Alanis Obomsawin is a member of the Abenaki Nation and one of Canada's foremost activist documentary filmmakers. Obomsawin began her artistic life as a singer-songwriter in the 1960s, as indigenous artists from across North America were rallying in new assertions of cultural identity, consciousness, and political rights, calling for reckonings with oppressive colonial history.

I have been asked to tell you about the findings from my research identifying the core components of a safer, more equitable, and caring world—especially one where women and children are finally safe—a goal that is very close to my heart.

Farmers in urban civilizations have always been subject to powers beyond them. Indeed, there is ample evidence that urban civilizations were invariably built on the conquest and subjection of farming cultures. Our current food industry grew out of the defeat of farmers’ efforts in the late nineteenth century to win fair prices for their production.

Kosmos Journal | In 2015, your team produced 50 Feet from Syria, a film focused on the civilian impact of the Syrian conflict. Your new film, Lifeboat, bears witness to refugees desperate enough to risk their lives in rubber boats leaving Libya. What was different for you personally about making those two films?

My identity and my life as an activist has a very specific energy that people associate me with. In many parts of my life, I saw it as definitely putting me in a box in the way people saw me and my story. People didn’t understand the complexity and diversity of what I was fighting for or the way I wanted to use my voice to influence change.