Dancing, Drumming & Connection: Hayley Morin’s Joyful Portrait Of Life Under The Arbor

With her debut feature documentary Under the Arbor, award-winning Plains Cree writer and director Hayley Morin invites audiences onto the vibrant Powwow trail for a summer of movement, music, and community. Filmed across Treaty 6 territory, the film captures the spirit of Indigenous celebration—where champion dancers, grassroots drummers, proud aunties, and families gather in a swirl of colour, song, and tradition. From the charged energy of the arena to the quiet, heartfelt moments in between, Under the Arbor is a love letter to cultural pride, intergenerational knowledge, and the joy of being together—whether you’re under the bright lights or beneath the open prairie sky. —Noa Nichol

1. UNDER THE ARBOR captures both the energy of the powwow arena and the quiet moments behind the scenes—what drew you to telling this story in such an intimate way?

Powwow has always been known for its boisterous energy – from the vivid colours and textures of the regalia to the sound of drums and jingles harmonizing. Alongside that, is a community that feeds into that energy and keeps the spirit alive. While it’s easy to be drawn in by the loudness of the arbor, some of my favorite parts of a powwow weekend are the moments in between songs- dancers rushing to braid their hair in car windows, drummers running to campsites to light fires, and rez kids running around with lemonade stained mouths. Being able to share those parts of the community felt more authentic than solely focusing on the dancing and drumming.

2. This is your debut full-length documentary. How did the process differ from your work on films like Joe Buffalo and Smudge the Blades?

For most of my career, I have focused on producing films such as Joe Buffalo and Smudge The Blades and it has always been a joy to help someone share their voice and unique perspective. With Under The Arbor, it felt like it was so much easier to find both the voice of the film as well as my voice as a director because the subject matter was so close to my spirit. 

3. The film will also be available in Cree on CBC Gem. Why was it important to you to make a version in Cree, and how does language shape the viewing experience?

At the heart of Under The Arbor and what makes the film so special to me is the fact that it was all filmed on treaty 6 land. It feels impossible to share a story that is so integral to the cree people and not include the language as much as possible. Being able to see the nehiyaw people and our traditions on screen as well as hear our ancestral language feels like it brings you right into that arbor.

4. You filmed over one summer across Treaty 6 territory—what were some of your most memorable or moving moments during production?

The most memorable part of filming in treaty 6 for me was just being able to share some of my most familiar and favourite places on screen. Having the opportunity to invite an audience into 11pm Alberta sunsets and the best seat in the arbor to watch the men’s chicken dancers. 

5. UNDER THE ARBOR features powerhouse talents like Fawn Wood and Cree Confederation. How did you decide which artists and performers to highlight?

For us, including icons in the powwow world like Fawn Wood and Cree Confederation felt like a no-brainer. When you envision the powwow trail, especially around western Canada, it doesn’t feel possible to picture a weekend without hearing Fawn and her partner, Dallas Waskahat’s voices boom throughout the grounds. Featuring them alongside other prolific drummers and dancers in the film was integral to showcasing the community.

6. Powwows are deeply rooted in community and tradition. What do you hope non-Indigenous audiences will take away from experiencing this world on screen?

I hope that the main takeaway from the film is the feeling of connection and the spirit of family that is embedded in the powwow world. Powwow is all about gathering and celebrating and it has brought my people together for generations. I hope that our non-indigenous audiences are inspired to come and see the magic that is this community for themselves.

7. Humour and joy shine through in the documentary. Why was it important to balance the cultural and historical weight of powwow with those lighter moments?

Joy has been an integral part of our survival as indigenous people. For everything that we have and still do experience to this day, laughter has a huge presence in indigenous ceremonies and spaces. Highlighting that part of the culture, especially when we talk about serious themes like colonization or reconciliation, provides a look into how we as indigenous people have been able to cope with 400+ years of not the best times.

8. What role did collaboration with the dancers, singers, and families play in shaping the final film?

As a filmmaker, collaboration has always been huge to my creative process. Especially when delving into a world like powwow, being able to lean on the people who really dedicate themselves to this lifestyle made the film so much better. Our subjects and everyone involved in the film were able to provide unique lenses and provide a raw look into these spaces.

9. Can you share how your own Plains Cree identity influenced your approach to storytelling here?

As a nehiyaw person, my culture and community shapes everything about me. For this film, it felt like I was able to approach it in the most cree way possible and highlight the beauty of our land and medicine. So much of the powwow lifestyle feels embedded into our cree identity, it was easy to be able to lean on our sacred teachings to be able to share these stories in such a raw way.

10. If audiences could walk away from UNDER THE ARBOR with just one feeling or thought, what would you want it to be?

I hope that the overall takeaway from the film is the feeling of pure joy and resilience. That this way of life and these traditions are so beautiful that it has been worth fighting for and protecting. That us as indigenous people are still here and we are thriving both outside of and under the arbor.