Mary Two-Axe Earley: I Am Indian Again shares the powerful story of Mary Two-Axe Earley, who fought for more than two decades to challenge sex discrimination against First Nations women embedded in Canada’s Indian Act and became a key figure in Canada’s women’s rights movement.
Using never-before-seen archival footage and audio recordings, Mohawk filmmaker Courtney Montour engages in a deeply personal conversation with the late Mohawk woman who challenged sexist and genocidal government policies that stripped First Nations women and children of their Indian status when they married non-Indian men.
Montour speaks with Cree activist Nellie Carlson, Mary’s lifelong friend and co-founder of Indian Rights for Indian Women, and meets with three generations in Mary’s kitchen in Kahnawà:ke to honour the legacy of a woman who galvanized a national network of allies to help restore Indian status to thousands of First Nations women and children.
Watch the Film
Mary Two-Axe Earley: I Am Indian Again shares the powerful story of Mary Two-Axe Earley, who fought for more than two decades to challenge sex discrimination against First Nations women embedded in Canada’s Indian Act and became a key figure in Canada’s women’s rights movement.
Mary Two-Axe Earley and the Indian Act
Written by Pam Palmater
Dr. Pamela Palmater is a Mi’kmaq Lawyer and Professor. Her area of expertise includes Indigenous law, sovereignty and nation-building. Learn more about Pam here: https://pampalmater.com/.
For more than 145 years, the federal government has used the Indian Act to try to reduce the population of Indians, to rid Canada of the so-called “Indian problem.” The Indian Act, 1876 defines who is an “Indian” and who can belong to an “Indian band” (now referred to as First Nations). The objective was to assimilate Indians into the general population, so that Canada could acquire the remaining Indian lands and resources, as well as reduce the financial obligations it committed to in the treaties signed with First Nations. The federal government specifically targeted Indian women and their children for removal from their communities, by stripping them of their Indian status (registration as an Indian) if they married a non-Indian man. However, Indian men who married non-Indian women did not lose their Indian status.
Mary Two-Axe Earley helped lead First Nations women from all over Canada in a movement to demand sex equality for First Nations women and their children, and to have their Indian status restored. After successful legal challenges to Canada’s discriminatory legislation by First Nations women inspired by Mary, amendments have since been made to Indian registration, including Bills C-31 (1985), C-3 (2010) and S-3 (2017). However, full sex equality has not yet been achieved and many cases are still before the courts. The National Inquiry into Missing and Murdered Indigenous Women and Girls found sex discrimination in Indian registration to be a root cause of violence against First Nations women. This is why Mary’s life story and the equality movement she inspired are still relevant today.
For more resources on the Indian Act’s discriminatory Indian registration provisions:
Indian Act, R.S.C., 1985, c. I-5: https://laws-lois.justice.gc.ca/PDF/I-5.pdf
Reclaiming Power and Place: The Final Report of the National Inquiry into Missing and Murdered Indigenous Women and Girls (2019): https://www.mmiwg-ffada.ca/final-report/
Pamela Palmater, Beyond Blood: Rethinking Indigenous Identity (Saskatoon: Purich Publishing, 2010).
Pamela Palmater’s website, which contains videos, podcasts, blogs and publications on the subject: https://www.pampalmater.com.
With
Jodi Calahoo-Stonehouse, Community Mobilizer
Isabella Calahoo-Zeller
Nellie Carlson, Founding member, Indian Rights for Indian Women
Ed Two-Axe Early, Mary’s son
Written and Directed by
Courtney Montour
Editor
Annie Jean, CCE
Director of Photography
Sylvaine Dufaux
Original Music
alaska B and Ange Loft
Sound Design
Marie-Pierre Grenier
Narration
Courtney Montour
Voice Coach
Alanis Obomsawin
Sound Recordists
Gaëlle Komar
Johnny Blerot
Lynne Trépanier
Foley Artist
Karla Baumgardner
Additional Camera
aAron Munson
Assistant Camera
Marianne Ploska
Martine Leclerc
Production Manager
Angie Pepper O’Bomsawin
Locations Assistant
Kirstin Montour
Director Trainee
Kayla Salas
Visual Effects
Kara Blake
Assistant Editor
Francis Bernier
Transcriptionist
Lori Heath
Musicians
alaska B
Melody McKiver
Vocals
Ange Loft
Creative Advisor
Elle-Máijá Tailfeathers
Consultant
Pamela Palmater
Research
Courtney Montour
Visual Archivists
Nancy Marcotte
Kathy Fisher
Jillian Richardson
Assistant to Alanis Obomsawin
Michael Shu
Online Editor
Yannick Carrier
Title Design
Jacques Bertrand Simard
Mélanie Bouchard
Foley & Narration recording
Luc Léger
Re-Recording
Jean Paul Vialard
Additional Re-Recording
Geoffrey Mitchell
Production Supervisor
Roz Power
Technical Coordinators
Daniel Lord
Christopher MacIntosh
Digital Editing Technicians
Marie-Josée Gourde
Pierre Dupont
Patrick Trahan
Production Coordinator
Christine Williams
Senior Production Coordinators
Cheryl Murgatroyd
Camila Blos
Studio Administrators
Leslie Anne Poyntz
Camila Blos
Marketing Managers
Jamie Hammond
Johanna Lessard
Marketing Coordinator
Éric Bondo
Publicist
Jennifer Mair
Legal Counsel
Christian Pitchen
Producers
Kat Baulu
Ariel Nasr
Executive Producer
Annette Clarke