(1992, 114 minutes)
An intriguing film that eludes classification, Bowl of Bone combines biography, dreams, documentary, and journalistic narration, while recounting a powerful narrative of a unique 15-year collaboration between Jan Marie Martell, filmmaker/poet, and Annie Zetco York, Nlaka’pamux knowledge holder, visionary, teacher and elder of British Columbia’s forested mountain canyon area on Nlaka’pamux territory.

Carried by spiritual longing and seeking confirmation of the sacredness of the earth, Jan Marie arrives in Spuzzum, on the formidable Fraser River, and is welcomed by Annie and Annie’s cousin, Arthur Urquhart. There she proposes a film project, centred around Annie’s traditional Nlaka'pamux knowledge of plants and healing to engender awareness and respect for the interconnectedness and interdependence of all things, “the spirit in everything”. Annie accepts the proposed film project.

Born in 1904, Annie’s life trajectory was unusual for a Nlaka'pamux woman in her day. She did not attend the local Anglican residential school. Instead, she learned in the traditional Nlaka'pamux way from her elders, including Blind Granny, Old Chief Henry James, and Auntie Josephine. Annie’s cultural view, an expression of Nlaka'pamux relationship to the land and its creatures did not divide sacred from profane, nor impose power from above.

Annie generously shares her knowledge with Jan Marie. However, at an important juncture, Jan Marie experiences a lack of faith that blocks her from believing in the ritual cleansing Annie offers to teach her. She feels disqualified.

The film then makes a dramatic turn. After a round of forbidding and humorous testing by Arthur—trickster of unmatched wit and finesse—Jan Marie reaches a place of readiness only to discover Annie has withdrawn into an inner darkness; Annie’s protecting great aunt, her last living close elder, Auntie Josephine, has died.

Bitter, vulnerable and afraid, Annie grieves the disappearance of her elders, the logging of the land, and the erosion of the cultural context for oral histories, lineage connections, languages, stories, songs and integration of wise human relationships to the earth. With no children or relatives with whom to share this irreplaceable cultural wisdom, Annie is submerged under the weight of this vast loss. “All my old ones are gone”. Annie seems to wither away. She is diagnosed with breast cancer.

Gradually Annie regains her spiritual strength.

As the story unfolds, we are carried by the trance-like narrative ambience of the film, and guided on a healing journey. Cultural stereotypes melt away in this powerful portrayal of an extraordinary friendship demonstrating the universal possibility of hope, strength, and acceptance in the face of human frailty and cultural differences.

J.M. Martell
May 1, 2024

Gratitude to Andrea L. Laforet. Former Director, Ethnology and Cultural Studies at Canadian Museum of History.

“Bowl of Bone”, the skull as holder of memories and dreams. Taken from a poem by Sufi poet, Rumi in “Speaking Flame. Rumi” re-created by Andrew Harvey, 1989.

Award(s): Eagle Spirit Award, American Indian Film Festival; Best Film Over 60 Minutes, and Award of Excellence (Narration), Atlantic Film Festival; Best of Festival/Jury Award, Northwest Film & Video Festival; Honourable Mention (Society's Concerns category), American Film & Video Association; Gold Award (Ethnic & Cultural), Houston Worldfest; Award of Excellence, Vancouver Film Festival

Director: Jan-Marie Martell
Producer: Jan-Marie Martell, Turtle Productions

For educational licensing (DSLs) and educational DVDs visit https://movingimages.ca/