film and instructing them to be authentic in their portrayal of their Indigenous culture, values, and language Bailey encouraged a safe space for accurate historical representations from non-colonial perspectives. Even in a modern context it is uncommon for a settler filmmaker, like Norma Bailey, to use actual dialectic representation to ensure proper and distinct Indigenous characterization in the film and television industry. Bailey elicited a charismatic feeling throughout Ikwe by creating a film about the relationships forged through the fur trade by only offering viewers the opportunity to understand the experiences lived by an Indigenous woman. The performances in Ikwe gives a sympathetic dimension to Canadian and Indigenous history while highlighting the innate strength, power, and dignity of Indigenous peoples and Indigenous cultures that have been oppressed by colonial structures of racism and sexism. Despite being non-Indigenous herself, Norma Bailey works tirelessly within the context of several of her 1980s era films to showcase Indigenous resilience against the oppressive colonial systems working to eradicate them from society. Bailey respectfully reserves her judgment of colonialism from her films and instead highlights the strength of Indigenous people and representation in cinema as an important factor in the decolonization movement. Through Ikwe Norma Bailey accomplishes depicting history through the perspective of the oppressed which is rarely done in colonial society and works towards messages of Indigenous sovereignty and Indigenous feminism. It is through this contextualization that Norma Bailey emerges as an ally in the movements of decolonization and Indigenous feminism. Bailey encompassed Indigenous feminism in her films by examining how gender and western patriarchal ideologies of conceptions for gender impact historical and contemporary Indigenous peoples. Alongside the ideologies of Indigenous feminism through her a variety of her films, Bailey challenges stereotypes about Indigenous peoples and gender roles by creating cinematic content that is inclusive and representational. Within this framework Norma Bailey can be easily viewed as an ally to the Indigenous feminist movement and the broader decolonization movement. She does not hide behind her position as a white settler filmmaker but rather chooses to use her ability as a filmmaker to create films that showcase Indigenous peoples in a sympathetic yet powerful way that is rarely captured. Filmography L' artiste (1978) Chasing the Eclipse (1979) Rice Harvest (1980) Nose and Tina (1980) Bush Pilot: Reflections on a Canadian Myth (1980) It's Hard to Get It Here (1984) Discussions in Bioethics: Family Tree (1985)