW, Washington, DC John F. Kennedy Center for National Museum of the Ameri- Performing Arts—2019 can Indian (NMAI)—2016-2020 Eaton House Cinema—2019, 2020 Terrace Theater Potomac Atrium & Rasmuson Theater 1201 K St. NW, 2700 F St. NW, Washington, DC Fourth Street and Independence Washington, DC Avenue SW, Washington, DC Landmark’s Atlantic Embassy Theatre—2019 Plumbing Cinema—2016, 2017 National Museum of Natural His- 125 West Jefferson Boulevard 807 V St. NW, Washington, DC tory (NMNH)—2016-2020 Fort Wayne, IN Baird Auditorium & Q?rius Theater Mexican Cultural Tenth Street and Constitution Avenue The Gateway—2019 Institute—2017-2019 NW, Washington, DC 400 W 200 S, 2829 Sixteenth St. NW, Salt Lake City, UT Washington, DC New York University, Washington DC (NYU-DC)—2017-2020 Georgetown University—2020 National Museum of Asian Art Abramson Family Auditorium ICC Auditorium (NMAA)—2018, 2019 1307 L St. NW, Washington, DC 37th & O Street NW, Freer Gallery of Art, Appendix 2 Washington, DC Meyer Auditorium Smithsonian American Art 1050 Independence Ave. SW, Museum (SAAM)—2020 Venues Washington, DC Nan Tucker McEvoy Auditorium F and Eighth Street NW, Washington, DC 75 76

Curatorial & Organizing Team

Joshua A. Bell 2016 Nafisa Isa Co-Director and Founding Commit- Curatorial Committee Member, tee Member, Mother Tongue, Program Manager, APAC Judith Andrews Curator of Globalization, NMNH Founding Committee Member, Mother Tongue, Program Assistant, 2019 Amalia Córdova Recovering Voices, NMNH Co-Director, Mother Tongue, Emily Cain Latinx Digital Curator, CFCH 2017 Festival Project Manager, Recovering Voices, NMNH Mary S. Linn Founding Committee Member, Mariano Bartolomeu Mother Tongue, Curator of Language Filmmaker, Advisor 2020 and Cultural Vitality, CFCH Torell Taylor Ethan Karnes Melissa Bisagni Program Assistant, Recovering Festival Project Manager, Founding Committee Member, Voices, NMNH Recovering Voices, NMNH Mother Tongue, Media Initiatives Manager, NMAI 2018

Kālewa Correa Sarah Baburi Curator of Hawai‘i and the Pacific, Program Assistant, Recovering APAC Voices, NMNH

Elisa Hough Haley Bryant Appendix 3 Web Developer and Editor, CFCH Festival Project Manager, Recovering Voices, NMNH Laura Sharp Staff Founding Committee Member, Emily Cain Mother Tongue, Program Manager, Festival Project Manager, Recovering Voices, NMNH Recovering Voices, NMNH 77 78

Fellows and Interns

2016 Mariángel Villalobos Timothy Thurston Mother Tongue Intern, CFCH Postdoctoral Fellow, CFCH Jamey Bailey 2017 Recovering Voices Intern, NMNH

Zene Finch 2020 Mother Tongue Extern, CFCH Sydney Hamamoto 2018 Recovering Voices I2F Fellow (2019-2020), NMNH and CFCH Vanessa Quintero Latino Center Intern, CFCH Cecelia Halle Indigenous Media Hub Intern Nat Grube CFCH Mother Tongue Intern, NMNH Anahera Hare 2019 Recovering Voices Intern, NMNH Additionally, we are grateful to our Appendix 3 Cristián Castro-Brizendine Emily Johnson Mother Tongue Extern, CFCH Recovering Voices Intern, NMNH volunteers who help Staff each year with Sarah Sues Avery Rodriguez Mother Tongue Intern, CFCH Recovering Voices Intern, NMNH the festival. 79 80

Smithsonian Institution Embassies and NGOs Universities

National Museum of Natural History Bhutan Foundation (2019) Auckland Technical University (2016-2020) (2017-2020) DC Basque Club (2016) Center for Folklife and Cultural Georgetown University (2019-2020) Heritage (2016-2020) Embassy of Canada to the United States (2019-2020) New York University-Washington DC (2017-2020) National Museum of the American Indian (2016-2020) Embassy of Mexico to the United States (2017-2019) Purdue University Fort Wayne (2019) Arctic Studies Center Embassy of New Zealand to the University of Edinburgh (2020) (2016, 2018-2019) United States (2016-2018) Organizations Asian Pacific American Center Indigenous Media Initiatives (2018-2019) (2018-2019) BloomBars (2016) Freer Gallery of Art (2018-2019) Mexican Cultural Institute (2017-2019) Eaton Workshop (2019-2020) Hirshhorn Museum and Sculpture Garden (2017) Quebec Government Office in The Elizabeth and Whitney Washington DC (2020) MacMillan Endowment (2016-2020) Smithsonian American Art Museum (2020) Ferring Pharmaceuticals (2020)

Smithsonian Latino Center John F. Kennedy Center for the Appendix 4 (2017-2019) Performing Arts (2019) Mexican Agency for International Smithsonian Year of Music (2019) Partners Development Cooperation (2017) MoMA DOC FORTNIGHT (2019) 81 82

2016

Nations International Year of Indige- “Celebrate International Mother Lan- “The Mother Tongue Film Festival, nous Languages, February 21, 2019. guage Day on Feb. 21,” Language Playbackthetape’s latest event, and Magazine, February 20, 2020. where to see the movies you missed “A Great Moment For Native Cinema’: in 2016,” Washington Post, February Smithsonian Film Festival Celebrates “Mother Tongue Film Festival: Open- 16, 2017. Endangered Languages,” WAMU, ing Night and Screening,” Patch.com, February 21, 2019. February 20, 2020. 2017 “See Movies From Around The World “District Line Daily: Strike!” Washing- “Osage directed film about the Osage At The Mother Tongue Film Festival,” ton City Paper, February 18, 2020. language to be shown at NMAI Film DCist, February 20, 2019. Festival,” Osage News, January 6, 2017. “To do this Week Feb. 14-20,” Wash- “Smithsonian’s Mother Tongue Film ington City Paper, February 13, 2020. 2018 Festival 2019,” Planeta, February 25, 2019. “Things to Do in DC This Weekend “Environmental Film Festival, Moth- (February 20-23): Native Women er Tongue Film Festival, and Nation- “Mother Tongue Film Festival,” The Artists, Overwatch, and The Mother al Museum of the American Indian Georgetowner, February 20, 2019. Tongue Film Festival” Washingtonian, Screening,” Shash Jaa': Bears Ears – February 20, 2020. Official Film Website, March 23, 2018. 2020 “Things to do around DC this week- “Smithsonian Presents Third Annual end: Feb. 21—23,” WTOP, February 20, “Indigenous Languages Showcased Mother Tongue Film Festival,” Web- 2020. at Mother Tongue Film Festival,” Voice Wire, February 20, 2018. of America, March 14, 2020. Appendix 5 2019 “5 Ways to Have a Totally Free Week- end Around D.C.,” DCist, February 21, “Mother Tongue Film Festival: Leitis in 2020. Selected Press Waiting,” New York University, Febru- ary 21, 2019. “Mother Tongue Film Festival,” Coverage “Mother Tongue Film Festival,” United DowntownDC, February 20, 2020. 83 84

This report was compiled by Ethan Karnes, designed by Cecelia Halle, and edited by Elisa Hough in the winter of 2020-21. RECOVERING VOICES The Next Guardian dir. Dorottya Zurbó and Arun Bhattarai MOTHERTONGUE.SI.EDU