VIVO Media Arts Centre Archive > Presence – A Guide to Indigenous Materials at the CDMLA > Special Collections
FNVC floppy
FNVC floppy
FNVC floppy
FNVC floppy

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Presence – A Recent Guide to Indigenous Material at the CDMLA

Special Collections

Visit the Start Your Research with the Indigenous materials guide for information on browsing and access.

You can click the green button to expand the record to view more information on any particular video and you can also control which columns are visible via the “Column Visibility” button depending on your interests. You may also download the complete media guide in various formats using the buttons below for greater ease of use.

Information about each video, such as the places and the credits, was generally compiled from viewing the video itself. The guide is therefore only a starting point for understanding the video, its producer(s) and its context.

Content Note

Please take care when navigating the guide and when accessing any archival resources. You may encounter outdated or actively harmful terminology , and other materials may depict or reflect harmful perspectives and exclusions. Videos cover multiple decades and include both Indigenous and non-Indigenous creators and contributors. You can contact us with questions, needs or concerns at library@vivomediaarts.com.

Title
Dates
Full Finding Aids
Relevant Materials
Events and Entities
Description
First Nations Video Collective fonds1990-1998http://www.vivomediaarts.com/archive/first-nations-video-collective/all materials -
1.05 m of textual material
233 photographs : col
23 3/4" video tapes
7 floppy disks		First Nations Video Access Program (FNAP), Video In Studios, Satellite Video Exchange Society, Aboriginal FIlm and Video Arts Alliance Of BC, REVAMP, Liliget Feast House and Catering, First Nations Video Access Program (FNAP), REVAMP, Aboriginal FIlm and Video Arts Alliance Of BC, Video In Studios, Aboriginal Producers Network, Knowledge Network, Association for Native Development in the Performing and Visuals Arts, Chief Dan George Society, Aboriginal Film and Video Alliance, Institute of Indigenous Government, Indigenous ARts Service Organization, Reel Cuts Newsletter, Native Americas International FIlm Exposition, DreamspeakersThe First Nations Video Collective (FNVC) was established in 1991, originally under the name of the First Nations Video Apprenticeship Program (FNVAP). FNVAP focused on acquiring funding and creating paid opportunities for Indigenous artists to apprentice and receive mentoring in the emerging art and field of video production. FNVAP began as program of the Satellite Video Exchange Society, but became increasingly autonomous and independent over its existence. In the early years, FNVAP was primarily focused on connecting emerging artists to opportunities to work with Margo Kane on her video project, The River: Claiming a Video Territory, as well as with Dana Claxton. During 1992, FNVAP also offered a workshop in Kamloops for First Nations individuals as the program began to grow beyond the original singular video project.

In 1993, the program expanded into the First Nations Video Access Program. FNAP ‘s mandate broadened to include making equipment accessible, creating training opportunities, giving mini-grants, and connecting Indigenous and First Nations producers and artists. FNAP was run collectively, with at least one member serving as the paid FNAP coordinator within the Satellite Video Exchange Society. FNAP members staffed a FNAP desk within the SVES offices at 1965 Main Street in Vancouver.

As the program grew, FNAP began to regularly offer workshops and bring in speakers, as part of its expanding vision and mandate. Notable members during this time included Zachery Longboy, Cleo Reece, and Cease Wyss. Building on the success of the networking, community and relationships nourished in FNAP as well as through emerging national networks, the collective set new goals – notably a database of First Nations video and producers, an intentional training program for individuals, a showcase, and a BC version of the Aboriginal Film and Video Alliance. During this time FNAP was involved with producing a number of videos on behalf of conferences and various collaborative projects.

In 1996, many of the original individuals began to move on, and FNAP once again shifted focus. SanDee Doxtdator became the FNAP coordinator and launched a re-visioning and renaming for the group. At this time FNAP became the First Nations Video Collective and became fully autonomous from the Satellite Video Exchange Society. FNVC produced a newsletter as well as a variety of screenings and open houses. The coordinator, guided by the New FNVC objectives and identified community needs, sought funding and support from various funding bodies, Indigenous organizations, and video community members to prepare a training course.

During 1997, the collective then ran the twelve week Intensive Video Production Course. Attendees included individuals such as Allan Hopkins, Stephanie Llewellyn, Charlotte Wuttke, Michelle Sylliboy, Tony Melting Tallow, TJ Cuthand, Michelle McGeough, Warren Arcan and Adele Kruger. The mentees each produced a short video PSA which were combined into the collaborative video work, Si”Elu”taxw . Si”Elu”taxw was screened at a number of festivals both in the pacific northwest and across the continent.

Following the production course and re-visioning, in 1998, FNVC as it was came to an end. Some past members such as Cease Wyss and Dana Claxton went on to launch the Indigenous Media Arts Group (IMAG), which also operated out of the Satellite Video Exchange Society for much of its existence. IMAG produced festivals from 1998 to 2006 showcasing the Indigenous media artworks being created and the artists who had been involved with or inspired by early initiatives like the FNVC.
SVES Documentationhttp://www.vivomediaarts.com/archive/event-documentation/thirstDays, Indigenous Media Arts Group, Vancouver Mayworks Festival, Destroy Vancouver Series, Anasemisa: UnforgettingSVES [operating as Video Inn, Video In, Video In Studios, and VIVO Media Arts Centre] has had public programming since its inception in 1973. The kinds of documentation you may find in the archive include publications, video recordings, audio recordings, photographic materials, textual records, and ephemera.

At this time, the majority of documentation is offline. For access, please contact library@vivomediaarts.com.
SVES Grey Boxes1970s-presentRelevant boxes include- A002, A004, A005, A006, A007, A012, A013, A014, A016, A025, A042, A049, A065, A086, A090, A091, A108, A132, A150, A159, A172, A180, A192, A219, A234, A243, A257First Nations Video Collective, First Nations Access Program, REVAMP, Indigenous Media Arts Group, BC Native Indian Federation, SVES Cultural Equity Meeting, Native Land Claims Tapes, Habitat Forum, River: Reclaiming A Virtual Territory, Native Arts CouncilThe organizational and administrative records of this Satellite Video Exchange Society. They have been arranged many times over the years. These records hold and reflect the decisions and activities of VIVO Media Arts. A file list for known relevant files mentioning Indigenous videos, collaborations and artists is available.
Sara Diamond fonds[194-]-[201-]http://www.vivomediaarts.com/archive/sara-diamond/
http://www.vivomediaarts.com/archive/wlhp/		Multiple publications and Women's Labour History Project files
Personal files include: SD-01-01-0004 - Native women, File: SD-04-01-046 - Minorities/Native;		The contents of the Sara Diamond fonds spans her years in Vancouver as a member of the Revolutionary Workers League, Bread and Roses Collective, Amelia Productions, VIVO Media Arts Centre, and the Coalition for the Right To View. There are extensive materials related to Diamond’s Women’s Labour History Project, Code Zebra, curatorial projects, critical writing, educational materials, and independent video art.
Women’s Labour History Project oral histories and related labour research; Media Art research; personal library. [1977-] particularly contain Indigenous materials and conversations with Indigenous women.
Prisoners Rights Group1980-1981http://www.vivomediaarts.com/archive/prisoners-rights-group/Video 909 - John Trudell AIM, Video 974 - Coalition of Native WOmen's Sit In at Indian AffairsPrisoners’ Rights Group
The Prisoners’ Rights Group (PRG) was a Vancouver-area activist group founded in 1976. Its most well-known co-founder was Claire Culhane (1918-1996). Culhane (nee Eglin) was born in Montreal, the daughter of Jewish Russian immigrants. From her youth she was active in the Depression relief movement in Quebec and became a member of the Communist Party of Canada. In the 1960s she became one of Canada’s most recognized anti-Vietnam war activists.
In 1974, she volunteered to teach a women's studies class at the Lakeside Regional Correctional Centre for Women. Her experiences there and as a hostage negotiator in the 1975 BC Penitentiary riot, led to her becoming the country’s leading advocate for the abolition of prisons.
The Prisoners’ Rights Group produced the Vancouver Cable 10 community television series Instead of Prisons between 1978 and 1983. Culhane, who hosted the program, conducted interviews with prisoners and prisoner rights advocates from Canada, the United States, and Ireland. Episoders covered resistance such as the Native Women's Sit In.
Video Guides1978-1992http://www.vivomediaarts.com/archive/video-guide/Video Guide Vol 1 No 2, Video Guide Vol 1 No 5, Video Guide Vol 4 No 3, Video Guide Vol 5 No 4, Video Guide Vol 6 No 2, Video Guide Vol 7 No 3, Video Guide Vol 9 No 1, Video Guide Vol 9 No 2, Video Guide Vol 9 No 4, Video Guide Vol 10 No 3, Video Guide Vol 11 No 1Native Media Society, World Council of Indigenous Peoples, Cinema for Social Change, Electronic Totem, Native American Film and Video Festival, BC Native Film and Video Association, Chief Dan George Memorial SocietyPublished 1978-1992 by the Satellite Video Exchange Society (VIVO), Video Guide chronicled the convergence of the Canadian west coast alternative video scene and its national and international counterparts.
Current: Feminist Electronic Art Symposium2017-presenthttp://www.vivomediaarts.com/archive/current/The CDMLA holds electronic organizational and documentation files of CURRENT 2017-2019. Further accruals are expected.CURRENT is a multidisciplinary and intersectional music and electronic art symposium working with women and non-binary artists in Vancouver and the Pacific Northwest. Its primary organizers are Ashlee Luk, Soledad Muñoz, and Nancy Lee. The first iteration of the project was a 3-day music and arts showcase featuring events, panels, youth mentorships and workshops, which took place July 28th-30th, 2017.
Women in Focus - Reference Libraryhttp://www.vivomediaarts.com/archive/women-in-focus-reference-library/Native Film IssuesWomen In Focus (WIF) was a project of the University of British Columbia’s Women’s Office Collective. In September 1974, recent graduate Marion Barling with Jeanette A. Auger began a media production training program under that name. Financed by the Secretary of State, Women In Focus launched a series of workshops to train women in audio-visual production through the newly established community cable station, Cable 10. The aim was to produce a series of half-hour cable shows reflecting women’s experiences. The result were 32 episodes covering a broad range of topics. The Women In Focus series was broadcast on Cable 10 in 1976 and made up the Women In Focus Audio-Visual Library available through the Women’s Office at U.B.C..