Session 125 summary
imagineNATIVE is the largest Indigenous film festival in the world. It has been running for 24 years as of 2023, and it takes place in the third week of October every year. The festival’s activities primarily occur in downtown Toronto, with screenings held at the TIFF (Toronto International Film Festival) Lightbox. The Toronto International Film Festival is hosted in the same space but a month earlier.
While imagineNATIVE primarily presents screenings, it also includes talks, Q&A sessions, exhibitions, live performances, and art events. Additionally, there are Industry Days throughout the week where film professionals interact with industry experts. These interactions include pitching presentations, listening to panels, and participating in networking events, making it a valuable connector space. All the works and artists presented at the festival are Indigenous. A key requirement for participation is that the creative director must be an Indigenous person, and the festival showcases works from around the world. In addition to the annual festival, imagineNATIVE organizes an annual tour of selected works, curating and packaging films to take to different communities. This year (2023), they partnered with the National Film Board of Canada to present VR works. Besides films, imagineNATIVE also showcases video games and VR storytelling, making it one of the few film festivals to explore these mediums with Indigenous creators.
The Industry Day series is run by the Institute Program at imagineNATIVE, which offers year-round support through writers’ labs, directors’ labs, producers’ labs, story editor labs, and mentorship opportunities for filmmakers. The Institute is primarily funded by Netflix, providing significant professional development opportunities and serving as an incubator space for new and emerging Indigenous artists.
The importance of imagineNATIVE lies in its structure as an Indigenous-led organization, a rarity among not-for-profit arts organizations. Naomi Johnson, the Executive Director, is Mohawk from the Six Nations reserve in Southern Ontario. Currently, about 70-75 percent of the staff at imagineNATIVE are Indigenous, with 100 percent of the leadership and the majority of the board comprising Indigenous people from across Canada and the U.S. This Indigenous leadership is crucial as it ensures self-determination and a deep connection to their communities. This connection provides a better understanding of authentic storytelling and appropriate presentation of Indigenous narratives.
For decades, Indigenous people have been excluded from controlling how their stories are told, leading to stereotypes, misrepresentations, and stories that were not handled with care. The existence of imagineNATIVE combats this historical exclusion and misrepresentation. Naomi recalls her university days when she had to assert her identity against those who doubted the existence of Indigenous people. This experience highlights the ongoing struggle for recognition and representation. As imagineNATIVE connects with other Indigenous festivals worldwide, it becomes evident that while they are at different stages of progress, they share common histories and challenges. Naomi can authoritatively speak about the importance of self-determination and the opportunity to platform Indigenous stories, reflecting her personal journey and the broader mission of imagineNATIVE. Naomi Johnson is Mohawk from the Six Nations in Southern Ontario, where she has lived most of her life within her community. Canada has a troubling history with residential schools, a system that operated for over a century. The school in her community started in 1828 and closed in 1969. Residential schools were government and church-operated institutions designed to assimilate Indigenous children by removing them from their families, Christianizing them, and ensuring they spoke English. The aim was to strip them of their Indigenous identity and culture, making them identify as Canadians and Christians. The long-term effects of this system on Indigenous communities are profound. Children were taken from loving environments, resulting in widespread trauma and disconnection from cultural roots. Every Indigenous community in Canada has been impacted by this history. Until recently, this story was not widely known. The Truth and Reconciliation Commission of Canada was established to educate the public about this history and its ongoing effects on Indigenous communities.
Naomi’s personal history contextualizes the importance of having Indigenous-led organizations like imagineNATIVE. It is vital to have a platform to present works and support artists, particularly when these stories are deeply personal and often traumatic. Presenting these narratives with care and understanding is essential. Naomi emphasizes that there is not a single Indigenous person unaffected by the residential school system, which only ended in 1996 with the closure of the last school in Saskatchewan. This recent history underscores the need for Indigenous self-representation and storytelling.
From Naomi’s international perspective, the recognition of Indigenous peoples varies widely. In some countries, the very existence of Indigenous people is not acknowledged, often due to the benefits certain groups gain from denying their presence. In contrast, Canada, while not funding enough, does support artistic organizations and activities more than many other countries Naomi has visited.
At imagineNATIVE, funding is split roughly 50-50 between public and private sources. Public funding comes from the Canada Council for the Arts, the Ontario Arts Council, and the Toronto Arts Council. They also secure numerous grants for various projects and staff retention. The other half of their funding comes from the private sector, including corporate funding, foundation support, and donations.
Currently, imagineNATIVE operates with a year-round staff of about 18-20 people. However, during the festival, they hire an additional 35+ staff on contracts and enlist over 200 volunteers to help manage the event. Organizing a major event or festival involves numerous moving parts, and Naomi is very grateful for her dedicated and fabulous team.
The purpose of imagineNATIVE extends beyond providing a platform for Indigenous artists; it also serves to share Indigenous stories with the world. These narratives are crucial for everyone. For too long, histories and stories have been presented from a mainstream, formulaic perspective, often adhering to Hollywood structures. There is a wealth of richness in Indigenous storytelling, both in content and method of delivery that the world needs. This fresh perspective brings much-needed diversity and depth to the global narrative landscape.
Naomi Johnson took over as Executive Director of imagineNATIVE in 2020, following a year as Associate Director in 2019, during which she was trained as part of a succession plan by the former Executive Director, Jason Ryle. Taking on the leadership role in 2020 was challenging due to the global circumstances that year. However, in the past year, she has been able to engage more with the international ecosystem of festivals, recognizing a global network of Indigenous film festivals. These festivals collectively advocate for self-determination in their work.
imagineNATIVE is known as a central gathering place for Indigenous filmmakers and artists, where they can celebrate and support each other’s work. The festival is a leader in how it presents and what it presents, providing a crucial space for emerging talent. Many co-productions have originated from the festival, such as collaborations between filmmakers from Canada and New Zealand. In 2019, imagineNATIVE became the first Indigenous film festival, and one of the few in Canada, to have its live-action short film category automatically qualify for Academy Awards consideration. Naomi is very proud of the organization, acknowledging that she is building upon a foundation laid by many before her. She sees her role as steering the ship, and she takes great pride in the impactful work being done at imagineNATIVE.
How did imagineNATIVE begin? I know you weren’t there at the start, but could you explain how it came about? Was it always in its current form as a festival, or did it start as something else and evolve over time?
imagineNATIVE was co-founded by Cynthia Lickers-Sage, a woman from Naomi Johnson’s community at Six Nations. At the time, Cynthia was a photography student at the Ontario College of Art & Design University (OCAD) in Toronto. VTape, an organization that archives and houses a vast collection of films and tapes, played a crucial role in the festival’s inception.
About 24 years ago, it was very challenging to get Indigenous films and art presented in Toronto. The ecosystem was far less supportive than it is today. In response, Cynthia decided to take matters into her own hands and, with the partnership of VTape, started imagineNATIVE. The early days of the festival were much smaller and more modest, typical of many grassroots initiatives. A collective of passionate individuals came together, found a theater willing to show the films, and began to create what has now grown into the world’s largest Indigenous film festival.
What was the initial reaction to imagineNATIVE when it first started? How did it gather the momentum to become what it is today? Did the festival start in the same location where it is currently held, or did it begin elsewhere and eventually move to its current venue?
imagineNATIVE’s operations, including its offices, are still located in the same space where it originated. The organization is housed in the 401 Richmond building, an old textile factory converted into a vibrant arts hub. Located at the intersection of Richmond and Spadina in Toronto, this building hosts a variety of arts organizations, galleries, and festivals across its four levels (five with the basement). It is a dynamic place that stands out amid the surrounding condos, offering a homey and authentic atmosphere. Within this building, imagineNATIVE shares space with other notable organizations such as the Reel Asian Film Festival, SAVAC, FADO (a performing arts organization), and VTape. This collaborative environment has contributed to the festival’s growth and momentum over the years.
The support for imagineNATIVE in its early years stemmed from the essential role that arts and festivals play in gathering and bringing people together. Despite initial uncertainties about a career in the arts, Naomi Johnson has found stability and security in this field, especially in the face of modern concerns like AI taking jobs. Festivals like imagineNATIVE bring humans together, creating a unique vibe and feel that has been crucial to its success. The festival filled a significant gap, as there were no venues for presenting Indigenous art and film when it first began. It became a necessary space, offering a home where Indigenous people could connect and showcase their work, fostering a sense of community and shared purpose.
You mentioned the Hollywoodization of storytelling and the stereotyping of Indigenous narratives. Can you discuss some of the common stereotypes you’ve encountered or observed in Indigenous stories?
Naomi Johnson reflected on her experiences at the Woodland Cultural Centre, located on her territory at Six Nations. Her early career involved various roles there, eventually becoming the Artistic Director. The Centre is situated on the site of the former Mohawk Institute residential school, which closed in 1969. After its closure, the building was returned to Six Nations, and the community had to decide its fate. While some communities chose to demolish such buildings, Six Nations opted to preserve the school, transforming it into a historical site that educates visitors about its history.
In 1972, shortly after reclaiming the building, they established it as a cultural center with a library, Indigenous language programs, an art gallery, and a museum. One of Naomi’s favorite tasks was guiding tours through the museum’s stereotype section, which displayed Hollywood imagery of Indigenous people. These images included posters from “cowboy and Indian” films that often depicted a mix of totem poles, teepees, and war bonnets—items from different Indigenous cultures that were inaccurately jumbled together for visual appeal. Hollywood directors, in their quest for flashy and visually interesting content, often disregarded the accuracy of the nations they portrayed. Additionally, Indigenous roles were frequently played by non-Indigenous actors, such as Chinese actresses, a practice that persisted into Naomi’s childhood and, unfortunately, still occurs today.
Naomi emphasized that these stereotypes and misrepresentations are still prevalent and that we are in the early stages of correcting them. The fight against these inaccuracies is ongoing, and imagineNATIVE plays a critical role in presenting authentic Indigenous stories and perspectives.
How does imaginative thinking influence Indigenous films today? Have you observed a shift in the portrayal and production of Indigenous films showcased at imagineNATIVE?
Naomi believes that the core of imagineNATIVE’s existence hinges on the requirement that all participating creators must be Indigenous. Filmmakers need to come from their own communities and be Indigenous directors for their work to be considered. This ensures that audiences attending the festival know they will be seeing authentic works created by Indigenous people, rather than stories presented by non-Indigenous individuals who may lack genuine knowledge and understanding of the culture and narratives being portrayed.
What are the audience reactions when they attend imagineNATIVE seeking authentic portrayals and stories from Indigenous communities? Do you see many newcomers each year, and how do people typically respond when experiencing the festival for the first time?
Naomi often hears attendees express sentiments like, “This is my favorite festival” or “I love this festival.” She attributes this response to the unique atmosphere created by imagineNATIVE, where Indigenous food and warm interpersonal interactions foster a sense of authenticity and connection. In contrast to other film festival circuits she’s encountered, which often feature hyperactive networking, imagineNATIVE stands out as a more genuine space where people can truly engage with the art and each other.
Grateful for opportunities to advocate for the organization and its artists, Naomi frequently travels to different festivals, bringing curated selections of works showcased at imagineNATIVE. She notes that audiences often approach her afterwards, expressing fascination and curiosity about the films they’ve seen. These interactions reinforce her belief in the importance of showcasing diverse perspectives in the art world, as they inspire and enrich viewers in meaningful ways.
How has imagineNATIVE supported creators and artists over the years? Have you observed an increase in people seeking assistance, and how have you facilitated collaborations, including international ones? What impact has this had on the creators?
Naomi believes imagineNATIVE has significantly supported creators and artists over the years. The organization initially focused on presenting works, but has since expanded to include the Institute, which offers professional development opportunities. Canadian funding often stipulates support for Canadian creatives, which ties the organization somewhat. However, thanks to Netflix, they have been able to open one of their labs, the Feature Script Lab, to international entries.
A recent example of the impact imagineNATIVE has had is Gail Maurice’s film “Rosie.” This film began its journey in one of the Institute’s support labs. It continued to develop and eventually became the closing night film at this year’s festival. During her speech, Gail Maurice acknowledged that her film would not have come to fruition without imagineNATIVE. Moments like these reinforce the organization’s mission and the importance of their work.
How has the mainstream media responded to the growth of imagineNATIVE? Have they been supportive, or what has the reaction been like?
Particularly, June is a significant month for imagineNATIVE. In Canada, it’s Indigenous Heritage Month or History Month, so imagineNATIVE receives a lot of media attention during this time. It’s a hectic month for Naomi because there’s a strong desire to say yes to all the opportunities that come their way. Over the years, she has noticed that as the average Canadian becomes more educated about Indigenous issues and history, spaces have become more welcoming and supportive. Naomi is very grateful to be working in this space now, as it seems the environment is more receptive and supportive compared to the challenges faced by her predecessors.
What is the perspective of the First Nations towards the tribal communities of India? Have there been any significant exposures or collaborations between the two that you can discuss?
No, there haven’t been any significant collaborations. This is a major reason Naomi agreed to participate in this activity. For context, it’s Sunday and Father’s Day, but she felt this was important because she would like to see more Indian films and Indigenous people from India represented at the festival. Naomi acknowledges that she doesn’t know enough about these communities and hopes this will be the start of more meaningful connections and collaborations.
What is the deadline for submitting films?
The deadline for submitting films is every spring, typically at the end of May. The festival accepts a wide range of submissions, including short films, narrative films, documentaries, and audio works like podcasts, video games, AR, and VR works. There are awards for all these categories. Last year, the festival awarded a total of $67,000 CAD across 17 awards. They strive to bring in the artists whose works are selected, especially if they are asked to present. Additionally, 100 percent of the films are accessible through closed captioning or subtitling.
Could you provide insights into the content on Netflix created by indigenous creators that audiences can access?
There are definitely films by indigenous creators on Netflix and across various other platforms. In Canada, platforms like Crave, which is akin to HBO Max, also feature curated playlists that imagineNATIVE contributed to in the past. Airlines such as Air Canada have also approached them to curate playlists featuring films showcased at the festival. So, imagineNATIVE often serves as a go-to for these kinds of requests.
Could you recommend some specific films or where should one begin exploring indigenous creators’ content?
Naomi can certainly provide recommendations, but for detailed information, one can visit their website at https://imaginenative.org/ .
How does the funding from the Canada Arts Council and other sources influence your organization? Are there specific requirements or expectations tied to this funding, such as deliverables or outcomes?
In Canada, the funding landscape varies by province, but generally, organizations like ImagineNATIVE need to navigate both project-based and operating funds. Gaining access to operating funding typically requires demonstrating a track record of successfully managing project grants. These funds support essential operations, including staffing. Each funding stream has specific guidelines, such as allocating a certain percentage to administration versus artistic endeavors, which must be meticulously documented and reported annually.
Every few years, ImagineNATIVE undertakes a comprehensive grant application detailing their past, current, and future activities to secure ongoing operational support. Additionally, for special initiatives like the Indigenous artists directory, specific project grants are sought from entities like the Canada Council for the Arts. This directory, slated to launch at the upcoming 25th festival, will highlight Indigenous directors and creators, showcasing their festival contributions, awards, and more—a significant project currently in development.
How does ImagineNATIVE support filmmakers, documentarians, or podcast creators seeking funding for their projects? If someone approaches ImagineNATIVE needing financial support to create a film, documentary, or podcast, what steps can they take and how does ImagineNATIVE assist in this process?
ImagineNATIVE does not provide funding directly; rather, they focus on presenting Indigenous works. For those seeking financial support for their projects, there are various funding bodies in Canada that can be approached, such as the Toronto Arts Council, Ontario Arts Council, Canada Council for the Arts, and the newly established Indigenous Screen Office, which started operations the previous year. These organizations specialize in funding Indigenous talent across Canada.
About the Speaker
Naomi Johnson
Naomi Johnson is the Executive Director of imagineNATIVE. Naomi Johnson, Kanien’kehá:ka (Mohawk) Bear clan from Six Nations, has worked in the arts for nearly fifteen years as a curator, arts administrator, professional artist, and community arts facilitator. Naomi served as Artistic Director for seven years and then as Co-Executive Director (2018) of the Woodland Cultural Centre, where she curated and programmed annual exhibitions and performance art events. In June 2019, Naomi accepted the position of Associate Director for imagineNATIVE – the world’s largest Indigenous media arts festival, enjoying the unique and rewarding opportunity to be mentored by the then-outgoing Executive Director, Jason Ryle. In June 2020, she assumed the role of Executive Director for imagineNATIVE and serves as the administrative lead of the organization, whose mission is to showcase, promote, and celebrate Indigenous filmmakers and media artists.
imagineNATIVE is the world’s largest presenter of Indigenous screen content. The organization is recognized locally, nationally, and internationally for excellence and innovation in programming and as the global centre for Indigenous media arts. imagineNATIVE (legal entity: The Centre for Aboriginal Media) is a registered charity committed to creating a greater understanding of Indigenous peoples and cultures through the presentation of contemporary Indigenous-made media art, including film, video, audio, and digital media.
