Droit devant
2017
1 h 41 min
Coming soon
Documentaire musical signé Marie Clements, Droit devant rattache un moment charnière de l’histoire des droits civils au Canada — les origines du nationalisme autochtone vers 1930 — au souffle puissant qui anime aujourd’hui le militantisme des Premières Nations.
Details
Documentaire musical signé Marie Clements, Droit devant rattache un moment charnière de l’histoire des droits civils au Canada — les origines du nationalisme autochtone vers 1930 — au souffle puissant qui anime aujourd’hui le militantisme des Premières Nations.
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writerMarie Clements
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directorMarie Clements
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producerShirley Vercruysse
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editingJenn Strom
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original musicWayne Lavallee
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NoneMike MckinlayNick WadeCaroline CouttsDaphne ChungHunter CheveldaveGraham TalbotManzoor Ahmed WaniKasha ToolseeLukas FournierWes MachnikowskiMargot GuiradoJared Brendan BoyceDaniel RocqueWendy GorlingKeesha Dawson-HarrisonRachael DudleyApril JohnsonKassia O'ConnorStefan A. SkoronskiRosemary A. Georgeson
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art directionJames Boatman
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sound designTroy Slocum
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costume designerChelsea Graham
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story song castEvan Leslie AdamsLeonard GeorgeRonnie Dean HarrisWayne LavalleeJeremy James LavalleeStephen E. MillerLatash-Maurice NahaneeCorey PayetteMurray PorterRussell WallacePatti AllanGlen Andrew BrkichWilliam J. CroftAmber GeorgesonKimowin LavalleeCheri MaracleJoseph Patrick KeatingShakti HayesMakwa KewistepPawaken Koostachin-ChakasimDelhia NahaneeShekayah Lynn SilveyMichelle St. JohnJennifer Elizabeth KreisbergDoreen ManuelImajyn CardinalRichard E. BrownShamantsut Amanda NahaneeMarissa Nahanee
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documentary subjectEdwin NewmanHenry CliftonLatash-Maurice NahaneeThomas BergerWayne LavalleeRichard E. BrownRussell WallaceJeremy James LavalleeRonnie Dean HarrisMurray PorterCorey PayetteVera NewmanKaren JefferyDelhia NahaneeMoira MovannaMarissa NahaneeCheri MaracleShakti HayesMichelle St. JohnJennifer Elizabeth KreisbergShamantsut Amanda NahaneeDoreen ManuelVicki Lynne GeorgeLorna WilliamsShelby-Lynn DavisMarion EricksonStephanie EricksonMorgan GeorgeKarista OlsonLorretta J. PelletierJoan B. SutherlandJody ThomasAshley WilsonMartha WilsonBonnie Wisla
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delegate producerTeri Snelgrove
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production supervisionJennifer Roworth
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administrationCarla Jones
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technical coordinatorWes Machnikowski
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production coordinatorKathleen JaymeJustin MahKristyn Stilling
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1st assistant directorKate Weiss
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2nd assistant directorMatthew Tingey
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location soundBrent CalkinJeff Henschel
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boom operatorLisa Kolisnyk
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set designer assistantAndrew Pommier
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setsRebecca SjongerSancha Alicia Tatlock
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prop supervisorDana Dolezsar
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2nd camera assistantMikael BidardOdessa Shuquaya
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digital imaging technicianGeorge Faulkner
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head gripOwen Stambuck
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chief electricianPaul T. Murakami
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grip / electric swingTerrance Azzuolo
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scriptNisha Platzer
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assistant costume designerKevin EadeMika Laulainen
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hairdressingAshley Seymour
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makeup artistAshley Seymour
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hairstylistMagdalena Kelly
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location managerNick WadeOdessa Shuquaya
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researcherAmanda BurkeThanh NguyenMary DohertySandra MendenhallPaloma Hazel PachecoPaula Sawadsky
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transcriptsTracy Sitter
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photographerRosamond Norbury
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production assistantColin Van LoonRichard WilsonMilena Salazar
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script advisorPaula Danckert
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community coordinatorJanet Rogers
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SPFX supervisorJenn Strom
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animation supervisorJenn Strom
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animatorPrajay MehtaElisa CheeJenny BreukelmanJenn Strom
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special effectsBun LeeJenn StromTrevor GentJenny Breukelman
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storyboardLauren Budd
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online editingSerge Verreault
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subtitlingZoé Major
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sound mixerJean Paul Vialard
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marketingLeslie Stafford
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media relationKatja De Bock
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executive producerShirley Vercruysse
Education
Ages 15 to 18
History and Citizenship Education - Civil Rights and Freedoms
Indigenous Studies - History/Politics
Indigenous Studies - Identity/Society
Indigenous Studies - Issues and Contemporary Challenges
Comment on the filmmaker’s decision to make The Road Forward a musical documentary. Discuss why the publication The Native Voice was considered so unusual and innovative for its time. Indigenous youth are often considered “at risk youth” when they are actually “culturally deprived youth.” Explain what strategies can effect changes in the education of Indigenous youth. Identify what the Constitution Express was and explain its significance in the history of Indigenous activism. What are the key concerns in Indigenous activism today?
