History of Manawan - Part One - Atisokan nte Manawanik nistam kenokok (Atikamekw Version)

Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on. This short is part of the Manawan series directed by Alanis Obomsawin.

“It’s not how it used to be.” The words of Cézar Néwashish resonate throughout this short documentary that explores the history of the Atikamekw community of Manawan, Quebec. Less than a century old in name, Manawan embodies the experiences of so many Indigenous communities across Canada. Where once they practised their customs freely on a vast territory, the arrival of the Europeans would eventually mean the restriction of their cultural practices and confinement to a reserve named Manawan.

Atikamekw elder Cézar Néwashish continues to recount the history of the community of Manawan that first began in The History of Manawan: Part One. As Christianity and European customs take deeper root in the community – abetted by residential schools and aggressive assimilationist government policies – seemingly irreversible changes to significant customs begin to unfold. Despite these struggles, the people carry on. This short is part of the Manawan series directed by Alanis Obomsawin.

This feature-length documentary chronicles the Sundance ceremony brought to Eastern Canada by William Nevin of the Elsipogtog First Nation of the Mi'kmaq. Nevin learned from Elder Keith Chiefmoon of the Blackfoot Confederacy in Alberta. Under the July sky, participants in the Sundance ceremony go four days without food or water. Then they will pierce the flesh of their chests in an offering to the Creator. This event marks a transmission of culture and a link to the warrior traditions of the past.

This short documentary journeys into the spiritual world of traditional Indigenous medicine, a world inhabited by Dr. Mary Louie (a spiritual leader of the Syilx or Okanagan Nation), and her husband Ed Louie. With a lifetime of experience in the ways of spirituality, they are committed to practices that keep them accountable to the spirit world, their people, and Mother Earth. When one of the crew members get sick while shooting, his subsequent care is recorded for the purposes of this film.

Released in 1969, These Are My People… was the first NFB film made entirely by an Indigenous crew. It was co-directed by Roy Daniels, Willie Dunn, Michael Kanentakeron Mitchell and Barbara Wilson—members of the Indian Film Crew (IFC), an all-Indigenous unit established in 1968 as part of Challenge for Change, a broader organizational initiative to use media to effect social change. One of the first Canadian documentaries to foreground an Indigenous perspective on the history of Indigenous–settler relations, it features Standing Arrow and Tom Porter, from the Kanien’kéhaka (Mohawk) community of Akwesasne, who discuss longhouse religion, culture, government and the impacts of settler arrival on their way of life.

Released in 1969, this short documentary was one of the most influential and widely distributed productions made by the Indian Film Crew (IFC), the first all-Indigenous unit at the NFB. It documents a 1969 protest by the Kanien’kéhaka (Mohawk) of Akwesasne, a territory that straddles the Canada–U.S. border. When Canadian authorities prohibited the duty-free cross-border passage of personal purchases—a right established by the Jay Treaty of 1794—Kanien’kéhaka protesters blocked the international bridge between Ontario and New York State. Director Michael Kanentakeron Mitchell later became Grand Chief of Akwesasne. The film was formally credited to him in 2017. You Are on Indian Land screened extensively across the continent, helping to mobilize a new wave of Indigenous activism. It notably was shown at the 1970 occupation of Alcatraz.

As the Chair of the Truth and Reconciliation Commission, Senator Murray Sinclair was a key figure in raising global awareness of the atrocities of Canada’s residential school system. With determination, wisdom and kindness, Senator Sinclair remains steadfast in his belief that the path to actual reconciliation between Indigenous and non-Indigenous people requires understanding and accepting often difficult truths about Canada’s past and present. Alanis Obomsawin shares the powerful speech the Senator gave when he accepted the WFM-Canada World Peace Award, interspersing the heartbreaking testimonies of former students imprisoned at residential schools. The honouring of Senator Sinclair reminds us to honour the lives and legacies of the tens of thousands of Indigenous children taken from their homes and cultures, and leaves us with a profound feeling of hope for a better future.

Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. The film is a powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself about the legendary 19th-century Siksika (Blackfoot) chief who negotiated Treaty 7 on behalf of the Blackfoot Confederacy. The IFC’s inaugural release, Crowfoot was the first Indigenous-directed film to be made at the NFB.

This short film traces Pete Standing Alone's personal journey from cultural alienation to pride and belonging. As a spiritual elder, teacher, and community leader of the Kainai Nation of Southern Alberta, Pete works with youth to repair the cultural and spiritual destruction wrought by residential schools. At age 81, he has come full-circle in his dedication to preserving the traditional ways of his people.

In this feature-length documentary, Indigenous filmmaker and artist Alanis Obomsawin chronicles the determination and tenacity of the Listuguj Mi'kmaq people to use and manage the natural resources of their traditional lands. The film provides a contemporary perspective on the Mi'kmaq people's ongoing struggle and ultimate success, culminating in the community receiving an award for Best Managed River from the same government that had denied their traditional rights.