All the discussion over the White Terrors, be it in the books or in the images, takes largely the Hans as subjective and concerns less the treatment exerted on the Taiwanese aboriginals during the period of martial law. In an era of reticence, the aboriginals also followed suit in the fear of making even the slightest mistake which would lead
Ptasan is the most vivid totem of the Atayal culture. After the Japanese took control of Taiwan, Ptasan was banned because it was considered a barbarian act. Now, when Ptasan is nearly unseen or unheard of, one Atayal young man, Taliana Yilou, decides to give himself Ptasan. As a young man under 30 years of age, Tali does not have
“When the Village Encounters the Country” is a representation of the suppression the aborigines faced in the country system for the past thousands of years. This is a record of the Smangus people protesting to the regime of the country. A chain reaction was caused after they made the plea, including forcing the government to recognize the traditional territory of
Three women share their art and their experience of being in country. They share a sense of belonging to a place and walking in it, dancing with it as the songs of country and culture resonate in their artistic expression. Each artist with a personal interpretation of country presents a selection of artworks that reflect the multi-faceted colours of Kimberley
A documentary that carries the words of Rupert Max Stuart, Arrernte Mat-utjarra Elder, his philosophies and message about passing culture on and keeping it alive.
”I’m not black, I’m not white, I’m a yellow fella and I’m gonna stay that way”.
As the dry season comes to an end, it’s the time of celebration and merriment in the Alto Xingu. The smell of the damp earth is mixed with the sweet perfume of pequi. But it has not always been like that: if it had not been for a death, the pequi would possibly not exist.
Answering a video-letter from the children from Sierra Maestra in Cuba, four Ikpeng children, filmed by videomakers from their community, introduce their village—its leaders, their friends, adult work; they show their families, their toys, their celebrations and their way of life with grace and lightheartedness – in a video letter addressed to children from other cultures they are curious to
In 1987, The Video in the Villages project was founded in Brazil to give indigenous people control over their own representation, and to give them the power to use the media for their goals. This video documents the process of training and the first videos made by the project’s indigenous videomakers. It also shows the national conferences where indigenous producers