## 2 National and Regional Indigenous Media Networks
CLACPI was created in 1985 in Mexico by a group of ethnographic filmmakers with the idea of having a space to screen and discuss films about Indigenous Peoples. In their first festival, CLACPI members stated their goal of promoting Indigenous Peoples' appropriation of audiovisual media, addressing the \"crisis of representation\" that questioned the issue of \"ethnographic authority\" ([PERSON], 2017), towards an emancipatory vision ([PERSON], 2009) that contributed to transforming political realities through training subaltern subjects in response to a regional and global tendency that reflected growing Indigenous movements and increasing agency, emerging from a decolonial cultural discourse and politics designed and promoted by Indigenous movements ([PERSON], 2009), which in turn became a fertile ground to possibilities for academic research and political action ([PERSON], 2017). CLACPI evolved to become a conglomerate of Indigenous-lead organizations from Bolivia, Chile, Argentina, Colombia, Cuba, Ecuador, Guatem, Mexico, Peru, Venezuela, Nicaragua, and Brazil, and also from Catalunya and Romani Peoples, and Canadian First Nations. It also organizes the International Festival of Indigenous and First Peoples Cinematography and Communication (FICMAYB) (Figure 2), which in 2017 hosted itinerant screenings of such works in schools, communities, and municipalities in Mexico, Guatem, Honduras, Venezuela, Europe, and North America, expanding in 2018 to Panama to include the participation of the Abya Yala Indigenous Peoples from Panama and the Caribbean. Since 1985, CLACPI has organized Indigenous Film + Video Festivals about every two years. What makes this festival very special is that it is itinerant and international. Previous festivals include: Mexico (1985 and 2006), Brazil (1987), Venezuela (1990), Peru (1992), Bolivia (1996 and 2008), Guatem (1999), Wallmapu Chile (2004), Ecuador (2010), and Colombia (2012). The festival hosts a gathering of journalists and media producers to consult among one another on media actions and strategies. CLACPI represents a special case from Latin America that highlights the community-based aspect of Indigenous media representation promoted within living spaces for participation in the same communities. The second case to note here is that of Isuma TV (Figure 3), a collective of inter-related Canadian Inuit-owned media entities based in Igloolik, Nunavut since 1990, with an office also in Montreal. Isuma started with an Inuit-focused media arts center, a youth media group, and a women's video collective. In 2004, they incorporated Isuma Distribution International, which in 2008 launched one of the first websites for Indigenous media arts, offering over 7000 films and videos in 84 languages. Maori TV in New Zealand had already launched an online television channel in 2004. By 2010, it launched _Digital Indigenous Democracy_, an online media network to inform and consult with Inuit people living in low-bandwidth communities facing imminent development. Figure 1: Indigenous Peoples Latin American Cinematography and Communication Coordinator. Source: www.clacpi.org, accessed on 11 September 2021. Recent Isuma projects include the feature drama _Maliglutti (Searchers)_, the TV series _Hunting with My Ancestors_, and the world's first Haida-language feature film, _SGauway K'unua (Edge of the Knife)_. Their newest feature, _One Day in the Life of Noah Pugatttuk_, was honored as a selection to represent Canada at the 2019 Venice Biennale, screened at the Toronto International Film Festival, and later awarded Best Canadian Film at the 2019 Vancouver International Film Festival. These experiences led the way for the creation of Uvagut TV, Canada's first Inuktut television channel, which currently broadcasts uninterrupted Inuit-produced programming from across Inuit Nunangat, including movies, news and information, cultural programs, current affairs, and archival media.