Wapikoni celebrated 20 years of empowering Indigenous youth with a gala event in Montreal’s Marché Bonsecours November 21 alongside dignitaries, artists and long-time allies. Performances and award-winning film excerpts demonstrated the non-profit organization’s transformative impact.
“Wapikoni has given so many Indigenous youth a space to thrive, to be heard, and to reclaim their identity,” said new president Catherine Boivin. “This anniversary is a celebration of resilience and creativity that enriches our society and brings us closer together.”
Wapikoni Mobile is named for Wapikoni Awashish, a promising Atikamekw filmmaker who co-founder Manon Barbeau had been working with in 2002 when she died in a car accident at age 20. Two years later, Barbeau launched Wapikoni – meaning “free-flowing flower” – with the Atikamekw Youth Council and other partners like the National Film Board to give youth a place to gather and create.
The nomadic workshop started in a holiday trailer with a sound studio installed in the shower. Mobility is key to its accessibility for often isolated Indigenous communities – the trailer has even travelled by boat to some locations. Bringing that technical capacity to community members with stories to tell builds their artistic and leadership skills, while elevating cultural knowledge and awareness of social issues.
Anishinaabe rapper Samian credits Wapikoni’s 2004 stop in Pikogan as a turning point in his life and career, reconnecting him with his roots and activating his power as a changemaker. Now a Wapikoni spokesperson with music, photography and acting accolades, he performed at the Montreal anniversary party.
“Wapikoni opened up new horizons and laid the foundation for a career built on pride and advocacy,” Samian told the Nation. “None of it would have been possible without this opportunity. It’s a beacon where dreams take shape and voices that are often overlooked finally have the chance to be heard.”
Wapikoni’s three trailers have now visited over 55 communities, including stopovers in various South American countries. It’s facilitated the creation of more than 1,500 films and 900 musical works that have earned 261 international awards and contributed to the personal and professional development of countless Indigenous collaborators.
“For the past five years, we have developed mentorship opportunities in big film projects,” noted director general Véronique Rankin. “We love to work with Indigenous production companies. The first step is making a short film, then they have to go to trainings and work to develop their skills.”
Each mobile studio is equipped with an editing station, a small sound studio, a screening and projection area, HD cameras and microphones, and computers loaded with filmmaking software. “Mentor filmmakers” work with local coordinators and assistants in each community they’re invited to, holding open houses and encouraging exploration.
Wakiponi is now featured in Montreal’s prestigious Place des Arts programming, while a partnership with Netflix has yielded professional development training. Longtime Wapikoni collaborator Sonia Bonspille-Boileau recently produced Pour toi Flora, Radio-Canada’s first all-Indigenous series.
“Now we know we have an impact and not only Indigenous people but also non-Indigenous want more of our stories and music,” asserted Rankin. “Like in Place des Arts, they are interested in how they can make us a place to be seen and heard. There are a lot of opportunities to take if youth are interested.”
Wapikoni visits 10 to 15 communities a year, solidifying connections by returning to each of them the following year while adding a new destination annually. Rankin said they try to limit absences to five years. During the Covid pandemic, they introduced a virtual studio that pairs creators with mentors from a distance.
“With this kind of studio, we can be more present with them,” Rankin suggested. “Even if we don’t go to the community, they have the chance to apply, propose a project and be selected to one of our virtual studios we’re helping with tools like Zoom.”
Community members of all ages may be the director or subject of Wapikoni creations – Chisasibi artist Dinah Sam’s 2020 five-minute documentary The Hands of an Elder advanced to international film festivals. Sam gained further experience as an intern on the set of APTN’s Warrior Up.
“Working with Wapikoni opened my eyes to working in the industry,” Sam said. “The last festival [my film was] shown at was last year in Mexico – I am truly amazed and proud it is still getting seen all over.”
Between August and October, the mobile studios touched down for nearly month-long stays in Chisasibi, Wemindji and Mistissini. Jason Swallow, who first knocked on Wapikoni’s door to make a music video in 2013, was happy to help as Mistissini’s local coordinator. His supporting role included time as a drone pilot.
“I felt nostalgic when they came back,” said Swallow. “They told me Mistissini is unique because we invite them to come over here. Most of the kids go record some stuff or play around with music in the trailer. Some sit around the tables and ask how the film industry works.”
Swallow turned his early video experience with Wapikoni into full-time employment at the local James Bay Cree Communications Society radio station. That expertise with lighting and camera angles informed the project he developed with Wapikoni last year, a short film called Broken Reflections.
“After we made that film, they asked if I wanted to send it to film festivals,” Swallow explained. “Wapikoni does that for free. I got into three; I went to [Montreal’s] Fantasia in July. Getting into these festivals showed people like my stories.”
Each month’s residency is capped with a screening of the new films and videos. On October 16 at Wemindji’s community hall, films by Leslie Mayappo Jr. and Clyde Visitor, Moses Stewart, Silas Katapatuk, Ashley Mark-Ottereyes and Mario Blackned were shown.
After writing scripts for three years, Mistissini’s Ezekiel Mianscum was ready for Wapikoni with Silent Shadows, about a youth trapped in the life of a hitman. While the six-minute version was recently screened, Mianscum said he’s still working on the longer director’s cut with music by Franklin Moar (aka Vangorian) – and the sequel.
“It was surreal to watch something I’ve written be acted out,” said Mianscum. “I did the theme song. [Wapikoni] helped with the editing and the filming in early October. I want a career in this. It made my filmmaking dream come true.”