The drums of winter (Uksuum Cauyai).
(Unknown)
Contributors
Published
[San Francisco, California, USA] : Kanopy Streaming, 2014.
Format
Unknown
Physical Desc
1 online resource (1 video file, approximately 90 min.) : digital, .flv file, sound
Status
Unavailable/Withdrawn
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More Details
Language
English
Notes
General Note
Title from title frames.
Date/Time and Place of Event
Originally produced by Documentary Educational Resources in 1988.
Description
This feature-length documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. The drums of winter gives an intimate look at a way of life of which most of us have seen only glimpses. Dance was once at the heart of Yupik Eskimo spiritual and social life. It was the bridge between the ancient and the new, the living and the dead and a person's own power and the greater powers of the unseen world. In The drums of winter, the people of Emmonak tell us through actualities and interviews how their history, social values and spiritual beliefs are woven around the songs and dances that have been handed down to them through the generations. We also learn that it is not just old songs that are important; new songs and dance movements are created to reflect modern life with all its complexities. Each time a person gets up to dance, he is strengthening the continuity of the ages, and insuring the survival of his culture. The film follows the elders of Emmonak as they prepare for the coming ceremonial gathering (potlatch) with a neighboring village. In the Kashim (qasgiq or men's house), they practice their songs and painstakingly work out the motions of the dances. Each movement has meaning and plays a part in telling a story. In the days before television, radio, bingo and weekly basketball games, dance was the sole means of entertainment. Throughout the film, archival photographs and film footage accompany the words of early missionaries who brought Christianity to the area. These sequences provide a historical context for the film and give us a strong sense of the resilience of Yup'ik culture, having survived despite a century of missionary suppression. Film Festivals, Screenings, Awards: The Best of the Mead, Margaret Mead Film Festival, Osaka, Japan, 2000; Third Prize, Nuoro Ethnographic Film Festival, Nuoro, Sardinia, 1998; Best Feature Documentary, Best Documentary Director, Best Cinematography, Festival of the Native Americas, Santa Fe, 1996; The Heritage Award, Alaska International Film Festival, Anchorage, 1995; Award of Excellence, American Anthropological Assoc. , New Orleans, 1991; Special Commendation, International Ethnographic Film Festival, Manchester, UK, 1990; Grand Prix Best of Festival,Third International Arctic Film Festival, Fermo, Italy, 1989; First Prize, Blue Ribbon,American Film Festival, Chicago, 1989; Silver Apple Award,Educational Film and Video Festival, San Francisco, 1989; The Northern Lights International Film Festival, Anchorage, 1996 Parnu International Visual Anthropological Festival, Parnu, Estonia, 1991 Hawaii International Film Festival East-West ; Center, Honolulu, Hawaii, 1989 Neighbor Islands Festival Week of the Hawaii International Film Festival, Kauai, Kona, and Hilo, 1989; Anthropos International Film Festival, Los Angeles, 1989 Musica Dei Popoli Festival of Ethnomusicology Films, Florence, Italy, 1989 Tallin International Ethnographic Film Fesival, Tallin; Estonia USSR, 1988 Margaret Mead Film Festival, American Premier, New York, September 1988. Filmmaker: Sarah Elder, Leonard Kamerling.
System Details
Mode of access: World Wide Web.
Citations
APA Citation, 7th Edition (style guide)
Kamerling, L., & Elder, S. (2014). The drums of winter (Uksuum Cauyai) . Kanopy Streaming.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Kamerling, Leonard and Sarah, Elder. 2014. The Drums of Winter (Uksuum Cauyai). Kanopy Streaming.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Kamerling, Leonard and Sarah, Elder. The Drums of Winter (Uksuum Cauyai) Kanopy Streaming, 2014.
MLA Citation, 9th Edition (style guide)Kamerling, Leonard,, and Sarah Elder. The Drums of Winter (Uksuum Cauyai) Kanopy Streaming, 2014.
Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.
Staff View
Grouped Work ID
5d30377d-f665-dede-c9d7-828fc9a1ccc3-eng
Grouping Information
Grouped Work ID | 5d30377d-f665-dede-c9d7-828fc9a1ccc3-eng |
---|---|
Full title | drums of winter uksuum cauyai |
Author | kanopy |
Grouping Category | movie |
Last Update | 2022-07-05 21:15:06PM |
Last Indexed | 2024-04-20 03:41:33AM |
Book Cover Information
Image Source | sideload |
---|---|
First Loaded | May 31, 2022 |
Last Used | May 31, 2022 |
Marc Record
First Detected | Aug 18, 2014 12:00:00 AM |
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Last File Modification Time | Aug 03, 2021 03:10:55 AM |
MARC Record
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520 | |a This feature-length documentary explores the traditional dance, music and spiritual world of the Yupik Eskimo people of Emmonak, a remote village at the mouth of the Yukon River on the Bering Sea coast. The drums of winter gives an intimate look at a way of life of which most of us have seen only glimpses. Dance was once at the heart of Yupik Eskimo spiritual and social life. It was the bridge between the ancient and the new, the living and the dead and a person's own power and the greater powers of the unseen world. In The drums of winter, the people of Emmonak tell us through actualities and interviews how their history, social values and spiritual beliefs are woven around the songs and dances that have been handed down to them through the generations. We also learn that it is not just old songs that are important; new songs and dance movements are created to reflect modern life with all its complexities. Each time a person gets up to dance, he is strengthening the continuity of the ages, and insuring the survival of his culture. The film follows the elders of Emmonak as they prepare for the coming ceremonial gathering (potlatch) with a neighboring village. In the Kashim (qasgiq or men's house), they practice their songs and painstakingly work out the motions of the dances. Each movement has meaning and plays a part in telling a story. In the days before television, radio, bingo and weekly basketball games, dance was the sole means of entertainment. Throughout the film, archival photographs and film footage accompany the words of early missionaries who brought Christianity to the area. These sequences provide a historical context for the film and give us a strong sense of the resilience of Yup'ik culture, having survived despite a century of missionary suppression. Film Festivals, Screenings, Awards: The Best of the Mead, Margaret Mead Film Festival, Osaka, Japan, 2000; Third Prize, Nuoro Ethnographic Film Festival, Nuoro, Sardinia, 1998; Best Feature Documentary, Best Documentary Director, Best Cinematography, Festival of the Native Americas, Santa Fe, 1996; The Heritage Award, Alaska International Film Festival, Anchorage, 1995; Award of Excellence, American Anthropological Assoc. , New Orleans, 1991; Special Commendation, International Ethnographic Film Festival, Manchester, UK, 1990; Grand Prix Best of Festival,Third International Arctic Film Festival, Fermo, Italy, 1989; First Prize, Blue Ribbon,American Film Festival, Chicago, 1989; Silver Apple Award,Educational Film and Video Festival, San Francisco, 1989; The Northern Lights International Film Festival, Anchorage, 1996 Parnu International Visual Anthropological Festival, Parnu, Estonia, 1991 Hawaii International Film Festival East-West ; Center, Honolulu, Hawaii, 1989 Neighbor Islands Festival Week of the Hawaii International Film Festival, Kauai, Kona, and Hilo, 1989; Anthropos International Film Festival, Los Angeles, 1989 Musica Dei Popoli Festival of Ethnomusicology Films, Florence, Italy, 1989 Tallin International Ethnographic Film Fesival, Tallin; Estonia USSR, 1988 Margaret Mead Film Festival, American Premier, New York, September 1988. Filmmaker: Sarah Elder, Leonard Kamerling. | ||
538 | |a Mode of access: World Wide Web. | ||
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