The Sundance Institute has launched a two-pronged initiative, the Latine Fellowship and Collab Scholarship, which aims to provide professional development opportunities to 11 emerging Latinx artists.
The first component of the new program, the Latin Fellowship, will provide six Latinx artists who have previously received support from the Sundance Institute with a one-year multidisciplinary fellowship that includes creative and tactical support for their projects, as well as an unrestricted grant . of $10,000.
The second component of the initiative, the Latin Fellowship, will offer five early-career Latinx artists who have no history with the Institute a free membership to the Sundance Collab digital community platform. Membership will allow recipients to take a live online course, access previous masterclass sessions through the platform’s video library, and enjoy exclusive virtual networking and community-building events. Recipients will also receive in-depth feedback on their projects and have further opportunities to connect with Sundance staff and artists.
“Latinx talent has always been present at the Sundance Institute, but supporting these storytellers across disciplines in a single fellowship class or by offering them a Sundance Collab Fellowship is a way for us to deepen our connections with extraordinary artists. telling precious stories,” said Carrie Lozano, director of documentary film and artist programs at the Sundance Institute. “Most importantly, this new program is a way for them to grow their craft, move forward with their current projects, and build community with other emerging and diverse creators.”
Two non-fiction filmmakers and projects are among the recipients of the Latine Fellowship. The first one, What the pier gave us by Luna X. Moya, features five vignettes of immigrants fishing off a New York pier, captured over the course of a year. The project, which started as a short film, has now expanded into a feature film with support from the Sundance Institute’s 2021 Accessible Futures initiative and the Catapult Film Fund.
The second project, Chalatefrom 2021 Sundance Ignite x Adobe Fellow Marilyn Oliva, centers on a grandmother and granddaughter trying to make ends meet by selling odds and ends in a small market in Chalatenango, El Salvador.
A documentary project is included among the recipients of the Latin Fellowship: weed dreams by Mathew Ramirez Warren, about Black-owned businesses in Oakland trying to break into the predominantly white legal cannabis industry through the recently launched Cannabis Equity Program.
The 2022 Latine Fellowship & Collab Fellowships were developed with financial support from Lyn Lear and Cindy Horn, and additional support from the John D. and Catherine T. MacArthur Foundation.
The new initiative follows the Sundance Institute’s first Indigenous Nonfiction Intensive Workshop, which wrapped up last Friday (July 29). Meanwhile, this initiative offered four Indigenous filmmakers a three-day program that included interactive panel sessions, presentations from advisors and panel discussions. Entrants will also receive a small grant and year-round creative support from the Sundance Indigenous Program as they work toward their projects.
The projects and filmmakers selected for the Indigenous Non-Fiction Intensive are listed below, with loglines for the projects provided by the Sundance Institute:
From (Sarah Liese – Diné, Turtle Mountain Band of Chippewa Indians): Growing up in a colonized world, Sarah always felt insecure about the intersectionality of her identity. It wasn’t until her journey to meet other Two-Spirit people and learn about the history of the concept that she was able to further decolonize her mind and strive to decolonize other corrupt systems around her. .
An Architecture Tour Advancing Justice (Sean Connelly – Pacific Islander American): Shedding light on the untold story of Hawaii’s history in the United States, the Architecture Advancing Justice tour begins in Honolulu with an oral history of two significant buildings: the Hawaii State Capitol building and the ‘Iolani Palace.
If you look below you will find it (Olivia Camfield – Muscogee Creek Nation; Woodrow Hunt – Klamath, Modoc and Cherokee): Explores traditional and imagined tattoo art forms of the Muscogee Nation, Cherokee Nation and Klamath Tribes. Interviews with other tattooed Indigenous people, landscape images from research trips, and fictionalized narrative scenes are used to explore abstract concepts about the experience of being tattooed and tattooing as Indigenous people.