30 years after an historic fight against clear cutting, Indigenous communities are still fighting for forests | CBC Documentaries

By Joy SpearChief-Morris

2023 marks the thirtieth anniversary of the 1993 Clayoquot Sound protests in opposition to the logging of old-growth forests on the western coast of Vancouver Island.

While a lot of the protested logging space was finally spared from clear reducing, old-growth forests in different areas of B.C. haven’t been supplied the identical safety. 

The documentary War for the Woods follows Stephanie Kwetásel’moist Wood, an Indigenous journalist in search of to grasp how B.C.’s old-growth forests have all however disappeared on this troubling time of local weather change — and the way Indigenous communities try to save lots of what’s left. 

The movie is written and directed by Toronto-based filmmakers Sean Stiller and Geoff Morrison. Stiller can also be the movie’s director of pictures and a member of the Williams Lake First Nation of the Secwépemc Nation, whereas Morrison is the founding father of the documentary’s manufacturing firm, Big Cedar Films. They spoke to CBC Docs to debate the significance of old-growth forests and the making of this movie from Indigenous views. 

This interview has been edited for size and readability.

Has something modified for the reason that 1993 Clayoquot Sound protests? Have there been any updates to the logging and clear reducing coverage in B.C.?

Geoff Morrison: I believe one of many issues the movie tries to do is take a look at it actually from the angle of the Tla-o-qui-aht and the central Nuu-chah-nulth nations. Their story was not heard fairly as loudly [and isn’t] remembered as a lot within the historical past, however issues actually did change for them when it comes to gaining management of their forests and the way these forests can be logged over the approaching years. 

In a broader sense — I imply, simply from my view — I’m undecided a lot actually modified when it comes to the controversy on clear reducing and old-growth logging, as a result of right here we’re 30 years later and we’re nonetheless combating to guard what old-growth stays.

Sean Stiller: Perhaps what’s modified considerably, amongst these nations, is [that there’s now] a way more strong dialog, or possibly confidence is the proper phrase, round questions of sovereignty and of actually taking cost of stewardship of the territory. The Tla-o-qui-aht, the Ahousaht and the Hesquiaht have all articulated very clear land use selections, very formidable land use visions for the way they need to steward their territories. 

These days, there are additionally exterior companions who, in fact, are incentivized to guard these pristine ecosystems. And so there are programs in place to attempt to funnel funding towards these nations in order that they will, for instance, successfully purchase out their tree farm licenses so that they are economically incentivized to not log [and] produce other viable financial paths ahead. That appears like a really new dialog.

Why is that this story nonetheless essential to inform right this moment?

GM: The motive we’re listening to a lot about old-growth forest within the news is as a result of there may be so little progress left, and it has been scientifically confirmed that these forests are essential to the planet storing carbon. 

What we tried to do with the movie is sort of take a look at it from one other perspective as nicely … to point out that there is extra than simply the ecological worth, [that] there is a cultural worth to those forests as nicely. 

SS: To some extent, the impetus for this [documentary] being commissioned is that we at the moment are within the thirtieth anniversary of the Clayoquot Sound protests, which in fact we allude to to start with of the [film]. So there is a timeliness to that historic occasion after which utilizing that as a launching pad for a extra modern dialog. 

We took the chance to speak about issues like conservation financing, which significantly among the many central Nuu-chah-nulth nations has turn out to be fairly a powerful push, when it comes to how they transfer previous logging, however in a method that permits the nations to offer financial alternative to their band members … reasonably than simply leaving them empty-handed. 

Our focus was to spend time speaking about these options, versus merely being on the entrance strains with largely non-Indigenous individuals who have been against old-growth logging.

This documentary was filmed and produced by an Indigenous staff. Why is it essential to inform these tales by means of an Indigenous lens?

SS: We see issues from a really totally different perspective, and I believe once you’re working with an Indigenous manufacturing firm … you do not have to struggle for that perspective. It’s there. It’s form of built-in. And it additionally works its method into lots of different points of manufacturing. So, you recognize, the best way that you simply deal with each other, the best way that you simply dialogue, give attention to folks’s wellness, understanding that you simply’re getting into areas the place there may very well be trauma or tough conversations.

There’s a built-in understanding that you simply take the time you want, you’re taking the care you might want to tackle this stuff in a great way. Things like actually beneficiant honorariums and making certain medicines are being supplied to contributors — these are all simply givens.

It’s [the] issues that traditionally non-Indigenous corporations might need had missteps round. You can assume a certain quantity of nuance and sensitivity working with an Indigenous manufacturing staff.

This movie was shot in some unimaginable patches of old-growth forest. What impression did filming in these places have on you? 

SS: It’s at all times a very unimaginable privilege to be invited into any neighborhood. I grew up in B.C. and so the West Coast has … an additional particular connection [for me]. 

That area of Vancouver Island, that sort of temperate rainforest ecosystem, is simply so uncommon and so pristine and particular. Ken Wu [executive director of Endangered Ecosystems Alliance] took us to a reasonably pristine old-growth patch, a grove, which I would not be capable of get again to. It’s form of intentionally been stored hidden. 

Even having grown up in B.C., I do not suppose I had been in such pristine old-growth ecosystems as I had on this journey. You hear folks talking in religious phrases, concerning the area … and once you’re there, you actually get it. It simply has such an unimaginable weight. And there’s such a way of reverence for being in these locations, and also you perceive so deeply why there are these relationships, articulated by means of language, by means of cultural follow, by means of every little thing. It’s simply a type of issues that movie won’t ever absolutely seize, you recognize? But to be there was simply an unimaginable reward.

GM: I additionally felt extraordinarily fortunate to be in these environments — definitely to be welcomed in. [There were] quite a lot of moments the place, you recognize, Sean would possibly’ve been off filming, and I’d be scouting for different stuff to shoot and simply pinching myself in any respect the pure magnificence.

I imply, there have been occasions the place it simply struck me: Being right here on this place — that is proof. Like, I can go searching, and I can see how all these ecosystems are related, and why it is so essential, and why you do not get that in a second-growth forest. And every little thing that we have been studying about, and every little thing in our analysis was telling us [about] why these ecosystems specifically must be maintained. And you recognize … saving a bit of parcel of timber is simply not going to do it. So, yeah, to have the ability to expertise that, definitely in particular person, had a major impression on us as filmmakers. 

What will be realized from Indigenous activism for safeguarding old-growth forests? 

GM: Something that we noticed from chatting with folks on this movie is the Indigenous method to conservation is way more rounded. There’s much more to it, and I believe that it is way more primarily based on this historic relationship to the land. Hundreds and hundreds of years of stewarding the land is what’s informing these selections about how the land needs to be stewarded right this moment, and I believe that is one thing that is actually thrilling about new fashions of conservation.

SS: The Nuu-chah-nulth folks, as do most different Indigenous nations, have their pure regulation and have programs of information primarily based on statement over many a whole bunch of years. And so when there is a resistance to logging … it is not out of some purely emotional connection to the forest. It’s as a result of they perceive very nicely that birds migrate of their territory at a sure time of the yr. 

There are different very sound ecological causes to limit sure actions at sure occasions, or to solely give attention to sure areas, for instance, and that comes out of fastidiously fought for scientific data — in some instances, data that [Western] scientists themselves are simply arriving at.

Why did you need to make this documentary?

SS: On a private degree, I appear to be drawn to tasks which have, at their core, some relationship [with] the pure world and human tradition, and the place these two overlap — significantly in an Indigenous context. I simply discover myself drawn to the significance of the tales, particularly right this moment. 

GM: It’s a really sophisticated and essential story. And I believe the privilege to come back at it and take a look at it from a barely different perspective — and actually give attention to the significance of those timber, not only for their ecological worth but in addition their worth to Indigenous tradition — I believe is admittedly what provides this piece an actual coronary heart. I’m hoping that is the message that the viewers leaves with

Joy SpearChief-Morris is an Indigenous Black Canadian author, advocate and retired Team Canada athlete.