In an "Indian" Key: Shelley Niro's Revisioning of the Baroque Suite Form in Suite: Indian

Resume: Suite: INDIAN, un film realise en 2005 par Ia Mohawk Shelley Niro, critique l'art euro-americain qui exploite du materiel « inthen » non specifique pour representer, pretendument, certains themes universels. La conception du travail de l'artiste privilegiee par Niro met plutot l'accent sur la creativite et le dynamisme culturel dans un cadre de travail collaboratif et interdisciplinaire. Niro utilise une forme musicale - la suite - pour mettre l'accent sur une approche multifacette de la vie des premieres nations et des defis auxquels elles font face, de maniere a critiquer la facon avec laquelle certains elements sont mal utilises par de nombreux artistes euro-americains qui amalgament des histoires et cultures specifiques dans un stereotype « inthen » non contextualise. Niro utilise aussi son film comme lieu de rassemblement et de responsabilisation qui sert de vitrine au travail d'autres artistes Haudenosaunee, demarche qui demontre bien son engagement a sa culture et sa communaute et qui fait la promotion d'une conception du cinema comme instrument de creation dynamique favorisant une multiplicite de voix et articulant une vision complexe de ce que signifie etre Haudenosaunee aujourd'hui. Suite: INDIAN, a 2005 film by Shelley Niro (Mohawk), critiques Euro-American art that exploits non-specific materials to represent allegedly universal themes. Niro's own artistic vision emphasizes creativity and cultural dynamism through collaborative and interdisciplinary frameworks. Niro counteracts the Euro-American artists who appropriate First Nations1 materials without regard to cultural context by rooting her film in the culture of the Mohawk Nation as well as the larger Haudenosaunee culture (also known as the Iroquois Confederacy). Niro's film uses a musical form- the suite- to highlight a multifaceted approach to First Nations lives and issues in a way that critiques how First Nations materials are misused by many Euro-American artists, who frequently conflate specific histories and cultures into a Hollywood Indian stereotype or, in music, an sound that is likewise of no particular context. Niro also uses her film as a collective and empowering space in which to showcase other Haudenosaunee artists' work, demonstrating her commitment to her community and to film as a force for the dynamic creation of multiple voices that articulate a complex vision of what it means to be Haudenosaunee in the contemporary world. Despite Niro's long career, her work is not as well known as might be expected; despite her productivity, reputation, and the frequency with which her works are exhibited, Niro's work is often overlooked. She has gained the most recognition for her 1998 film Honey Moccasin, an all-First Nations production which is a parody of a detective film that also interrogates complex issues of identity and community. Niro has made a number of short films as well as continued to work in photography and multimedia art. The traditional suite form of Suite: INDIAN opens with a prelude that introduces several motifs that are developed in various keys and tempos through the rest of the movements, most of which include dances. She creates a mosaic of nine short segments, both fiction and documentary as well as several dances that vary in subject and tone as they explore a number of motifs, including the need for creativity and the connection between past and present. In particular, since Niro deliberately uses the suite form to structure her film, this essay examines how the film responds to the appropriation of First Nations musical materials, especially by the so-called nineteenth-century Indianist composers. To this end, Niro has forged a new kind of film, one indebted to a specific musical form but which then turns that form to a new purpose. Such reappropriation has long been a part of Niro's artistic repertoire; in her photography, she borrows from a number of sources and structures in order to express her own artistic vision. …

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