A Thousand roads, film made especially to be exhibited at the Museum's headquarters in

Washington. The film weaves together four stories: a young Mohawk woman in Manhattan, a

young Inupiat visiting her grandmother for the first time in the far north, a young Navajo gang

member who finally finds her ancestral values, a shaman Quechua called to the bedside of a

dying child. Each story explores what belonging to a community means. A Thousand Roads is a

film of personal accounts inside an enormous extension: crossing from the core of urban

America, to its ice and its desert, and after that to the mountains of the Andean area of South

America. Its motivation is to recount the stories of the indigenous people groups who are

connected in soul, anyway geologically far separated. The dazzling visuals of sky, arrive, water,

flying creatures, creatures and individuals unquestionably have an instinctive effect upon us. For

a film so sprawling in content - topographically and socially - the test lies in scoring it with the

sounds and music of its story line.

In spite of the fact that on one level, a consistent score firmly penetrated by incorporated

symphonic strings expects to accomplish coherence from scene to scene, the capable of being

heard fragmentary snapshots of real indigenous music-production are scanty and secured by a

heavier cloak of instrumental and MIDI frontal area. When one hear this prevalently 'new age'

merging idea of sounds, packed with string lines and resonance with pseudo-celtic vocals

weaving in and out, one can close their eyes and envision a wide range of sorts of visual

situations and topic which coordinate what one hear.

All through the film, there are exceedingly strong minutes when the importance of a

scene crests in a cognizance. It makes one love the sound of the music, which conveys that to

perfection the alleged purification in highbrow terms however, one is left disillusioned. This film

make one remember an inescapable pattern in American true to life articulation. This is
demonstrated through the genuine voice of a culture's soul is regularly covered such a great

amount in the sparkle of introduction, that its social peculiarity either battles to be heard or is lost

through and through. Further, there is a sure incongruity, at that point, with this film in that

exclusive fragmentary and detached articulations of the agent societies, from scene to scene, can

be heard. This exacerbates bitterness as opposed to elevating audience spirits, which make one

anticipate what that the film entails. In a few occurrences, the hints of one conventional style of

music - most quite with woodwinds, which are utilized as a part of a dish Indian way do not

relate with the social substance of the film. In the Arctic story line scenes, we do not hear the

reminiscent hints of drumming and melody from the north. Rather, we hear the customary love

woodwind, which we connect with the Woodlands and Plains.

Some historical influences have contributed to the historical evolution of these relative

contemporary indigenous stories. It is important to understand that throughout the history of

humanity man in his relationship of coexistence with his peers and his requirement to meet basic

need has sought ways to organize in groups. That is, in societies or towns where each of the

members fulfilled specific tasks according to their talents. In addition, some were engaged in

agriculture, others were hunting, trading, and being scribes and priests.

It is obvious from the contemplations above, that the film score for A THOUSAND

ROADS has largely flopped in its endeavor to precisely and decently depict the Indigenous

voices of the sides of the equator. This general disappointment came about somewhat from a

non-Indian basic leadership process that guided the making of the score, and from the non-Indian

arrangers enlisted to make it. Certainly, making a 'mark' music score that motivates watchers to

additionally investigate our numerous and differed Indigenous voices is a grand driving force.
Disappointingly, the score for A THOUSAND ROADS offers minimal in excess of a mono-

topical and stereotyped vision.