In partnership with Handcrafted Films, If not us then who, Infis, and Ranu Welum.
The first ever Indigenous film festival in Bali will showcase a series of carefully selected films which will highlight the struggles that indigenous people face in Indonesia and around the world, communicate the wisdom and knowledge of the first nations people, and bring together film makers in a sharing of their projects and opportunities to work together in the future.
The emphasis will be on supporting young indigenous film makers in Indonesia and profits from the festival will go back to supporting these young people in the struggle to tell their stories and come up with solutions that will benefit many communities throughout Indonesia.
Emmanuela Shinta is a Dayak activist, filmmaker and storyteller whose work is widely known in Southeast Asia. She is the founder of Ranu Welum Foundation. With a reputation for leading and empowering young people, she regularly speaks at workshops, graduations, panel discussions, activist forums and even in churches, around the region.
She is at the forefront of taking and active and peaceful role in preserving the heritage, humanity and environment of Kalimantan, amidst the infamous haze that engulfs the region each year. In 2016 she started YOUTH ACT CAMPAIGN, youth movement to end forest fire and haze that has been happening for 20 years in Kalimantan
Dyah is a young woman from the Mentawai tribe of Sumatra. She is involved in promoting the wisdom and beauty of her culture through multi media, social media and reintroducing Mentawai culture to the students in schools located in south Siberut.
Her mission is to Maintain and preserve cultural values of Mentawai so as not to disappear in the future, and be a role model for Mentawai youth and to carry out the mission of the Mentawai cultural foundation.
Marvin Satoko is from Saibi Samukop, Mentawai. He has held previous roles such as Chairman of the Mentawai Youth Organisation and empowerment motivator and facilitator between Mentawai and the central Indonesian Government in Jakarta. Marvin is Chairman of the Suku Mentawai Education Foundation and Director of the cultural & environmental education program.
Aini Abdul, is from the Dyak Iban tribe in Central Kalimantan
, now a residence of Gianyar Bali is the founder of a literacy program called Ransel Buku.
She is determined to bring access to good books and education through this program to indigenous riverside villages in Kalimantan and has been doing this since 2008.
She has been facilitating villages to build children friendly libraries in the area, supporting the children to nurture their dreams in a safe environment. In her spare time, she writes children stories. She enjoys creative work with rattan handicrafts & practises story telling. A mother of a beautiful little boy called Kalimantan.
Desi Natalia is a young Dayak woman who works with the Borneo Nature Foundation to promote forest protection in Kalimantan through social media. She is a graduate of the University of Indonesia majoring in Broadcast Communications who returned to Palangka Raya to share her knowledge about film production to the youth community there. Since 2015, she leads the Kaliwood film community that has been initiated by Borneo Production International, and is still a Freelance Line Producer. Through this film community, Desi has held several film workshops for youth in Palangka Raya. In hope that the film industry in Kalimantan can be formed and good films can be made by the youth there. She has produced several documentary film with Borneo Production International, one of it is Dance Around the Globe “Finding the Warrior Within”.
Desi is passionate about preserving her Dayak Maanyan culture and is looking for ways to be an inspire young Maanyan children and believes film making is an important part of that process.
Dinja Jakesika is a 32-year-old woman leader of the Dongria Kondh tribe who has been serving as the elected leader of the Panchayat for the last two consecutive terms.
She has been an outspoken critic of the Vedanta mining project and also been instrumental in bringing basic development amenities to remote villages of her community.
Kalfein Michael Wuisan or Kale, is an Indigenous youth from Wuwuk, Sulawesi Utara, Indonesia. Beside BPAN AMAN, He's actively involved in short filmmaking or social movement with local artists, humanists, historians in enhancing Minahasa culture & their Christianity as part of Minahasa identity in Tomohon or Wuwuk. He has a photography & videography skill. During the training with INFIS, he’s very proactive and such a good learner. He’s a good storyteller too and this can be seen when he was excited about telling about the celebration during the harvest time in his village. He has film works with Wuwuk Film.
International Taonga Puoro Artist and Practitioner
Grammy award winning featured soloist and Maori musical instrument specialist Jerome Kavanagh (Poutama) hails from the Mokai Patea, Maniapoto, Kahungunu tribes (Maori) and the Caomhanach clan (Irish). He was first introduced to the sound of Taonga Puoro at aged 16 by one of his aunties. A family owned Koauau (Maori cross blown flute) was the first instrument he recalls learning to play.
Maintaining his strong roots, Jerome has become part of a movement introducing Maori music, art and culture to the world. Over his career he has performed/recorded with artists from a variety of different genres which range from Hip Hop to Classical. His collaborations include The Royal Philharmonic Orchestra (U.K) Moana and the Tribe (N.Z) Daniel Beddingfeild, Hayley Westenra, Joler Gaan (Bangladesh), Kevin Mark Trail "The Streets" (U.K) and two times Grammy award winning composer Christopher Tin (U.S.A).
Jerome joins only a handful of New Zealand musicians as a featured solo artist and lyricist on two time Grammy award winning album "Calling All Dawns" 2011 in "Kia Hora te Marino"(May peace be widespread) recorded at Abbey Road studios, London.
More recently he performed at New York’s prestigious Carnegie Hall and The Lincoln Center alongside Distinguished Concerts New York International orchestra, Sydney Opera house with his band HuiA, The British Museum, Te Papa Tongarewa National Museum, Guest artist at Pasifika festival 2016 and was also a selected member of the New Zealand Art Delegation at the 11th Festival of Pacific Arts in the Solomon Islands. This year Jerome toured India and Bangladesh sharing his Oro Atua Taonga Puoro sound bath experience and live performances with as a guest artist with the legendary Bangladesh band Joler Gaan.
Jerome will be speaking about a film he was involved in which is based on
A story following his journey as a young Māori practitioner of taonga puoro (traditional instruments used in sacred, ritual and healing ceremonies) as he revives ancient ancestral practices in our contemporary world.
Directed by Kamako Silver
Filmmaker, photographer and writer at Borneo Productions International (BPI) since 2009. Director of Photography on Finding the Warrior Within (2017), Heart of the Haze (2016) and Orangutan Jungle School (2018).
Contributing photographer for Leonardo DiCaprio's Before the Flood. Shortlisted Environmental Photographer of the Year 2016 under London's Geographical Society. Friend of people, planet and primates.
Growing up in the small town of Dumai in Sumatra, Erick ( an indigenous Batak ) developed an interest in film making early in life, asking his friends to play Google V and directing them to make stories. Erick realized he had a love of music when he joined a group band in high school, but his skill in photography and filmmaking only emerged when he studied Visual Communication Design at Bali’s Udayana University from 1999 to 2004. In Indonesia, Erick is known for his short films and music videos for Indie bands like Superman Is Dead and Navicula, but he has also made several clips for international bands such as Free Like Me. In 2014, Erick released his documentary film Long Sa’an (“The Journey Back”), a true-life story of a Dayak elder’s journey back to his home village.
When did you get interested in filmmaking?
I don’t come from an artistic family, but when I was two years old my father bought me a small, cheap camera. It didn’t take quality pictures but it was my first introduction to photography. I was hooked and played with it constantly! Other than that, art related activities were barely on my radar. In high school I was more into physics. The shift occurred in the visual arts department at university. It was a good fit. Physics and art, both based on relativity, are actually related.
What kick started your career in cinematography?
Though I only took photographs and didn’t have any experience in movie making, a university friend asked me to join him in a national film competition. I said yes without even thinking about it. Today I laugh remembering how long it took us to finish our first short movie Kenapa Aku about a young student’s drug addiction. Not only because we were amateurs but also because we were so damn broke. We had to rent a Super 8 camcorder. I have no idea how we paid for it. From that first filmmaking experience, I became obsessed with producing movies.
Tell us about some of your early films…
My second film, the comedy Telat, was followed by a thriller, which in turn was followed by so many films that I had to sell my motorbike to finance them. But it was worth it. I got my first award in 2004 at the 15/15 Film Festival in “The Best Indonesian” and “Best Director” categories, as well as nominated for “Best Editing” category for Rapuh, the story of a young man who questions religion, love and life itself.
Do you have a partner or work with a producer?
At first I did everything by myself. I was the cameraman, the director and the editor. I got my own coffee and cigarettes from the warung. Then friends started to offer to crew. They were willing to get paid low salaries because they wanted the experience for their CV or cared deeply about documenting the subject matter.
What drives you to excellence in filmmaking?
I have no special formula. My aim when making a film is to capture the emotions and motivations of the characters. My intention is to convey the personal intrigues and to describe social, environmental, cultural and romantic realities. People go through many changes in their lives. Each person has his or her own story of survival. I want my films to touch every soul and be the cause for reflection.
Why did you choose the documentary genre?
Documentary genre? I don’t consider myself just a documentary filmmaker. For 15 years now, I’ve been producing films and videos on many themes. I only started making documentaries in 2011.
What is your latest film Long Sa’an about?
My interest in making this film began when my best friends David Metcalf and Robi Navicula asked me to join them on a river trip deep into the jungles of Kalimantan. I like rainforests, so I joined them but didn’t know that the boat journey would take two days. Long Sa’an has been forsaken by its people for 45 years. During the river trip I met Phillius, a Dayak elder who started telling me about his childhood. He was on a personal mission to visit his mother’s graveyard in Long Sa’an. But the film isn’t just about visiting Phillius’s long lost home. It’s also an ironical study of a forgotten culture, lost identity and a blessed people who abandoned Eden to seek something artificial.
How may you be contacted?
Email: firstname.lastname@example.org or email@example.com
Surya Shankar Dash will be a accompanying Dinja. They will make a live interactive presentation to illustrate the 13-year-old experience of the collective in using films, documentaries and visual storytelling to bear witness to injustices and atrocities, to archive the modern history of our times from the indigenous perspective as opposed to govt propaganda and corporate media blitzkriegs, to use video as a tool of advocacy as well as evidence in legal engagements, to reach out within the larger community of indigenous people locally, regionally, nationally as well as globally. In the presentation several short videos made by indigenous people as well as those arising from collaborative efforts of indigenous people's movements will be exhibited.
Since 2005, Video Republic has been engaged in enabling indigenous communities to use video and multimedia tools to fight against plunder of natural resources and human rights atrocities. In this 12-year-old journey many indigenous people have been able to articulate their stance and assertion through videos that are made available on YouTube for a larger audience and screenings are organized locally as well. These videos have made remarkable contribution in several well know indigenous people's movements including the Dongria Kondh tribe's campaign to save Niyamgiri hills from a mining project by London based Vedanta Resources, the Ho and Munda tribe's fight against forceful land grab and evictions by Tata Steel, etc. The camera in the hands of indigenous people is a non-violent yet powerful weapon to fight injustice and we are committed to enabling more and more Adivasi-Dalit communities with filmmaking know how in order to strengthen their fight.
Please see a short trailer of what is in store
Documentary about Rohani, an 80-year-old hunter who dives like a fish on a single breath, descending to great depths for several minutes. Set against the spectacular backdrop of the Togian Islands in Indonesia where he grew up, this award-winning film recreates events that capture the extraordinary turning points in his life, as a hunter and as a man.
The directors Carlo and Rizal will be present to speak about the film.
Between the Jungle and the sea they exist.
A film by Malaria House
Review by Matt George
Rarely does such a short film say so much in so little time.
At only 15 minutes, Toguruga lives up to the meaning of its name in a forgotten dialect of
Eastern Indonesia: to dream.
The story itself follows a teenaged Indonesian surfer, a renowned Photographer and an American journalist as they seek out the rumor of an extraordinary tribe of child surfers living and surfing in complete isolation on the edge of the world. The children’s equipment hand-hewn from the very jungle and the sea that provides their people’s livelihood. Crude hardwood surfboards shaped by axe, machete, drawknife and fire. An indigenous surfing culture that has been celebrated for generations despite never having had a single influence from the outside world. A place of astonishing innocence, far from the trappings of our technologically glutted modern world.
Providing the heart and soul of the film is the heartfelt narration by Raju Sena, the teenage surfer who abandons his own modern equipment to join the child surfers of this remote island on their own terms. Inevitably, Sena finds in their approach a provocative insight into his own developing soul. And it is tearful stuff indeed. As for the photographer and the journalist, Toguruga is driven by their observations as well and it is easy to hear in the timbre of their voices how deeply this return to a simpler time has affected them.
There is, of course, indelible imagery. The children descending on a shipwreck, prying up the planks for the raw material they need for their surfboards and then setting upon the wood with machetes and craftsman’s passion. A child using his board as a playground swing when she is done surfing and of course another taking a nap under a palm, his board as a bed. And regardless of whatever sport a viewer may be into, the profound images of these young children taking to the sea and surfing with unbounded glee will tug at the heart any sportsman. The style and technique of these young surfers as noble and graceful as any ancient Polynesian. The original soundtrack performed by Zat Kimia, flows through the film as an effortless element, enhancing and complimenting the experience with subtle elegance. And the high definition cinematography is top rate, sensitive and perfectly balanced.
More than just a feel good film, Toguruga is a delightful reminder of the importance of childhood imagination and dreams. And the fact that these dreams are taking place on a remote paradise island without any of the negative impacts of an encroaching outside world makes this film a must see for anyone with half a heart.
It is no surprise that filmmaker Carlo Coral manages to keep the location of this incredible place a secret. And in that is perhaps the secret to the success of this film. Not just another expose’, or a tourist brochure visit, Toguruga is an immersive experience of the mind and soul. An experience within the energy and the joys of a childhood that lives within us all. And a delicate reminder that if it doesn’t live within us, it should.
A factory that provides an alternative against the destructive palm-oil industry on Borneo Indonesia.
On the 12th September 2013 the Honduran government granted almost 7% of its territory to the indigenous Miskito people who have lived traditionally on this land for centuries. We follow the leadership of the indigenous organisation, MASTA, as they speak to their elders and explore solutions to better govern their land.
The humble babassu palm provides a livelihood for communities of women across North Eastern Brazil. Bread, charcoal, oil and soap are produced from the nut and husk; the surplus is sold on. But production has not always been so peaceful. Babassu: Brazil’s Warrior Women tells the story of the hard battle to maintain these communities’ way of life. In the face of intimidation and threats from farmers for years, Babassu women have negotiated their own terms; creating a grassroots movement and establishing the ‘Free Babassu Law’ in seven states. The law gives landless coconut gatherers rights to collect from palm groves. These inspiring women are now able to plan for the long-term, diversifying their business and securing their future. They fight for their families, their forests and the Amazon as a whole.
On 1st September 2014 Edwin Chota and three indigenous Asháninka leaders were murdered while defending their forests. They had been denouncing the increasingly violent illegal loggers operating on their ancestral lands for over a decade with little recognition from the government. Through their widows, family and friends we learn about their ongoing fight for land titles. This story is one of many examples of Indigenous Peoples defending their forests and paying the ultimate sacrifice.
Description: Marginalised for decades, Pygmy peoples are fighting for recognition and land rights. Even the term ‘pygmy’ is laced with historical racism and prejudice, they are not treated as equal citizens in their home country. At the heart of pygmy culture is their forest, central to their spiritual beliefs, and ancestral heritage it is also their source of food and livelihood. Large swathes of their land is being exploited by international companies without the consent of the Pygmy peoples. But the Pygmy movement is growing and organising fuelled by the younger generation, their momentum sustained by solidarity.
In a rapidly dwindling community forest the people of Pandumaan & Sipituhuta have put up a strong fight to stop the growth of monoculture eucalyptus plantations. But the aggressive actions of the company & its close alignment with local politicians & the police have led this struggle down a dark path – protests, intimidation, arrests & confrontations.
After a seven year battle, the Mayangna community of Awas Tingni won a landmark ruling at the Inter-American Court of Human Rights and demonstrated that international human rights law could protect indigenous peoples, their land and their natural resources. As a result a Demarcation Law was passed in 2003 in Nicaragua to recognise and respect indigenous people’s land rights. However a change in law does not always lead to a change in behaviour.
We visit a unique people deep in the rainforest of Indonesia who represent a simple solution to our global climate crisis. The people of Sungai Utik, a Dayak Iban community in West Kalimantan, have maintained a strong traditional connection to their forests despite continuous pressure from companies intent on taking their land. Their forests remain intact and their traditional values are keeping their community together. If we want to keep forests we need to trust and support communities like these. Now, as they tackle the impacts of climate change, they offer us hope.
Even a well-managed, recognized forest faces constant challenges but innovative drone GPS technology, cooperative campaigning, local government support and eco-tourism are helping the Setulang people thrive. They have shown that community rights, the environment and development go hand in hand. Setulang boasts clean water, sustainable fishing and hunting, building materials, fruit and traditional medicine, a ‘life bank’ for future generations. But by being in a heavily forested area they still face the growing threat of timber, oil palm and mining companies. The head of the village is looking to find new and innovative solutions to protect his land and a team of experts from West Kalimantan may have the answer. GPS based drones are being used for the first time to map community land and the results have been impressive.
14.15 - 14.45 | 30 minute Q and A with Paul Redman - Break
Jargarian land is a local name for Aru Archipelago. Indeed, not many know the territory that became part of the Maluku. Aru consist of 187 islands large and small settled indigenous peoples living in these islands maintaining the integrity of the Aru Islands indigenous communities until now. In 2012, there was a sudden survey and plan to plot the forest areas in some villages. This was initially carried out to develop sugarcane plantations. After it was instigated, the Aru Islands Regent issued a concession permit to a plantation consortium called PT. Menara Group which had 28 subsidiaries in 2010. This was done without the prior consent from indigenous peoples in Aru. The area of land covered by the permit is 626 900 hectares.
The mission of The Answers Project is thus two-fold: to provide a platform for native communities to share their knowledge and wisdom while simultaneously inspiring millions of people globally to rapidly share these stories and support indigenous cultural resilience. The Answers Project does this by beautifully presenting short videos which pose questions from an international audience, and then hearing corresponding answers from indigenous leaders. While the content is all provided free of charge through the support of foundations, companies and individuals, viewers are able to donate to vetted non-profits that support specific indigenous community projects (e.g. language preservation, indigenous media, legal protection, safety, fair trade, energy independence, etc.), and possibly purchase products, should they be moved to do so. The vision is for The Answers Project viewers to eventually support hundreds, if not thousands, of indigenous community projects through inspired appreciation of the knowledge they are receiving.
After the collapse of the global economy in 2008, Rob Henry decides to leave his job in Melbourne and go in search of a more sustainable way of life. Arriving to the tropical Islands of Mentawai, Indonesia, he finds himself living in a small coconut farming settlement. Filmed over the course of eight years, As Worlds Divide takes us on an intimate journey inside the lives of an indigenous people who are losing connection with their land and culture. The impacts are devastating, but for the Mentawai there is hope amidst a small community of tribes-people still living traditionally and abundantly in the forest.
The Standing Rock Sioux Tribe in North Dakota captures world attention through their peaceful resistance against the U.S. government's plan to construct an oil pipeline through their land. The film tells the dramatic story of the historic #NODAPL native-led peaceful resistance at the Standing Rock Sioux Reservation in North Dakota, which captured the world's attention as one of the biggest stories of 2016. Tens of thousands of activists traveled to North Dakota from all over the world to take a stand alongside the "water protectors"-- activists opposing construction of the 3.7 billion dollar Dakota Access Pipeline (DAPL). The pipeline is proposed to transport fracked oil from North Dakota's Bakken oil fields directly underneath the Missouri River on sovereign Lakota land, the only water source for the Standing Rock reservation and the drinking water source for 17 million Americans downstream.
On the island of Halmahera, North Mollucas, more than 300 mining permits threaten the existence of priceless tropical forests. Illegal logging is also a problem for indigenous people in the village of Forest Tobelo people in Dodaga village. Deeply concerned with the condition of their forests that they struggle to resist.
Mama Malind su Hilang (Our Land Has Gone) is a Nanang Sanjaya's documentary movie telling a story about the cry of the Malind Anim tribe living in Zanegi village. This group of people are dying, while hectares of their forest are being vanished. A multimillion dolars project, know as MIFEE, designed by government collaborating with corporations came and destroyed all their forest that is their main sole food sources for any veiled interests. Thousands of sago have been cut down and replaced by acacia and eucalyptus. This is just an example (a proof) of how government treats its people unfairly, or even kills the locals slowly.
From outsiders to political representatives, the indigenous struggle in the Mentawai islands is a 20 year struggle to be heard. We learn through the eyes of Gugen, a future Indigenous leader, as he meets the villagers, shamens, newspaper & radio stations that unify these threatened islands.
What are the benefits of secure tenure for indigenous peoples, for the environment and for wider society?
Video ini dapat diputar di komunitas serta aparat pemerintah dan masyarakat umum untuk meningkatkan kesadaran akan pentingnya kepastian hak atas tanah bagi masyarakat adat, lingkungan dan masyarakat yang lebih luas.
Behind the Page (Di Balik Kertas) is a 2 part film about industrial timber plantations (HTI) in Indonesia. The film is designed to be used by local facilitators and communities whose lands are in or near existing HTI permit areas, or in areas where new permits for mills or HTI plantations will be allocated. The film is based on the voices of people from 8 communities in Papua, North Sumatra, Riau and Jambi, which have lost part or all of their ancestral land to HTI. How has this change impacted their community economies, their water, culture, food security and land rights? And how are they organising themselves to face these challenges?
The promise of the night time, where expectations are high, Dance of Lonely Birds captures the high's and low's of a group of girlfriends across one night at Jaysa's 21st in Wellington city. Jaysa's turning twenty one, she's caught in a deep and silent melancholy. Lucy is on the hunt for her love: Tonight is the night where her expectations will become reality, Bonnie is out to ask the deeper questions and reveal what it is that we, the millennials, are yearning for in the cyclic ritual of getting inebriated every weekend, and Sophie is just down for a wild night. Created by a crew of young film and performance practicioners, Blending the forms of music video and slice of life comedy/drama, Dance of Lonely Birds captures the blunt emotional contrasts of experiencing a House party, right now. The full bodied euphoria of letting loose on the dance floor, the tenderness of intimate moments shared amidst chaos, the longing for connection, the harsh loneliness of feeling like an outsider and the ultimately healing love of female friendship, and the challenges young indigenous woman face in a pro western culture.
A story following the journey of Jerome Kavanagh Poutama, a young Māori practitioner of taonga puoro (traditional instruments used in sacred, ritual and healing ceremonies) as he revives ancient ancestral practices in our contemporary world.
Ransel Buku is an educational project that brings environmental education through books reading, led group discussions and games to children at river bank villages in Central Kalimantan. This project runs by the support of village elders, parents, fellow volunteers, professional photographer David Metcalf, donors and others who believe that it is the responsibility of everybody to support access to education for better future.
New film produced by Alianza Arkana brings to light the reality of life for indigenous peoples who live in parts of the Peruvian Amazon and the pollution that has resulted from half a century of oil exploration. It documents the struggles for self-determination and the voices of these groups who are demanding justice. Alianza Arkana are working with indigenous partners in Peru to create a clean, just and more sustainable future for the Amazon rainforest.
Our People Will Be Healed, Alanis Obomsawin’s 50th film, reveals how a Cree community in Manitoba has been enriched through the power of education. The Helen Betty Osborne Ininiw Education Resource Centre in Norway House, north of Winnipeg, receives a level of funding that few other Indigenous institutions enjoy. Its teachers help their students to develop their abilities and their sense of pride.
In The Borneo Case, documentary filmmakers Erik Pauser and Dylan Williams spend five years intimately following the trail of an unlikely group of activists whose aim is to investigate how profits from the illegal logging that has annihilated more than 90% of the Malaysian Borneo Rainforest, have been money laundered into property portfolios all around the world.
In the heart of Western Australia's Pilbara region sits the Burrup Peninsula (or Murujuga). It is host to the largest concentration of rock art in the world, dating back over 40,000 years. It's a dramatic and ancient landscape so sacred that some parts shouldn't be looked upon at all, except by Traditional Owners. Waves of industrialisation and development threaten sites all over the region, but the people of the Pilbara - forever connected to country, forever responsible – are fighting back. Documenting the rock art, recording sacred sites and battling to get their unique cultural heritage recognised, 'digitised' and celebrated.