Surviving Columbus: The Story of the Pueblo People; Behind the Scenes, 3 and Interviews with Diane Reyna and Nedra C. Darling

Yes, it's just that's the way it is. Where do you have her from about here up? From around about there up there up. Perfect. Well, that case, yeah, you can leave it. On that clouds and people in the background. Do you have those nice clips? A little bit of a discarpment back there. Discarpment? That's what it's called, discarpment. The clips? Yeah. Oh, okay. Well, then I, that's fine. Okay. You can have your hands in front of you if you want. You feel better that way. So, okay. What do you personally do after this? I personally go back and teach as soon as possible. I mean, I'll be teaching even before this product is over. So, I'll be doing a lot of teaching for the next year, mostly technical and more now about the process from beginning to end of a production. And so, mostly that's my intent is to go back and teach. Okay. And, do you want them to be quick? Yeah, sure. You got it. Okay. Can you do that again real quick and put your hat back your hat again?

Okay. This is highly directional, isn't it? What? This mic? Yeah. Is it highly directional? Mm-hmm. Okay. This is tilted back. Yeah. Super cartoid as they say in the business. Okay. Okay. Kind of like a discarpment. Okay. What if? Okay. Okay. Okay. What are you personally going to be doing after this work? Hold on. You got a little bug. Okay. Sorry. Okay. Where do you go from here? Where do I go from here? I go back to teaching video production at the Institute of American Indian Arts. I'll be in actually teaching before this production gets over with that out of the fine offline editing. So, that's my main, main thing in life is teaching other native people the works. Okay. Shhh! Be quiet down there! I know. I know. I have two more questions. And okay. What, and do you have any projects coming up that you are, besides teaching, that you're contemplating working on or? I would like to, besides teaching, I would like to work with the women that I've known

at Native Images and developing programs and productions in the future. Okay. You're going to have to say like Native Images, which is part of IA in San Jose, okay. Nice if you mention it. It's just American Indian art. Okay. Okay. I'll put you hat back. Okay. If they're, besides teaching and mentioned the fact, besides teaching. Okay. What are the projects are you involved with? Okay. Besides teaching, I would like to work with the women at Native Images in, at the Institute of Marketing in Arts and Santa Fe in helping them develop programs and productions that of and by Native people in the, in the country, but since we're in New Mexico, I'd like to work on projects in New Mexico. Great. Great. Did you know about the women's program? Was that it? Developing the women's program and if you want that, you want it. A women's program and American Indian women's program. Only because if we do it for fun. Okay. I'm not in. I didn't. Just go by.

Okay. And say in Adredarlink, is it? Okay. Besides teaching, I'd like to work with the Adredarlink and the women at Native Images in Santa Fe at the Institute of Marketing in Arts to develop programs, develop maybe a program on Native women specifically, but also to work specifically with tribes, with communities, tribal communities, with their programs and not necessarily for the mainstream, but for the community themselves. Okay. Why do you think there's so few Native American directors? I think opportunity and experience. Okay. I think there are, I think there are, the reason why, I think the reason why there aren't many Native people in positions of directors and producers and things like that. It has to do with opportunity and experience and population and priorities in their lives, you know, a lot. I mean, I think the finest example of tribal people are those who stay in their communities. And those of us who go out, you know, we, we want an opportunity to serve our communities too while we're out here. So that's why I'm out here doing what I do.

Great. Yes, yes. Do I have my reroll? We'll find whatever. I'm Ned Redarlink and I'm Prairie Band Potawatomi from Oklahoma. Of course, our reservations in Kansas, Mayada, Kansas. And I'm the director of Native Images at the Institute of American Indian Arts in Santa Fe. And what do you mean, talk about this? Okay. Native Images is a center within the Institute of American Indian Arts that is dedicated to the multimedia that is needed in Indian country. At this point, we only have video and film and computer graphics studies under our center as a production center. But we hope this will spin off and be the multimedia center needed for the jumpstart of communications in Indian country.

Is the purpose to produce things just for Indian country? Or is it to produce, or is it to as an educational tool for young Indians? Or is it so that all of America, as a mixture, can see a final product from Indians? All of those. We see Indian country implies it's only for you. What it is, it's a center that coincides with the academic of the Institute of American Indian Arts. Our center, not our center, is focused. Yeah. Native Images is the National Center for Production of Native Images, which is a video, film, and computer graphic production center at this point. Eventually, we hope that it will be a true multimedia center addressing the communication needs in Indian country and for Alaska natives. We as Indian people, many of us had our languages taken away from us many, many years ago. So in whatever language we can communicate today

in English, which is intertriple, we help that we will have the medium to do that. And that is why we have a center at IIA. We have many, many students that are in the Communication Arts Department. And we take our second year students in that department and train them. And that's why surviving Columbus has been extremely important to us at the Institute of American Indian Arts and particularly Native Images. We have trained over 10 students on this production. We have had a camera assistant that is Hopi, work on this production myself, as a co-executive for production, Diane Reina, who is our director on this project, former director George Bordeaux, who is no longer with Native Images, but there was a key person in bringing this project to Native Images in the Institute of American Indian Arts,

and Lynn Toledo, who was our production manager throughout this production. On the other side, we had co-people existing with us from K&M. And brought to us those that had the cultural awareness and talent, a very technical side that we did not know. And if we knew that we knew it in a very small scale, and I can honestly say that we now have acquired the experience and the understanding of what public broadcast standards are, we have been able to create a shoot as you've seen today, re-enact. We've had the talent here from several pueblos surrounding the area today. And that, again, that shows the support from not only the non-Indian side, but the Indian side of this project. For me, I've been living in Washington, D.C. for the last 10 years, and I've been here for a year, and I too, like Diane Reina, didn't expect to work on this project. But we've all been sent here, and we've been sent here for

a reason. And I think that reason is to be the vehicle of this production to the world at large. As another Indian person, I'm kind of jealous. No, I'm not jealous. I'm very proud and honored to work on this project. As an Indian person, as a potawatomi person, I'll say, to do a story of the pueblo people, it's been a true honor for me. Hold. That's it, sorry. Let me get a bug. Bugs and everything, and I have shadows between your breasts and all sorts of things. I'm a back show. Show us a stretch. Okay, are you seeing this? You want me to turn? No, just, Randy, are you seeing this? Let's, let this way, let's go. All right, now I stay. Are you still getting her? Okay, how about here? Prompt me. Okay, as a potawatomi person, I'm very proud. Yeah, as a potawatomi person, being an executive producer or for no, don't say that. No, no, no, no, that's our dorsely discharge project. I've got phasing into something else. As a potawatomi Indian,

as a potawatomi tribal member, as a potawatomi tribal member, as a potawatomi tribal member, it's truly been an honor for me to work on this project about public people, to show the world at large the wonderful commitment to the land, the community, and the intact of the language of the public people has been amazing and truly fascinating for me as an outsider looking in. And I, just to be the vehicle to tell the story through our production team has been truly the honor in it all. And I want to thank K&Mee, and IIA, and all the people involved, but I think foremost, I think the poodle people, and I thank them for surviving for so many years, so that the story could be told. I also want to thank PBS, who made this help to make this all possible. Okay, sure. And you might

and talk about Quince and Teniel, it is actually airing on the actual Quince and Teniel. Now, if K&Mee and the Institute of American Indian Arts had been able to do this on their own finances, we would have. But of course, we weren't, and I guess I have to thank, so Mr. Oliver. Yeah. If K&Mee and the Institute of American Indian Arts had been able to fund this project ourselves, we would have done that, because we believed in the project on both sides. Okay, and actually, if you're going to mention PBS. Okay. Ready? Okay. The potential for an audience to view this film has to be one of honor in a way, because it has been casted, but oh, geez. Hang on. Wild Indians. This is crazy. We're about to lose light now. Okay. Two, um,

okay. Wait, wait, you're casting a shadow on me. Oh my god. The most exciting thing about this project is the date of airing and that date is October 12th. What's not the most exciting thing? Okay. One of the most exciting things about this project is the air date, which is October 12th, 1992 Columbus Day. And I want to thank PBS for their enlightenment of how strongly they feel about this particular project and slotting it for that time zone, because I think everybody needs to see this. It's not just an Indian story for Indian people. It's not just a story for those interested about the Southwest. It's truly something that founded this country, and it must be seen. Yes. Yes. Did that do it? It's not rolling. I'm just very excited over the sound, but sorry.

Okay. Last quote. We would not have been able to make this without the help of the following, um, the financial support of the following, um, entities, PBS, the, um, what'd you say? Okay. So I think Columbus would not have been possible, except for the financial support of surviving Columbus would not have been possible without the financial support from the public broadcasting system, the corporation for public broadcasting, the Rockefeller Fund, and the Native American Broadcasting Consortium. You can say PBS. Oh, okay. Okay. Um, the CPB, the corporation for public broadcasting. Save both of those for anyone. Okay. So just start there. The generous support. Okay. Surviving Columbus really would not have been made possible. Just make it very often. Okay. Yeah. Surviving Columbus would not have been possible without the funding from public. Oh, yeah. That's okay. Go. Yeah. Public. Okay. Start all over. Yeah. Surviving Columbus

would not have been possible without the generous support of PBS, uh, public broadcasting system, CPB, corporation for public broadcasting, the Rockefeller Fund, and the Native American Public Broadcasting Consortium. And the wonderful in kind from K-N-M-E, the University of New Mexico, the Institute of American Indian Art, and the wonderful people that committed themselves to this project from the staffs of K-N-M-E, and the Institute of American Indian Art, and our families. Our families have survived us, producing, surviving Columbus. And I want to thank all of our families because we at the airing of this, we are all going to celebrate and be home with them, and we have it been for a while. Thank you. Great. Great. Great. Great, great.

But wait, let's give it a try. We can roll this out. All right,ten bite! Oh, that was awesome. All right, bye-bye. Well, I know you're not going to knock it off, though. He's not going to go down anywhere. OK, watch your shield, then.

You're just going to continue to struggle, both of you. OK, standing up. I'm going to go down. You're going down. OK. Good. OK, OK, OK. It's just pretend. Oh, man. Right, now go down. All right. Back. I don't think I hear my phone calling. Halt. Haha! Oh, Third! Six, seven!

Five, eight! Six, seven, leave one out of the way! I'll tighten the ground this time, I'll tighten it down this time, so there's some more. Action! Action! Action! Action! Action! Action! Action!

Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! Action! The Use his lip. You've got about 30 to 40 seconds.

And just keep an eye on it. When it gets close, you guys start shooting. As soon as they start shooting, the family starts going down the hill. Dominic, instead of going down the hill, go north. Okay, go guys. Go north. Go north. Go north. Go north. Yeah, go. Start shooting. We've got one more going, guys. Hack like your loads. Take rammers and shove them down. Get another one coming. Somebody fall down.

There we go. Water up here. Andrew, are you loaded? Okay, let's get started with you. Let me get a shot with you. While we're there doing that.