Television

Sovereignty over our narratives: 'Bones of Crows' elevates Indigenous talent on both sides of the camera

Bringing our stories to life called for a different approach: here’s how we did it

Bringing our stories to life called for a different approach: here’s how we did it

Carla-Rae is setting on a chair, Gail is sitting beside her holding her hand. Close by a director and cameraperson film the scene.
Actors Carla-Rae and Gail Maurice work with the production team on set during filming of Bones of Crows. (Ayasew Ooskana Pictures)

Sharing Indigenous stories is equal parts tremendous opportunity and responsibility. Bones of Crows, now streaming on CBC Gem, written and directed by the visionary Marie Clements, embarks on an extraordinary journey, elevating Indigenous voices in front of and behind the camera. 

Beyond mere representation, this miniseries pioneers a transformative perspective that resonates through the entertainment landscape. With an Indigenous director, cast, and crew, the series not only breaks conventions but redefines how stories can be told, fostering an environment that prioritizes integrity, collaboration and inclusivity. For so long others shared our stories, but Indigenous people on the project had the opportunity to be authors, narrators and creators instead of merely subjects without agency, voice or perspective. 

The scope of the stories brought to life in this film is unprecedented, shared by a cast of over 160, 61 of whom were Indigenous, and a diverse crew with over 50 Indigenous members. 

The birth of 'Bones of Crows'

Bones of Crows binds narrative to historical facts and brings together a mosaic of Indigenous voices and stories. The series explores topics deeply rooted in the lived experiences of Indigenous communities. Its significance lies not only in its storytelling but also in the nations it represents. These stories are rooted in place and in community, with the characters standing in for common experiences of community members. 

With travel limited during the pandemic, stories could not be filmed in the nations they came from, with local territories having to stand in for other inaccessible locations. To do the stories justice, the attention to detail had to be meticulous and a high degree of cultural sensitivity was needed. It was crucial to ensure the art and cultural practices represented were true to those whose stories were on screen. 

The Spears family, among other Cree member of their community film a pow wow scene for Bones of Crows.
A pow wow is enacted during Bones of Crows. (Ayasew Ooskana Pictures)

The people of the land where it was filmed also needed to be respected through protocol, something that had to be balanced in sharing these stories. Additionally, care was taken in explaining Indigenous cultural practices to non-Indigenous cast and crew. 

A different path for recruitment

Recruitment for this production differed from most others, even other Indigenous productions, in terms of the degree of diverse representation and the scope of efforts made to exceed all industry norms. We had to consider the unique barriers and challenges that Indigenous talent faced in the industry in Canada and beyond. From the director's perspective, it wasn't just about finding the right people; it was about creating opportunities for talented Indigenous professionals.

WATCH | Director Marie Clements walks us through filming one of the series most heart-wrenching scenes.

'We held onto each other.' Director Marie Clements on filming 'gut wrenching' scenes | Bones of Crows

1 year ago
Duration 3:07
A look at one of the most poignant scenes from the series, the moment Aline Spears and her siblings are taken from their parents.

The process was painstaking in time, effort and financial resources. Honouring the commitment to authentic representation and inclusivity made it a worthwhile endeavour. Clements wanted to welcome all the people cast from her past, and that it reflected the teachings and perspectives she received from her own mentors and artistic lineage. 

As associate producer and Indigenous cultural liaison for Bones of Crows, I fielded some of the difficult questions that came up as we brought these stories forward, supported by the Elders who guided Clements on her epic journey. When we were making decisions, we needed to remember many people involved in creating this film had personally struggled with the difficult subject matter represented. We had to ensure the environment was respectful and authentic to do this in a good way. 

Translating stories of intergenerational trauma and ancestral pain to the screen is no easy task. The potential emotional toll on the cast and crew had to be deeply understood. Cultural support and mental health resources were essential so everyone felt safe and supported. Child acting trainers and play-based techniques as well as body doubles helped facilitate a safe retelling of difficult experiences, as illustrated in this video. 

Care inside and outside of the stories

The film industry, for much of its history, hasn't been built with Indigenous voices in mind. Indigenous people have not always had the chance to tell their own stories, leaving a gap in authentic representation. Bringing the stories of Bones of Crows to life called for a different approach, one that ensured the safety, respect, and authenticity of all involved.

Cultural authenticity was established by connecting with the communities from which these stories originated. We engaged with local knowledge keepers, ceremony leaders, and elders, seeking their guidance and incorporating their wisdom into the storytelling process and the spiritual process of being amid both sacred and historic locations. The elders counselled, shared their wisdom and provided spiritual services onset, honouring the dead and performing ceremonies for cast and crew. The series Bones of Crows was also released for audiences in Cree and integrated other Indigenous languages.     

The importance of sovereignty over Indigenous narratives cannot be overstated. The roles they played and the performances they captured were fictional but their own experiences were very real. They shared about their past as they developed their skills for the future as part of a supportive community of Indigenous film professionals.  

Creating a talent bank for the future

This project didn't just cast talent into roles, it nurtured them through mentorship so they could step into their careers more fully or begin new careers. It had a transformative effect on those involved, opening doors for advancement and cultural connection beyond this production. Crew were able to access promotions in their departments, get on union lists and explore new areas of interest. 

While this journey was undeniably challenging, it was equally worth it. The legacy of Bones of Crows extends beyond storytelling and filmmaking, into the reimagining of a better film industry. Indigenous voices can reshape the narrative landscape, making it richer and more inclusive, as evidenced by this project and its impacts. 

In a film industry that is gradually evolving, Bones of Crows stands as a testament to the power of authentic representation and its ability to impact audiences and creators alike. Stories have the potential to illuminate, heal, educate, and unite, and when told with care and respect, they can change the world, one frame at a time, and that's what we saw as this production took flight. 

Leena Minifie's work on Bones of Crows led her to write a report for the Canadian Media Fund on best practices for narrative positioning. 

Watch Bones of Crows free on CBC Gem.

CBC Gem is available for free as an App for iOS, tvOS, Fire TV, Android TV, Android phones and tablets, LG and Samsung Smart TVs, Roku, and Xbox One/S/X and online at gem.cbc.ca

From a historical timeline of impacting Indigenous communities across Canada and a list of educational and survivor support resources visit the Bones of Crows website.

ABOUT THE AUTHOR

Leena Minifie is a Gitxaala storyteller. She is the founder of Stories First and a marketing manager at the National Film Board's DCM Team. She works through feature films, TV stories and digital media to mark injustices and inform audiences.

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