For the Rights of All: Ending Jim Crow in Alaska

In the Alaska Purchase of 1867 the United States took on more than just the land. There were indigenous people living everywhere in Alaska. Like Native Americans in the lower 48, Alaska Natives struggled to keep their basic human rights as well as protect their ancient ties to the land. The Bill of Rights did not apply to them. Through extensive reenactments and rarely seen historic footage and photographs, 'For the Rights of All' reveals these remarkable people and their non-violent struggle for civil rights.

Like Native Americans in the lower 48, Alaska Natives struggled to keep their basic human rights, as well as protect their ancient ties to the land. The Bill of Rights did not apply to them. Through extensive reenactments, the film reveals the remarkable people and their struggle for civil rights.

Silverman lives in Anchorage, Alaska, with his family and has operated his own company, Blueberry Productions, since 1994.

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As an Alaska Native woman passionate about seeking protections for the land and indigenous people of our state, I find the life of Elizabeth Peratrovich truly inspiring. For this woman, to stand up and speak her heart and mind in a room full of scorn, with all the cards stacked against her, is tribute to the unconquerable spirit of Alaska Native people.

Diane E. Benson (Tlingit) was one of the original female tractor-trailer truck drivers on the remote and hazardous Trans-Alaska Pipeline. Since then, she has pursued a multidimensional life that has included work as a playwright, writer, speaker, politician and actress. In the film, For the Rights of All: Ending Jim Crow in Alaska, Benson plays the role of Tlingit activist Elizabeth Peratrovich, one of the most influential leaders of the Alaska civil rights movement.

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Seasons greetings from Vision Maker Media! It’s a time of reflection and preparation for the new year. Lakota people record their reflections through the winter count. Waniyeta wowapi, in our language. Winter counts are histories or calendars in which events are recorded by pictures, with one picture for each year.

It was the unspoiled vastness of Alaska’s wilderness that first brought producer Jeffry Silverman to the state. It was 1983 and Silverman was a recent film graduate of Penn State University. He had no idea that he, as a non-Native, would someday play a role in telling the stories – of joy and struggle – of the indigenous peoples of the land.

“I certainly knew as soon as I got here, that this is home,” he said.

 
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