Dau:añcut // Moving Along Image is a dynamic collage of scrolling media that incorporates TikToks, Facebook livestreams, iPhone photos, and Google image searches to interrogate the objectification of Indigenous people and the complex legacies of colonialism. Piron takes a bizarre instance of appropriation, the tattooed portrait of an Indigenous elder on the bicep of a Ukrainian resistance fighter, as a departure point to muse on the parallels between the colonisation of Ukraine and North America. Another interwoven thread is the paradoxical history of Fort Sill, a military base and colonial outpost that once held Native Americans as prisoners of war, but now trains them as soldiers. Juxtaposing a scroll through #miltok with streamed video of a ceremony honouring Indigenous veterans, Piron uses found footage to give intimate insight into military cultures. (Alice Miller)

Adam Piron (Kiowa/Mohawk) is a filmmaker and programmer based in Southern California whose practice is deeply informed by his Indigenous heritage and cinematic tradition. He received a BA in Cinematography and Film/Video Production from the University of California and an MBA in Design Strategy from California College of the Arts. His films have screened widely at festivals including the Seattle International Film Festival, DOXA Documentary Film Festival, Camden International Film Festival, and San Francisco International Film Festival. He is associate director of Sundance Institute’s Indigenous Program, and has worked as a programmer for AFI FEST, LA Film Festival, and imagineNATIVE Film + Media Arts Festival. He is also cofounder of COUSIN, a collective supporting Indigenous artists expanding the form of film.

Dau:añcut // Moving Along Image (2023), The Power & the Freedom (2023), Deerfoot of the Diamond (2022), Yaanga Plays Itself, aka Sha’var (2022), Aht-kahn-hain (2021), Hapate (2020)