Dylan Alford is a Master’s student in the Department of English at the University of Oklahoma where he also teaches First-Year Composition. His main areas of research interest are in postcolonial studies, cultural studies, cinema, and New Media with an emphasis on hypertext fiction, video games, and B-Movies. This is his first year working on the Native Crossroads festival. 

Kelli Pyron Alvarez is a full-time lecturer for First Year Composition at OU. She holds an M.A. in Native American Studies and a M.A. in English, both from the University of Oklahoma. Her academic interests include Mexican, Chicanx, and Indigenous literatures and film. She also interrogates the complexities and real-world issues of race and ethnicity in literature, film, and television. 

Catherine Bainbridge, Director/ Writer/ Executive Producer/ Producer, on Rumble, and Co-founder of Rezolution Pictures, has an accomplished career in media. She has brought her signature enthusiasm and passion for storytelling to countless documentary, drama, comedy, and interactive media projects, notably the Peabody award-winning documentary Reel Injun,  about Native stereotypes in Hollywood films. Her role as Director on Rumble encapsulates her love and devotion to music, history, politics, and bringing important Indigenous stories to the mainstream. 

Jeannie Barbour (Chickasaw) is an artist who currently serves as the Creative Development Director for the Communications Department at the Chickasaw Nation. She served as content producer for the Chickasaw Nation’s film Te Ata, and is currently involved with script development for the tribe’s next feature film The Chickasaw Rancher

Nanobah Becker (Navajo) is a member of the Navajo Nation. She earned her MFA in directing from Columbia University. “The 6th World,” a sci-fi short she wrote and directed, was an episode of online series Futurestates (Season 3) and premiered at the Tribeca Film Festival. She directed “I Lost My Shadow” by Laura Ortman, which won best Music Video at the imagineNative film + media arts festival. “My Soul Remainer” is their second video. Nanobah is originally from Albuquerque, New Mexico. 

Ismael Vásquez Bernabé studied culture, language, and memory at the Intercultural University of Southern Peoples. His core interest is the strengthening of his cultural roots. He worked on the documentary Unisur Xochistlahuaca (2010) with La Claqueta Cultural Association.

Julianna Brannum (Comanche) is a documentary filmmaker based in Austin, Texas. Her first film, The Creek Runs Red, was selected to air in Fall 2007 on PBS’s national prime-time series, “Independent Lens.” In early 2008, she co-produced a feature-length documentary for PBS’s We Shall Remain--a 5-part series on Native American history. The episode, “Wounded Knee,” chronicled the siege of Wounded Knee, South Dakota, in 1973 led by the American Indian Movement.She is a member of the Quahada band of the Comanche Nation of Oklahoma.

Dr. Amanda Cobb-Greetham (Chickasaw) serves as Coca-Cola Professor and Chair of Native American Studies at the University of Oklahoma. From 2007 to 2012, she served her tribe, the Chickasaw Nation, as the Administrator of the Division of History and Culture. During her tenure, she curated and launched the state-of-the-art Chickasaw Cultural Center in Sulphur, OK. 

Dr. James H. Cox is a professor of English and co-founder of Native American and Indigenous Studies at the University of Texas at Austin. He is the author of Muting White Noise: Native American and European American Novel Traditions (2006) and The Red Land to the South: American Indian Writers and Indigenous Mexico (2012), the former co-editor of Studies in American Indian Literatures, and the current co-editor of Texas Studies in Literature and Language. With Daniel Heath Justice, he co-edited The Oxford Handbook of Indigenous American Literature.

Amanda E. Cuellar is a Ph.D. candidate in the OU Department of English with an interest in border studies, Chicano literature, and Mexican cinema. Her dissertation project interrogates Gloria Anzaldúa’s notion of la frontera in contemporary Chicano texts. She has served as a volunteer for the Native Crossroads Film Festival since 2016 and is a co-programmer for this year’s event. 

Joseph Erb (Cherokee) is a computer animator, film producer, educator, language technologist and artist enrolled in the Cherokee Nation. He earned his M.F.A. degree from the University of Pennsylvania. Erb created the first Cherokee animation in the Cherokee language, “The Beginning They Told.”  He used his artistic skills to teach Muscogee Creek and Cherokee students how to animate traditional stories. Most of this work is created in the Cherokee language. Erb teaches at the University of Missouri in Digital Storytelling and Animation. 

Mark Esquivel, a Xicano from Texas, is a second-year art history Ph.D. student in the OU School of Visual Arts, working towards a specialization in Indigenous photography. He is interested in Indigenous digital aesthetics of multivalent photographs by Indigenous artists contextualized within matrices of power. 

Dr. Hugh Foley is an Oklahoma music historian, an author and founding board member of the Oklahoma Music Hall of Fame. His primary areas of scholarship are American Studies with an emphasis on Oklahoma music and culture, Native American studies and cinema. He currently serves as the faculty consultant at the campus radio station, KRSC-FM, where he produces a weekly Native American current events and music program, and mentors students in basic studio operations.

Dr. Todd Fuller completed his Ph.D. in English from Oklahoma State University and published his first book, 60 Feet Six Inches and Other Distances from Home: the (Baseball) Life of Mose YellowHorse. His essays and poetry have appeared in numerous journals across the country, and his most recent work includes a poetry collection titled To the Disappearance. He co-founded Pawnee Nation College and served as President from 2004 to 2011 and currently serves as an Associate Director for Research Development at the University of Oklahoma. 

Dr. Christina Giacona is a Lecturer on American Musics at The University of Oklahoma, a Smithsonian Folkways-certified World Music Pedagogue, holds the Nancy and Mitch Llewellyn Chair as a clarinetist with the Fort Smith Symphony, and is the Executive Director and clarinetist of the Los Angeles New Music Ensemble. She is also one of the only female producers in the country who works on both classical and popular multi-tracked albums. 

Gary Glassman is a documentary filmmaker based in Rhode Island. His company, Providence Pictures, produces films for NOVA, Discovery Channel, History Channel, BBC, and other television networks and programs.

Dr. Erik Gooding is a Professor of Anthropology at Minnesota State University Moorhead. He teaches courses in the anthropology of the arts, visual anthropology, and Plains Indian and western Great Lakes Indian ethnology. His current research interests include the comparative historical ethnomusicology of the Dakotan peoples of the northern Plains, dance ethnology of the Meskwaki and Sauk peoples, geospatial understandings of time, space, and place in Algonquian languages, and on issues of cultural identity, endangerment, and revitalization relating to expressive culture.

John G. Hamilton (Kiowa) Mr. Hamilton has over 27 years of traditional and contemporary tribal singing experience.  His speciality consists of singing Kiowa traditional gourd dance and war-dance music, as well as intertribal pow-wow music. He is an M.A. student in the Native American Studies Department at OU.

Sterlin Harjo (Seminole/Creek) has gained critical and audience acclaim with his films throughout the world. Four Sheets to the Wind premiered at the 2007 Sundance Film Festival, where he was named Best Director. Harjo’s second dramatic feature Barking Water premiered at Sundance in 2008 and was the only American film to play in the Venice Days section of the 2009 Venice Film Festival. His first feature documentary, This May Be the Last Time, premiered at Sundace in 2014, and his third feature, Mekko, premiered at the Los Angeles Film Festival in 2015. Harjo is a founding member of the comedy collective The 1491s. Harjo grew up in Holdenville, Oklahoma, and now lives in Tulsa. He is a co-founder of Fire Thief Productions.

Dr. Joanna Hearne directs the Digital Storytelling B.A. Program at the University of Missouri and teaches courses in Indigenous studies, film studies, and digital storytelling. She has published articles on Native American and global Indigenous film and media, digital media, animation, Westerns, documentary film history, and early cinema. Her books are Native Recognition: Indigenous Cinema and the Western (SUNY Press, 2012) and Smoke Signals: Native Cinema Rising (University of Nebraska Press, 2012).

Kawennáhere Devery Jacobs (Mohawk) was born and raised on the Mohawk reserve of Kahnawake, QC. She is a film and television actress, best known for her leading role as Alia in the award-winning feature film Rhymes for Young Ghouls. She has also been featured in numerous productions such as Exploding Sun, Lionsgate Television’s The Dead Zone, as well as APTN’s Mohawk Girls. Her most recent acting work includes The Sun at Midnight and The Land of Rock Gold.  

Enrique Herman Aguilar Jansonius has participated in commercial, promotional, and cinematic productions in Mérida (Yucatan), working as a producer, director, screenwriter, and editor. He is part of the first cohort of IMCINE’s National Network of Audiovisual Poets.

Steven Paul Judd (Kiowa/Choctaw) is a filmmaker, scriptwriter, graphic designer and a visual artist. Specializing in pieces “for Indians to have, and that get white people to think,” he draws from the lack of mainstream Native American culture during his childhood and rewrites history. He also recently co-authored a book with Thomas Yeahpau titled The Last Pow-Wow which was released in 2016.

Angelica Lawson  (Northern Arapaho) is Assistant Professor of Film Studies and Ethnic Studies the University of Colorado Boulder. Her work seeks to examine the intersections of national and transnational trends in Indigenous film and media. Her book manuscript, Indigenous Strategies of Resistance and Resilience: Literature, Film, and Media, outlines a methodology for utilizing site-specific Indigenous worldviews as a means for determining narratives of resistance and resilience in the work of numerous Indigenous artists. 

Alfonso Maiorana is Co-director and Director of Photography on Rumble. Based in Montreal, Alfonso’s DP experience on Hollywood films, Independent features, MOWs, and television series brings a distinctive look and feel to the films he shoots. His directing credits include The Big World which premiered at the Montreal International Film festival. Passionate about music history and inspired by filmmakers like Jarmusch, Truffaut and Coppola, Alfonso’s combination of visual style and storytelling come together in Rumble.


Noé Martinez’s work has appeared in shows at Venice International Performance Art Week 2016, Museum of Contemporary Art 2014, and the Art Center Kunstquartier Bethanien in Berlin 2013.  He contributed to the collective poem “Revolución” 2014 for the Post platform of the MoMA in New York.

Dr. Danika Medak-Saltzman (Turtle Mountain Chippewa) is Assistant Professor of Ethnic Studies at University of Colorado, Boulder. Her work focuses on Native histories, Indigenous thought and theory, transnational Indigeneity, Indigenous futurisms, and visual culture—including film and cultural production. She also examines the transnational movement of American colonial policies–particularly in the case of Japan—which is a subject explored in her forthcoming book, Specters of Colonialism: Native Peoples, Visual Cultures, and Colonial Projects in the U.S. and Japan, with the University of Minnesota Press.

Valerie Red-Horse Mohl’s body of work spans over three decades of film and television content creation and production. A graduate of UCLA’s Theater/Film Program, she has produced, directed and written over a dozen award-winning films and television programs. Valerie is a member of the Directors Guild and the Screen Actors Guild and was inducted into the NAWBO (National Association of Women Business Owners) Hall of Fame in 2008. In addition to her entertainment expertise, she is an investment banker serving as owner/founder of Red-Horse Financial Group, Inc.; she has raised/structured over $3 billion in capital for American Indian Tribal Nations.

Dr. Joshua Nelson (Joshua Nelson, a Cherokee citizen and native Oklahoman, is Director of Film & Media Studies, Associate Professor of English, and affiliated faculty with Native American Studies at OU, where he teaches American Indian film and literature. He earned his B.A. in psychology at Yale and his Ph.D. at Cornell. His book Progressive Traditions: Identity in Cherokee Literature and Culture appeared in 2014, and he is at work on a book on representations of the body in Indigenous film. He is the lead organizer of Native Crossroads, an ex officio member of the Society for Cinema and Media Studies, Secretary of the Faculty Senate, Faculty Fellow for Dunham Residential College, and future Faculty in Residence at OU’s Cross Neighborhood. For the forthcoming documentary film Searching for Sequoyah, about the legacy of the inventor of the Cherokee syllabary, he is an associate producer, narrator, and interviewer.

Timothy Nevaquaya (Comanche) is an artist, flute maker, and musician from Apache, Oklahoma. He is one of a few Comanche artists working in the traditional and contemporary style of Indian paintings. Nevaquaya began his professional career in the mid-1980s when he began exhibiting his flutes and his paintings at the Oklahoma Indian Art Gallery in Oklahoma City. He has exhibited his work thought the southwest. As he was developing his career in the visual arts, he pursed his interest in Indian flute music and has utilized his knowledge of Indian music to become a premiere flute maker and performer. He is the son of the famed Comanche artist and flutist, the late Doc Tate Nevaquaya. 

Dick Pryor has more than 25 years of experience in public service media, having previously served as deputy director, managing editor, news manager, news anchor and host for OETA, Oklahoma’s statewide public TV network. He was named general manager of KGOU Radio in November, 2016. A native of Norman, Pryor earned a B.A. in Journalism and a J.D. from the University of Oklahoma.  In 2015, he wachosen as Distinguished Alumnus of the Gaylord College of Journalism and Mass Communication at the University of Oklahoma, where he has served as an instructor of Mass Communication Law and Radio News. Pryor was inducted into the Oklahoma Journalism Hall of Fame in 2009.

Angela Owen began working for the Chickasaw Nation in 2008. She served as Associate Producer on the Chickasaw Nation’s feature film Te Ata and is serving as Supervising Producer on The Chickasaw Rancher

Laura Ortman writes and composes various types of new music that crosses categories of genres, moods and ideas—both culturally and experimentally that bring innovative arrangements to the medium. She has composed countless scores for independent filmmakers and has an extensive list of performances and artistic collaborations in her career. 

Christian Rozier began his career as a music video and commercial director, working with progressive artists and clients. Christian is one of the featured filmmakers in the 2010 United Nations sponsored global film One Day On Earth and a screenwriter of the 2013 feature film Lineage.  His 2014 documentary Racing The Past premiered at the Blackstar Philadelphia Film Festival.

Dr. Gabriela Raquel Ríos brings together Rhetoric and Composition and Indigenous studies in order to offer an account of how indigenous communities create knowledge, resist colonialism, and continue/reshape culture and “tradition.” Additionally, she interrogates how indigeneity or Indigenous technologies and theories travel across social movements and public discourses. Her most recent project investigates how Indigenous communicative technologies contribute to ongoing inquiry on the link between language and the environment.

Dr. Carolina Rueda published articles on contemporary Latin American cinema. Forthcoming works include the publication of her book titled Ciudad y Fantasmagoría: El cine urbano de Latinoamérica en el siglo XXI (City and Phantasmagoria: Urban Latin American Cinema in the Twenty-first Century) and the essay-film Oklahoma Mon Amour. Carolina previously worked professionally in the fields of film and video. In 2005, she co-produced the Colombian feature film Visitas, which premiered at the Montreal World Film Festival. An assistant professor in Film & Media Studies, Carolina has teaches  history, theory and production at the University of Oklahoma. 

Diego Sarmiento Brothers Alvaro and Diego Sarmiento are two of Peru’s fastest-rising filmmakers. Together they have alternated duties as director and producer on a number of projects that have screened at festivals the world over. Alvaro is a visual artist, screenwriter and producer who wrote and directed the award-winning short “Kay Pacha” (2014) and wrote and produced “Sonia’s Dream” (2015). In addition to producing, Diego has directed several short films, including “Earth’s Children” (2014) and “Sonia’s Dream” (2015). Río Verde is their first feature film.

Karl Schmidt is the Digital Media Lab Manager for the Film & Media Studies Program at the University of Oklahoma. He is a co-founder of Native Crossroads and a co-programmer of the festival for 2018. He handles the graphical, technological, and media needs for the festival. Karl holds B.A.’s in Visual Anthropology, and New Media Photojournalism from Western Kentucky University.

Jorge Scobell’s work was included in Mexico’s selection for Sights and Sounds: Global Film at the Jewish Museum in New York.  He participated in the 62nd International Short Film Festival in Oberhausen, Germany.  He also received funding (2012-2014) from the BBVA Bancomer Program/MACG Arte Actual (Today’s Art).

Joleen D. Scott is a Master’s student in the Department of Native American Studies with an interest in the connections between visual media and intellectual or cultural sovereignty among Indigenous people within the United States.  Her thesis is looking into the United Nations Declaration on the Rights of Indigenous Peoples and focalizing what those rights mean through a Cherokee artistic lens.  Her professional experience includes being an online instructor for the Intro to Native American Studies course as a graduate teaching assistant. This is her first time working for Native Crossroads Film Festival and Symposium.

Jill Simpson serves as Executive Director of the Society for Cinema & Media Studies (SCMS). The international organization’s home office is situated at the University of Oklahoma. Prior to joining SCMS in 2014, she served for ten years as Director of the Oklahoma Film & Music Office and spent the first 18 years of her career working in the film industry in Los Angeles. She was named one of Oklahoma Magazine’s 2014 Oklahomans of the year. She received an Oklahoma Film Icon Award at the 2014 deadCENTER Film Festival, and the 2010 Distinguished Service Award from the Oklahoma Film & Video Society. 

Dr. Lindsey Claire Smith is Associate Professor of English and American Studies and Associate Director of American Indian Studies at Oklahoma State University. She is the author of Indians, Environment, and Identity on the Borders of American Literature (Palgrave Macmillan, 2008) and editor of Alternative Contact: Indigeneity, Globalism, and American Studies (Johns Hopkins, 2011) with Paul Lai. She is the editor of American Indian Quarterly and a founding member of the Tulsa Indigenous Studies Alliance. She is also Interim Director of the Center for Poets and Writers at OSU-Tulsa, and co-chair of Tulsa Lit.Fest.

Shirley Sneve (Rosebud Sioux) is Executive Director of Vision Maker Media, whose mission is to share Native stories with the world that represent the cultures, experiences, and values of American Indians and Alaska Natives through Public Television. She has served as director of Arts Extension Service in Amherst, MA, and the Washington Pavilion of Arts and Science’s Visual Arts Center in Sioux Falls, SD. Shirley was Assistant Director for the South Dakota Arts Council, and she was a  founder of Northern Plains Tribal Arts Show, the Oyate Trail cultural tourism byway, and the Alliance of Tribal Tourism Advocates.

Maya Solis (Pascua Yaqui/Blackfeet) is currently based in Los Angeles, California where she is a Coordinator for Sundance Institute’s Native American and Indigenous Program. Prior to joining the Sundance Institute, she held archivist positions with the National NAGPRA Program, the Southern Ute Cultural Center & Museum, the Academy Film Archive, and the UCLA Cataloging and Metadata Center. She graduated from UCLA with degrees in History and Film. She also received her M.A. degree from UCLA’s Moving Image Archive Studies program. She is currently a board member for Vision Maker Media.

María Sosa’s work has appeared in group shows at Venice International Performance Art Week 2016, Museum of Contemporary Art 2014, HEAD Genove école d’art et de design 2014, and the Art Center Kunstquartier Bethanien in Berlin 2013.  She contributed to the collective poem “Revolución” 2014 for the Post platform of the MoMA in New York.

Angela Startz is an extremely busy individual with eclectic tastes in travel, music and food. She would like to be able to watch movies, but she’s too busy making them, acting in them and promoting them. When she’s not working in film and television, she’s tap dancing her way across the globe. A member of the Arctic Slope Regional Corporation, her Inupiaq roots come from Kotzebue and Point Hope. For the past 14 years, Angela has worked at the University of Oklahoma in public relations. This is the third year she’s given her talents to NXR. And it keeps getting better, every single time she sees it.

Dr. Dustin Tahmahkera (Comanche Nation) is an interdisciplinary scholar of North American indigeneities, critical media, and cultural sound studies. In his first book Tribal Television: Viewing Native People in Sitcoms (University of North Carolina Press, 2014), Tahmahkera foregrounds representations of the Indigenous, including Native actors, producers, and comedic subjects, in U.S., First Nations, and Canadian television and other media from the 1930s-2010s within the contexts of federal policy and social activism. His current book project Cinematic Comanches: In the Media Borderlands of The Lone Ranger (under contract with the University of Nebraska Press’ “Indigenous Films” series) continues his interest in the politics of Indigenous visualities. At UT, he also serves on the Advisory Council of the Native American and Indigenous Studies program. 

Jerod Tate (Chickasaw): Praised and honored for “his ability to effectively infuse classical music with American Indian nationalism” (Washington Post), Jerod Impichchaachaaha’ Tate, born in Norman, Oklahoma, is a citizen of the Chickasaw Nation. Tate is dedicated to the development of American Indian classical composition. He received a 2011 Emmy Award for his work in the OETA Documentary, The Science of Composing. Tate earned his B.A. in Piano Performance from Northwestern University and his M.A. in Piano Performance and Composition from The Cleveland Institute of Music. He was appointed Creativity Ambassador for the state of Oklahoma in 2008. Among works available are Iholba’ (The Vision), for Solo Flute, Orchestra and Chorus and Tracing Mississippi, Concerto for Flute and Orchestra, recorded by the Grammy Award winning label Azica Records. 

Sunrise Tippeconnie (Comanche/Navajo) started working with Native Crossroads with the integration of a concurrent media course in 2014. Additionally, he is a Lecturer in the Film & Media Studies Program where he emphasizes in courses in media production. He supports production coursework with on-set practice as an IATSE Local 484 member as well as in his own independent media work. He is currently in post-production on several fictional shorts that investigate Comanche identity and spirituality within the science-fiction and horror genres.

Dr. Kimberly Wieser is an Associate Professor of English and an affiliated faculty member with Native American Studies and Environmental Studies at 

the University of Oklahoma. She is the director of the Native Writers Circle of the Americas and serves as president of the Board of the Wordcraft Circle of Native Writers and Storytellers. Her areas of interest are Native critical theories, contemporary Native literatures, Native rhetorics, and Native creative writing.