Ernest Whiteman III is the Executive Director of the First Nations Film and Video Festival, scheduled November 8 -12 with screenings throughout metro Chicago and a special presentation in Denver on November 29. Ernest is a Northern Arapaho superhero who will one day rule the world. He promises that if you go to his festival all of your wildest dreams will come true.  

Don’t believe me? Let the masked man explain it for himself…

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By Ernest M. Whiteman III 

I. “How Did I End Up Here?” 

I was never looking to run a film festival. But it just sort of happened that way. You see, before all this I was simply a movie maker; a regular, pop culture influenced, comic book collecting, action figure grubbing, book reading, sketching, poetry spouting, story writing, movie watching, video collecting, pizza sandwich eating, diet Pepsi with lemonade drinking, Northern Arapaho, movie making, fair weather Rams fan. I was content to continue to ply my trade until my big break, when someone in Hollywood would take a chance on an Indian who wanted to do an action movie. 

I had applied to film companies, video production houses for work, wrote grants for production seed funds (So I could shoot my action movie myself.), only to be turned away at every stop. No one wants a modern Indian. No matter how equal the employment or enlightened the philosophy. But I kept on, thinking someone has to need me. 

I continued to apply for funds, sending my short films to festivals and I was always met with the same reactions; “Thank you for your interest, but your experience does not match our requirements for the position” or “Sorry, we have had so many entries this year we had to make some hard choices”. In other words, “No. We don’t want you.” No matter how pretty the words, it is still a rejection. And it stings like a bitch. “Your experience does not match our requirements.” 

I knew Dave Spencer, former Coordinator of the First Nations Film and Video Festival from when we were students together at Columbia College Chicago. He was the first Native friend I had in the city, which seemed strange at the time, because up until I moved to Chicago, all I had were Native friends. 

He encouraged me to submit some of my student works to the festival and he enjoyed them. We used to talk about Native identity in film and he never laughed at my action hero aspirations. (Why not a kung fu Indian?) I had one short film of mine accepted by another Native film festival up until then, but the festival never returned the next year. So, I continued to submit to the FNFVF and was always accepted. That felt great. That sting of rejection was gone. That Native peoples will always look out for one another. That is what I remember. That my movie was screened. And to any movie maker, it makes all the difference. 

How I ended up as the FNFVF Coordinator was pretty simple really: no one else wanted the job. After college I got Dave’s old job as a Developer when he took an Art Director position with the same company. I wrote grants, as he did before. In 2004, he asked if I would serve on the FNFVF Committee. I did what I could; made the Festival’s very first web page and gave my opinion on the guidelines and movies. I also screened two more movies of mine. My proudest accomplishment (film-wise) up to then. 

Then, when Dave left the company he simply asked if I would coordinate the festival in 2005. I took it because I knew I could help fellow movie makers and I felt I owed it to him. Dave phased himself out and left for Mississippi where he is now working to create an arts space with the Mississippi Chata (Choctaw) Tribe. Godspeed Dave. I was left to manage a ragtag band of people who barely knew each other, pull together venues, create promotional opportunities, screen scads of video submissions and try to secure visiting directors. I had my work cut out for me. How would I succeed? 

Read on. 

II. “Try to Avoid Anything ‘Indian-y’” 

One of the primary goals of the First Nations Film and Video Festival is to protect Native American first-voice. For so long the control of Native imagery has been out of the hands of the Native film makers themselves. That contemporary Native perspective that is consistently absent from modern films is tied to Native first-voice. Also, giving a venue to any Native film maker’s voice by simply providing a venue for their works. Seems almost too simple really. 

That contemporary Native perspective, away from the beads and feathers of that romanticized past of the “Old Times”, is what the FNFVF wants connect to and promote. To show Native Americans as living, breathing, evolving, and yes, flawed participants of America’s modern society is crucial in cultural preservation. Native Americans never forget who they are. Indeed, most people will never let them forget. But, to not show people who we are now lends to being lost forever, like the ghosts of Alexie’s poem. 

We try to steer clear of anything that pushes the stereotypes forward. We steer clear of beads and feathers, as evidenced with our infamous logo, the leather and chanting, you know, the Indian-y stuff. Still, that does not automatically rule out any films. While we cringe sometimes at the over use of flute music, we never forget that this is how some film makers choose to present themselves and as long as there is a Native voice behind it, we gladly accept and screen it. Because in the end, we are not what is important, we are not the experts, nor the spokespersons solidifying that One Native Voice. The festival itself is only the means for novice Native film makers to get their voice on a screen somewhere, and believe me, that can make all the difference. 

II½. “What’s With That Stupid Acronym?” 

The First Nations Film and Video Festival was established in 1990 by Beverly Moeser (Menominee) as a one-day screening showing thirty films and videos at Facets Multimedia in Chicago. Beverly was a film student with a passion for exploring Native issues through the medium of film and video. Under Beverly’s direction, the festival expanded to a three-day event, housed at Facets until it went on hiatus in 1994. In 1999, the FNFVF returned for another three-day festival and went on hiatus once more. 

Here, Dave Spencer enters the picture as the festival coordinator. In 2002, with the help of the Red Path Theater Company, the FNFVF was resurrected as a presentation of the American Indian Center. Dave was a member of the Native community, born and raised in Chicago, and dedicated to Native American first-voice representation in the arts, including film and video. 

In 2004, it expanded to a week-long festival with as many as ten venues and screened over forty-five Native-produced films and videos. It was the most successful year to date, attracting such film makers as Chris Eyre and Rod Pocowachit. Sherman Alexie sent his The Business of Fancydancing  and granted the FNFVF special program usage of his debut film, in 2003. 

In 2005, I enter the story. Last year we had twelve venues, over fifty-five films, including Indian Country Diaries,  and were promoted on Chicago Public Radio WBEZ,  the Chicago Tribune,  and across the country via our brand new website. Yet, for all we have accomplished, the most asked question is why we chose to use “FNFVF” as our festival acronym. Here we are on the cusp of a Native New Wave in film, ready to knock down the doors to Native Self-representation in media and all people, and indeed, our very committee, have on their minds is F. N. F. V. F.? 

The answer is simple: it stands for First Nations Film and Video Festival. Why not Native American Film Festival? Why video? Because it makes us unique and no one ever forgets FNFVF. Is that all there is to it? Nope. 

Read on. 

III. "The Authorship of Expertise" 

So, how do you run a festival? That is a question I have been asking myself since Dave Spencer gave me the reins and headed south. First and foremost, you need dedicated people willing to do their best. People who will make sacrifices of time, funds, patience, and will support the festival mission regardless of their own opinion. But mostly, they had to dedicate the time. If you cannot make the time to help with a festival, then I would advise you not to try to help run one. 

But most of all, the people who staffed the committee needed to tolerate me. I am a strict adherer to the festival mission. I have made decisions about programming, guidelines, films, even choice of pizza when no one else wanted. All I ask is that you bring your full dedication. I can be a hard ass about most things, a smart ass about others, but if you can at least bring something to the table then I will ask you to come back next year. I simply ask you to do your work. Everything else should fall into line. 

Why such a fervor? 

Simple; I am tired of my Native past and culture being only the providence of white people. I am tired of the Costners and Spielbergs speaking for us when I know for a fact, through all the films I have seen, that there are far more capable Native people who can do it just as good, sometimes better, than the establishment. 

I am tired of people wanting that authorship of expertise about all things Native American as if that somehow absolves them from participation of the continued cultural decay and assimilation of Native peoples. The Indians most people want, the Indians of one hundred years ago, in the teepee and skins, no longer exist. We are the descendants of ancient tribe, but we are a part of this modern American society as well. We have to continually re-bury the dead before we can take on the present. Who we are is what we put on the screen. 

That is why I do this. That is why this festival exists. So, how can you run a film festival if you ever find yourself in charge of one? 

Read on. 

IV. “Simply Ask Them to Do Something”

Running a film festival is pretty tiring work, let me make that clear. It can be rewarding and sometimes it can be downright ugly. Most festivals have a staff of hundreds. Last year, we had a voluntary committee of twelve. Yet, last year, we were able to pull off a seven-day festival, with twelve venues, had three visiting directors and a nice “Opening” reception and we managed that with voluntary efforts of BOTH the FNFVF Committee and the venues we contacted. Plus, we came in vastly under budget. Always a good thing. 

First of all, you need some funding in place. Next decide on where you want to screen the films. We usually look to the places that screened for us in past years. Most places will charge you a fee, which is why it is good to have funding in place when we contact the venue and we agree to the terms. But sometimes, a lot of times, most places are happy to volunteer or “donate” their space and equipment because they can add that to their own promotions and grant applications. So just ask if they are willing to donate their space. You maybe surprised at the generosity of others. 

Next, put out your call for entry. We had the American Indian Center to use as our non-profit organization and all entry fees went through them. (We do not have that luxury this year.) This creates more capital for your promotional efforts. Make sure you give yourself and your committee plenty of time to screen films in addition to doing other festival business. Our process was pretty simple; is it Native-produced, and, did it entertain or inform us? Great, next. 

We reject films only on the basis of it not being Native-produced or where the person with primary creative control is not Native. Now, we have had some people argue that a well produced film or documentary about Natives can raise just as much awareness as a Native-produced one. But we are protecting that Native first-voice, always. Besides, there are a number of other festivals that will gladly screen the Costner-produced doc about Native lands rights. We are fighting for those who do not have Sundance, TNT  or Spielberg behind them. That Native kid who shot a kung-fu fight in her/his backyard. That is who we are doing this for. If that Native Kid cannot see her/his movie on a screen some day, why would she/he bother to keep making movies? Why would they bother to put out that Native voice? 

As for promotion, we decided on a logo that was easy to replicate, caught the eye, and was representative of nothing. (Especially of anything Indian-y.) Then we found ways to incorporate it into our promotional material. But what helped us out the most by far was the web site. It reached people as far away as Europe. I simply bought it through Yahoo Small Business and I can update it at home. There are plenty of free web site web sites that you can use to promote your festival. Remember, make the logo easy and eye-catching and update your website often. 

So, once you have the venues locked, the promotion set, the films selected, press releases sent, food readied, then you are ready to begin the festival. Around this time is when your committee members will start to burn out. I tried to schedule them at different venues to give them space. I, being the Coordinator, tried to make it to all the venues. But here is when a good coordinator becomes a great coordinator, because if you can inspire your committee to hang in through the darkest days of burnout without complaint, you have solid people that you can truly count on year to year. 

In the long stretch is where you see your committee shine. Many will push through and do that extra bit for you. For the FNFVF, we had a lot of outstanding people. People who made every meeting; one offered portable audio equipment, one paid out-of-pocket for some great looking programs, some made sure all the venues were looked at and some did simple things like typing, but all contributed something, whether it be cash, DVD burning, or an opinion on a film. Here is how your festival can succeed or fail depending on the people you have got working for you. 

Here you should also see the fruits of your labor come to fruition.  By no means will it ever be perfect and go off without a hitch, but it feels great to get it done and to be needed by my movie making brethren. I was able to provide a place where their voice is heard and their movies seen. And that can make all the difference. 

So, what is next for the First Nations Film and Video Festival? 

Read on. 

V. “The Future of the First Nations Film and Video Festival” 

The coming year is going to be very difficult. We are applying for incorporation. I have ended my recruitment of the very first FNFVF Board of Directors. We are working on the Articles of Incorporation and the FNFVF Bylaws. Once that is done we will try for 501c3 non-profit status. We will see what fruit this bears. 

Next we will try to make the Tenth FNFVF something special. I am hoping to get actual movie theaters to come aboard. I think it will be cool if a novice film maker got her little ten minute, DVCAM, backyard, kung-fu video on the big screen at the Gene Siskel Center. I hope we have more visiting directors and panel discussions about how to make movies in addition to discussing Native issues. 

Do I wish to go national with this festival and have it rival Sundance or Cannes? Sure. But will enough people, both Native and non-Native care enough to want to see contemporary, Native-produced films and video of a Native Kid’s kung-fu fight in their backyard?

We will have to see.

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NativeVue is going to be there…are you?

The First Nations Film and Video Festival will be featuring Rod Pocowatchit's award-winning drama, Sleepdancer. Two great guys, one great film and a pippin' festival. Not bad, superhero…

First Nations Film & Video Festival Website: http://fnfvf.com

NativeVue Articles: FNFVF Feature; Rod Pocowatchit Feature & Sleepdancer Review