So much about the California history as we know is rooted in the brighter and louder chapters of a land’s appropriation over time in a culturally evolving world. What we perceive as an ingratiated time in a lands’ growth and prosperity into the generations that came before and followed after, actually hides a deeper indigenous history of a time scorned by the European colonization and brutal genocides that left entire populations nearly decimated. That’s a history – much like all of indigenous people’s footprint – left unaddressed and buried in the backgrounds of the Spanish take over with the Doctrine of Discovery (any non-Christian land Spain “discovered” was divine right to claim in name of the crown) and later the Americana influence of Manifest Destiny carried out West that tore apart Indian communities in the name of “societal enlightenment”. What is rarely addressed is how much of the history is fully acknowledged and upheld in the eyes of American culture and the Indigenous influence over how we uphold our representation and history. Entire nations of tribes all with their own lands and peoples and communities heavily affected and thriving today are all given the spotlight of documented and oratorial accounts of knowledge, history, culture, and reacknowledgment of a heavy stain in California’s early established history in the docu-series “People of the West” (2025) – by creator and Executive Producer Brad Munoa and Executive Producer Nicolas Magee.

The series, divided into 10 episodes, charters and follows a timeline of pre-colonial contact up into the present day of the California tribes preserving their heritage and generational impact into a bright future ahead. Each episode follows a time period of quarter centuries from the first contacts of the Spanish to the shores of Kumeyaay Ipai land, the Christian missions that affected the Ohlone of the 1600s, battles of the Ahwahneechee and the creation of reservations and boarding schools with the Paiute of the 1800-1900s, into the modern exploitation of Indigenous lives and reinvigoration of a proud people, including the Chumash and Yurok fighting for their human and cultural rights to never be wiped off the maps into the 21st century. We get a documentary series that’s covering all of an established timeline in the plights and survival of an Indigenous peoples seen in ways never before imagined. The filmmaking on display with episodic nature is concise and expansive in it’s pacing and screen time devoted to the tribal interviewees ranging from communities leaders to cultural scholars working in their own fields to voice the personal and cultural backgrounds of each of their respective tribes/nations. We get re-enactment scenes of the tribal communities facing up to and being challenged and exploited by European contact, where the Native actors speak English against the others languages as (what an open text before episodes states) “…a reflection of forced assimilation rather than cultural authenticity”. The editing is shaped around the narration of those interviewed matched with the through line story of the tribes highlighted with family units and individuals who empower themselves and those around them with the resilience against colonizer tactics. Everything that unfolds on each episode enraptures and pulls audiences into the time periods and allows for a storytelling medium matched with a high grade cinematic lens and production to showcase the eras and peoples as we’re to be properly represented and portrayed on screen. This series doesn’t shy away or try to coddle the expectations of today’s way of research and events that were seriously brutal and devastating to an effect that speaks throughout all nations residing and homes to the lands. But to the darkness that was the past, there is a bright light of progression and evolution at hand seen in the ways the filmmakers/producers/interviewees are able to recall and talk insightfully about what we now know as our collective knowledge and history-defining efforts of carrying on stronger and wiser into our future. “Peoples of the West” is a shining example of docu-series excellence and an Indigenous media representation that will be one for the books of our cultural and human history.4/4 Seals !

The short film “Our Father” relates the story about a pair of siblings’ commitment to following the exact funeral wishes of their departed patriarch and the final goodbye proving that there is a beauty in the afterlife waiting us. The two main leads, the brother and the sister, start the short film off by bickering away about the coordination and operation of their duties; we get the sense that they’re pressured by the circumstances of an arbitrary situation. But when the reveal of them and their departed father is brought forth, there’s a greater sense of sentiment and relatability when they follow through and give their father a traditional memorial send-off. As a short film, I’m impressed by the technicality and quality of the filmmakers almost feeling like it was a run-and-gun/on-the-fly direction of a story that breezes so quickly that it allows you to want to revisit the filmmaking on screen, especially during the final few minutes and the clean and bright cinematography. Addressing the dialogue, the Caddo language being represented and exemplified on screen by the talent and credits is especially exceptional when I discovered it’s a current language of the Natchitoches people being revived after losing their last native speaker in 2025; this brings the writing and delivery of these lines and the credits a higher level of appreciation and one that must be shared with those larger audiences. This film shows the importance of Indigenous filmmaking at it’s most resourceful and presented with a magnetic touch of humanity that everyone – especially those handling the loss of a loved one – can find beautiful and memorable.   3/4 Seals!

The short film “Kusi Smiles” presented here showcases the identity of a character that’s grappling with the signature of loss of a parent while upholding and signifying her culture as her bedrock. There is such a beauty with the filmmaking going on on screen that it might just be the unsung hero of the short – the production and cinematography truly make every scene shine with the authenticity of Indigenous Peru seen on screen. The story revolves around a young Peruvian woman named Kusi that travels to her extended family home in Peru to engage in the festivities and celebrations of her family and culture with traditional song and dance – her struggle comes in the form of having to acknowledge and grapple with having just lost her mother. Through the involvement of her family and the repairing of her emotional well-being, we see what lies in the acceptance of loss and the embrace and declaration of wanting to carry on one’s legacy. So much of this short film surprised me with it’s enrapturing visuals brought by the vibrant color and vivid location/atmosphere of the Peruvian experience on display with the set decoration and spectacular regalia wardrobes – each moments natural flow and engagement feels like you’re transported into the scenes themselves. There’s a great pleasure in watching the story unfold in what feels like a slight cinéma vérité style: raw authenticity matched with such emotion and storytelling unfolding with a grace and patience for the characters and the audience. I do actually believe this would make a great basis for an expanded feature (in my opinion), and I’m very interested in what the filmmakers have to offer up as their next feature; a film like this deserves to be seen as a great showcase on the grandest screen.    4/4 Seals!

The short subject of chronicling the history and reunion of a small band of CRIT members – mainly children from the four affiliated tribes – who came together under one teacher/singer in the mid-90s to produce an album that pays tributes and honors the spirit and beauty of our community. The album was called Songs of the Colorado River, released in 1995, and saw the debut of several musically inclined individuals who would go on to continue singing and contributing their tribes’ heritage and culture to this day. Each participant in present day (now older and wiser) are profiled about their time making the album, reflecting on the project’s composition based on their tribal backgrounds. The teacher behind the project, Cynthia Haring, highlights the intention behind getting the album professionally produced and wanting to carry on this mission of the band into today, with future generations to join. You can view this film at www.critfilms.org.

This mini documentary showcases the best aspects of short subject filmmaking doing some commendable things with it’s presentation and style/aesthetic. The identity and personality of CRIT is brilliantly portrayed through the use of handheld interview coverage, drone photography, and montage footage of the river and lands we call home. It’s a beautiful looking short, and the subject matter presented in it shines with the inclusion of each profiled participant. They add a grounded humbleness about the story of Rez kids going to a professional Hollywood recording studio to play their songs and fully flesh out their album. It was an opportunity and a blessing that’s still remembered fondly as the musical creation that helped shape the lives of families and future contributors to the public awareness of CRIT. The one spotlight of the film comes in the emotional weight found in the nostalgia of these individuals as they recall and share their experiences tied with the impact and legacy that they’re apart of. The music itself deserves attention from newer listeners and those who wish to embrace and celebrate the songs of our cultures, those who helped usher their families into carrying their traditions, and the community members who were heavily involved in their growth as a multi-tribal group. It’s a project that deserves to be highlighted and showcased with the album and people attached to it, for all the people who wish to discover more about CRIT and our people.

Written by CRIT Media Tech Naythen T. Lowe

The historical footsteps of Rock ’n’ Roll culture branches off in various directions when looking at the scope of the American influence of the genre. The barebones combination of blues and folk music birthed a new style of songwriting that gave leeway for inventive and prominent artists – from differing backgrounds and racial heritage – to make the stage with compositional  advancements that’s growing more and more popular every day. We think about the  rock legend greats and musicians that have sprouted and evolved the genre – Jimi Hendrix, The Rolling Stones, Chris Issack, even Elvis Presley – and we love their styles and techniques in performing their works. But when we look at the diversity of said musicians cross generations of American heritage and influence, we find that there is a secret ingredient in the sauce: Indigenous peoples and cultures. Discovering the connections between tribal bands integrating into black communities during relocation history, combining rhythms and beats of similar ethnic styles, and creating the blueprints on what rock would eventually become is highlighted in the documentary, “Rumble: The Indians Who Rocked the World” (2017).

 Directors Catherine Bainbridge and Alfonso Maiorana showcase the influence and direct involvement of Native American culture planting the seeds of musical composition and evolution of the great artists, like the prominent focus on Link Wray, who made their careers and lives spotlighting the Indigenous footprints of rock history today. Native communities of the Southern tribes – Choctaw, Seminoles, Muscogee, etc. – have history of unionizing within Black communities to have tribal members of both Indigenous and African heritage. We see the establishment of both traditional drumming/vocal singing mix in with the prominent folk lyricism/instrumental playing blend into the formation of what Delta blues would become; Charley Patton was a mixed Choctaw man who inspired the next generations of Blues musicians that followed after – Muddy Waters and Chester “Howlin’ Wolf” Burnett were men who looked up to him as idol. The Blues evolution made it’s way into the urban sphere with talents who raised the awareness of Native empowerment and history or those of Indigenous connections that would shake up and stir crowds with vibrations of music and power unsung and unseen before. We see the emergence of artist like Jesse Ed Davis, Robbie Robertson, bands like Redbone and Link Wray and His Ray Men, all developing and evolving the hard-hitting and magnifying styles of rock that’d come to influence and collab with international talents and world acclaim. The filmmaking and editing on display with the archival footage mixed with the on-location shoots and talking head interviews of these amazing talents and their recordings shows a high level of professional documentarian approach that very much plays and flows smoothly with the depictions and showcasing of knowledge and individuals that have so much to say and relate – you never once feel unmoved or left unimpressed by anyone on screen here. The presentation of chaptering each decade with one prominent Indigenous artist that made waves is such a clever editing device that definitely makes the impact of each individual profiled stand out and shine in their archival/retrospective tribute(s). There’s a sense of grander purpose to each scene after scene of historical context and 1st hand experience with the people who are involved directly or indirectly with the subjects and history of the background development of these artists and great influencers of pioneered music we love today. The production is crafted greatly to steadily carry and utilize every piece of footage and needle drops relating and showcasing the talent profiled. Even the support of artists like Johnny Cash and Martin Scorsese have proved that the outreach and overwhelming support of this modern era of Native American renaissance can be felt and breathed new life into the rock genre cultivated from the beginning. If there was a time in which a snapshot look into the vast and deeply ingrained fusing of culture and art with the, the filmmakers have created a window into the world of Indigenous musicians that have carved their mark and pathed the road for greatness. “Rumble: The Indians Who Rocked the World” (2017) is a treat and perfect companion piece for the music and influence of what Native American artistry has achieved in the culture, history, and music that we love to rock our socks off.

There is a history and a people that’s been forever cultivating it’s lands and people to allow not just for the growth of the generations of past, but for the future ones to come. Colorado River Indian Tribes celebrated it’s 150 Commemoration Anniversary in 2015, hosted by the commonwealth of the four main tribes that make up the reservation – Mohave, Chemehuevi, Hopi, and Navajo. The historical tribal leaders – of Chief Manataba and Chief Irataba – bridged by connection and bonds of direct bloodlines and history of the territory, still hold their families and growing lineage to this day. Community built on the expectations of respect, resilience, and familiarity found with the natural siding protection and preservation of the river – our sacred and ecological treasure. Interviews conducted with Chairwoman Amelia Flores and posthumous folks like Sheldon Swick and Delano Carter, show off the sides of the Mohave leaders who fought and advocated for the respect and designation of tribal sovereignty protecting their footprint of tribes. The documentary short gives accounts and testimonies from the selected influential council/leaders/members who wish to help with establishing and upholding the standards found within the history and long lasting legacy of CRIT.

On top of having the moments to advocate and speak on the importance of upholding the history of language, culture, and artifacts, the Mohave members are active in encouraging their youth community to engage in more activities and preservation matters. The events hosted by professionals and active participants in the traditions of dancing and singing (with Bird Dances and gourd singing) brings out the engagement and proper respect aimed by the Mohave resiliency and grand recognition. We see the people coming together for the dances and songs of the passed down knowledge and customs of the elders we unfortunately lose as times grows on. So much their influence can be found with the practices and standards established into the policies up making sure nobody outside reservation can ignore/forgets that “we” hold the keys to our future – not just as a tribe but as a people who’re strong and ready for all obstacles in the line. CRIT holds a special stance as a reservation of varying cultures that all handle the goals of those in their interests as a revitalization tool towards the Indigenous way of life that we must build up more. The way we document and specially record our own accounts and history – the land history, tribal leaders designation, gathering of the peoples, establishing the CRIT way – has everything to do with our lives here. And it’s something to never be forgotten.

Film Review by CRIT Media Tech Naythen T. Lowe