Books in American Indian Lives series

Fresh, informative, and provocative, this collection of interviews showcases twelve leading Native artists and activists who have challenged and helped reshape prevailing expectations about Native cultures and identities during the late twentieth century: writers Sherman Alexie and James Welch, singer-songwriter and educator Buffy Sainte-Marie, poet Elizabeth Woody, activist and AIM member Dino Butler, musician and activist John Trudell, writer and activist Winona LaDuke, actor and musician Litefoot, the late aids activist Bonnie Blackwolf, and visual artists Rick Bartow, Jesse Hummingbird, and Norman Guardipee. Engaging in their own right and offering substantive insights into individual careers and personalities, these interviews also explore a number of significant and often controversial intellectual, cultural, and political issues affecting Native peoples today. Among the topics discussed are the effects of the New Age movement and other forms of cultural appropriation, current conflicts and disagreements within Native communities, connections to the environment, alcohol and drug addiction, the American Indian Movement, the blood-quantum debate, religious freedom, the value of elders, and obligations to past cultural traditions.

In more than twenty powerful films, Abenaki filmmaker Alanis Obomsawin has waged a brilliant battle against the ignorance and stereotypes that Native Americans have long endured in cinema and television. In this book, the first devoted to any Native filmmaker, Obomsawin receives her due as the central figure in the development of indigenous media in North America. Incorporating history, politics, and film theory into a compelling narrative, Randolph Lewis explores the life and work of a multifaceted woman whose career was flourishing long before Native films such as Smoke Signals reached the screen. He traces Obomsawin’s path from an impoverished Abenaki reserve in the 1930s to bohemian Montreal in the 1960s, where she first found fame as a traditional storyteller and singer. Lewis follows her career as a celebrated documentary filmmaker, citing her courage in covering, at great personal risk, the 1991 Oka Crisis between Mohawk warriors and Canadian soldiers. We see how, since the late 1960s, Obomsawin has transformed documentary film, reshaping it for the first time into a crucial forum for sharing indigenous perspectives. Through a careful examination of her work, Lewis proposes a new vision for indigenous media around the globe: a “cinema of sovereignty” based on what Obomsawin has accomplished.