European
FOR GENERATIONS, Native North Americans and other Indigenous peoples have lived the false belief that a fulfilled relationship with their Creator through Jesus required rejecting their own culture and adopting another, European in origin. In consequence, conventional approaches to mission with Indigenous peoples in North America and around the world have produced relatively dismal outcomes.
The result has subjected Indigenous people to deep-rooted self-doubt at best, self-hatred at worst.
One of the more egregious examples of the “conventional” approach in Canada involved the church-run residential schools. Indigenous children were taken from their families, prevented from speaking their native languages, and subjected to various other forms of abuse.
Isabelle Knockwood, a survivor of church-run residential schools, observed, “I thought about how many of my former schoolmates, like Leona, Hilda, and Maimie, had died premature deaths. I wondered how many were still alive and how they were doing, how well they were coping, and if they were still carrying the burden of the past on their shoulders like I was.”
Given the countless mission efforts over the past four centuries (which in practice were targeted not so much to spiritual transformation as to social and cultural annihilation), we might conclude that Indigenous people must possess a unique spiritual intransigence to the gospel.
“CINEMA IS a matter of what’s in the frame and what’s out.” With this, Martin Scorsese, one of the greatest living U.S. directors, gives us a simple window to understand the power of cinema. What is in the frame is a choice by the filmmaker, and what is not highlighted is also a choice.
People of color, literally and metaphorically, have struggled to be included in the frame and fought to move from the background to the foreground of the cinematic imagination.
The U.S. cinema, historically, has been the vanguard of stereotypes and the enforcer of our racialized imagination. Our view of women, people of color, and ethnicities define and are expanded by the power of cinema.
D.W. Griffith’s 1915 silent film The Birth of a Nation was a revisionist history of the Civil War and Reconstruction that defined the Ku Klux Klan as the hero of the story and used white actors in blackface to frame black people as a threat to white society. This film, while not seen by the majority of filmgoers, set into motion the racial constructs we now view as normative. Black men, for example, have often been viewed in cinematic history as ethically dubious, highly sexualized, violent, or childlike comic characters.
These stereotypes created by the filmmaker’s imagination became, in the minds of many in the U.S., a historical fact. Cinema helped reinforce myths and arbitrary prejudices not based on cultural differences but created to protect economic interests of white Southerners who feared black labor.