The dancing bear : its signification

There is not only one explanation about the dancing bear through Inuit art and culture. Actually, the most popular signification of this topic is linked to shamanism and spirits world. According to the Inuit thought, the universe is inhabited by human beings (humans, animals, vegetables), deceased’s and spirits (tuurnngait) each who live in different but inter-penetrating worlds. Every human being is provided with an anirniq “breathing, breath of life ” which, when the subject dies integrates a new animal or human body. The conception of the Inuit world represents a continuum, where every element is a part of a whole.

The shaman serves as intermediary between these various worlds and maintains the balance. She/he can travel from a world to the other one, flying through the air or water,  thus entering communication with the deceased’s or spirits’ world as she/he can change its appearance and be human and animal at the same time… This is what we called the shaman’s transformation.

The shaman can be helped by protector auxiliary spirits - tuurnngait - to realize this task; they get to the shaman strength and power. The polar bear could be one of these tuurnngait and while the shaman is calling him, she/he is playing drums and dancing. Most of the time, when Inuit artists represent a dancing bear, this is precisely the moment when the shaman and the bear are getting connected thus, their spirit and their body merging together.

Its origin in contemporary art

In historical perspective, the first dancing bear was carved by Pauta Saila, a talented artist who lived and worked in Kinngait (Cape Dorset) in Nunavut. Born in December 1917 and recently passed away (June 2009), he lived with his second wife Pitalusi Saila, a well-known graphic artist.

Pauta Saila produced a wonderful variety of subjects in carving, drawing and print. He realized his first dancing bear carving in the middle of the 1950s. Quickly, art collectors were captivated by this kind of topic and the demand on the international art market grew up.  Today, so many artists from every Inuit communities carve or draw dancing bears as well as dancing caribous or belugas such as Moe Putuguq, Michael Samayuallie, Padlaya Qitasuk, Johnny Papigatok, Mattiusie Tunillie, Ottokie Ashoona, Kananginak Putuguq…

Link :

http://www.tradition-orale.ca/default.html

Kangiqliqniq is a major governmental centre in Nunavut. In the 1995 Nunavut Capital Plebiscite, Iqaluit defeated Kangiqliniq to become territorial capital of Nunavut. As of the 2006 census, the population was 2358, an increase of 8.3% from the 2001 census (Statistic Canada).

Kangiqlinirmiut (people who live in Kangiqliniq) share their artistic production between ceramics, carvings, prints, drawings, watercolours and bronze castings.  Whereas sculptural and graphic arts started to develop in the 1950s, the first ceramics workshop opened in 1963 and run until 1977. The current workshop was opened in the 1990s by a new generation of artists.

Sculptors such as George Arlook, John Tiktak, Hunter Toonoo, work with steatite and serpentine (hard grey stone and black stone) as well as ivory and in ceramics; they are widely admired for his sculptural representations of the human form and face and organic shapes. Their artistic creations illustrate traditional themes in innovative ways.

Link :

http://www.rankininlethotel.com/rankin-inlet-inuit-art.htm

Kuujjuaraapik is the most southern Inuit community in Canada, located on the west coast of Nunavik in Northern Quebec. Kuujjuaraapik is known by different names as people from different languages and cultures lived and still live today there : it was called Kuujjuaraapik « the little great river » in Inuktitut, Whapmagootsi « where there are whales» in the Cree language and Great Whale in English (translated into French by Poste-de-la-Baleine).

The village started to develop in the late 1930s. During World War II, the United States built in Kuujjuarapik a military base and airport, which they turned over to the Canadian government in 1948. This base was also the control station of the Mid-Canada Line, a line of military radar stations constructed in 1955 from the Atlantic Ocean to the Hudson Bay along the 55th parallel.

At this time, Kuujjuaraapik was the most important community in the Hudson Bay area. The population of Kuujjuarapik decreased significantly however in 1985 when many families, fearing the negative impacts of the Great Whale River hydro-electric project, decided to relocate to Umiujaq, another Inuit community about 160 km north of Kuujjuarapik. Thus by 2006, a census of 568 inhabitants with 165 families was taken (Statistics Canada).

The art making such as carving and sewing started to expand when the Hudson’s Bay Company opened a trading post called Great Whale River in 1820 on the site of today’s Kuujjuarapik. The main activities at the post were processing whale products of the commercial whale hunt and trading furs, but carvings were often exchanged for tools.

By the late 1960s, carving making grew up and more and more carving were sold down South through the Fédération des Coopératives du  Nouveau Québec (established in 1967 to provide the growing co-operative movement with more effective powers and services to help attain their vision : atautsikut/together -  working to develop as a people, leaving none behind»).

Certain artists became very famous on the international art scene thanks their  carvings, printmaking  and drawings depicting more often animals and myths into a strong style  : not much detailed composition but simple lines with the main characteristics of their topics.

Josie Napartuk (1901-1980), his son Henry Ainalik Napartuk (1932-1985) as well as Lucy  Meeko (1929-2004) were renown for their carvings and print makings. Today, there is just a few number of artists in the community such as Alec Lawson Tuckatuck (1976-) who carves from soapstone, caribou antler, muskox horn, walrus tusks (he has his own website : http://www.inuitstonecarving.com/about_me.html). Lizzie Amiaku Papialuk (1941-) and Emily Novalinga (1954-) make coiled grass baskets.

To learn more about Kuujuaraapik :

http://www.nvkuujjuaraapik.ca/

http://www.nunavik-tourism.com/page.aspx?page_id=74

http://www.inuulitsivik.ca/b_kuujjuarapik_e.htm

In Inujjuaq, the Daniel Weetaluktuk Museum exhibits a collection of Inuit arts and crafts as well as traditional tools, hunting and fishing gear. Bas-relief sculptures depicting day-to-day life in an Inuit community are permanently on exhibit at the Innalik School lobby.

Carving

Famous carvers such as Juani Akuliak (1951-), Elisapi Inukpuk (1938-), Charlie Inukpuk (1941-), Noah Arpatuq Echalook (1946-), Lucassie Qumaaluk Echalook (1942-) work in Inujjuaq. Isa Paddy Aqiattusuk (1898-1954), Jimmy Inurali Arnamissak (1946-2003), Johny Manumi Inukpuk (1911-2007), Paulusie Kasudluak (1928-2000) were those who first  started carving in the community thus, giving to its artmaking a certain fame.

Jewelry

On March, 2009 – Aumaaggiivik Nunavik Arts Secretariat, a new department at Avataq Cultural Institue to support and nurture the artists of Nunavik, officially kicked off activities earlier this month with a pilot training project in Inukjuak. The Inukjuak Jewelry Project began the first of two 8-week training modules on March 2, 2009. Inukjuak artists will learn the aesthetic, technical and cultural aspects of high-end jewelry-making. The goal is to create an inspiring and dynamic learning environment that supports open exchange among carvers and jewellers.

The Inukjuak Jewelry Project was made possible thanks to the long-term loan of a building in Inukjuak owned by Makivik Corporation as well as contributions from Kativik Regional Government’s Diversification Fund and Employment and Training program, and Kativik Local Development’s Socio-Economic Fund. The course and workshop space were designed by Montreal media artist Catherine Béchard, a former jeweller with extensive experience in Northern communities, in collaboration with Bruna Mastroianni of Kativik School Board. Students from Nunavimmi Pigiursavik Adult Education Centre participated in the building renovations. Instructor Linda Brown will work with artists Joanasie Elijassiapik, Andrew Nulukie, Laina Nulukie, Eva Lucy Inukpuk, Inuksiak Arnamissak, Elijah Tukai, Jeffrey Kasudluak, and Clara Kasudluak.

Sources :

www.nvinukjuak.ca/  

www.avataq.qc.ca/    

www.nunavik-tourism.com       

Many nomadic Inuit families took up permanent residence in Kimmirut during the 1950s and 1960s and people in the community remain a relatively traditional life thus, participating in hunting and traditional arts and crafts activities. Buildings from this early era, including the first RCMP post (1915), the Hudson’s Bay Company buildings and the Anglican Church are still standing.

Carving

Local green soapstone and serpentine soapstone are often used by the Kimmirut artists; there is a soapstone quarry located near Kimmirut. Some sculptors work with ivory. They often produce scrimshaw etchings on the ivory. Some of them carve also caribou antlers.

Famous artists born in post camps near Kimmirut, such as  Eliyah Michael, Iola Ikkidluak, Temela Aqpik, Shorty Killiktee, Davidee Ittulu or Anu Arlooktoo carve with stone, ivory and caribou antler, thus carving animal subjects (birds, bears, seals, whales), hunting scenes, drum dancers and traditional Inuit myths. Their naturalistic style earned a strong reputation on the international art market

Sources :

http://kimmirut.ca/about/About.html

http://www.kimmirut.com/kimmirut-inuit-artists.htm  

Carving production began in the early 1960’s, and artists soon earned a reputation for their distinctive style as they use a rough, local stone called steatite (popularly known as soapstone).  Some artists who come from Arviat or who live there are well know on the international art market as their artworks are kept by famous museums in Canada like the Winnipeg Art Gallery, the Canadian Museum of Civilizations and the National Gallery of Canada.

Arviat steatite carving deals almost exclusively with family and maternal theme like works made by John Attok (1906-1980), Andy Miki (1918-1983) and John Pangnark (1920-1980).  Details of anatomy and clothing are usually stripped away so that some works seem to be almost abstract in form and could be described as “minimalist”. Lucy Tasseor Tutsweetok (1934-) focuses on  the larger themes of family and community in her carving works; she is now probably the most famous artist from Arviat.

Other artists, such as Daniel Alareak (1964-), carve from caribou antler thus, exploring  variety of subjects, including shamanism and  hunting. More recently, Daniel Alareak has made jewellery since 1994, working with walrus tusk ivory, and is now incorporating metal into some of his jewellery pieces.

On the other hand, women in Arviat make wall hangings which traditionally show caribou skin figures with faces carved from bone or antler. Dolls with soapstone or dried sealskin faces, are also made by artists Martina Anoee and Alice Akkamuk.

Arviat Hamlet also holds: the Margaret Aniksak Visitors Centre where are exhibited traditional Inuit life and artefacts from the Arvia’juaq archaeological site; the Arviat Sivulinut Elders Society which offers instruction in string games, throat singing and holds traditional cookouts of caribou heads, hooves for example ; a Kiluk Sewing Centre which offers local art and crafts for sale and the Ulimaut Carving Shop provides a workspace for carvers in Arviat.

Reference :

Winnipeg Art Gallery, 1982. Eskimo Point/Arviat, Winnipeg Winnipeg : Art Gallery.

Hessel, Ingo, 1990. « Arviat stone sculpture: born of a struggle with an uncompromising medium», Inuit Art Quarterley, 5 (1): 4-15.

http://www.arviathotel.com/arviat-inuit-art.htm

Ulukhaqtuuq, « where we sew» in Innuinaqtun (Inuktitut dialect), is an Inuit community located on the west side of the Victoria Island in the Northwest Territories in the Canadian Arctic.  A population of 398 ulukhaqtuurmiut including 105 families live there (2006 census, Statistics Canada). Ulukhaqtuuq (formerly Holman in English) was established in 1939 when a Hudson’s Bay Post and a Roman Catholic mission were erected. By 1966, the community outgrew its original site on King’s bay and moved to its present location in Queen’s Bay.

Printmaking

Ulukhaqtuuq is the only Western Arctic community with a printmaking program. This artistic practice came about in response to the growing need for economic development at first, such as other Inuit communities in the Canadian Arctic. Inuit artists and Father Henri Tardy, a priest who ran the Catholic mission at Holman from 1949 to the early 1980s, were inspired by the success of the arts and crafts enterprises in other Arctic communities like Kinngait and Panniqtuuq. In Nunavut and Puvirnituq in Nunavik, in order to form the Holman Eskimo Co-operative in 1961.

By the 1960’s, the artists in Ulukhaqtuuq used several printmaking techniques : acid-free etching, lithography, stencil, stonecut, woodcut. Initially, sealskin was used to produce stencils. Since 198, the main techniques have been stencilling and lithography which allow for the detailed, naturalistic depictions that are now the main interest of Ulukhaqtuuq artists.

Traditional subjects as hunting scenes, oral myths and past daily life are depicted by famous artists from Ulukhaqtuuq as : Flossie Papilluq (1904-1994), Mona Ohoveluk (1935-1892), Agnès Nanogak Goose (1925-2001), Alec Aliknak Banksland (1928-1998), Stanley Ilonak Klengenberg (1964-1999), Patrick Akovak Klenbengerg (1944-1976), Helen Kalvak (1901-1984), Mark Emerak (1901-1983), Victor Ekootak (1916-1965).

Harry Igutaq (1925-), Mabel Ninngiuq (1938-), Mary K. Okheena (1957-), Peter Palvik (1960-), Louie Nigiyok (1960-), Roberta Memogana (1971-), Susie Malgokak (1955-), Peter Malgokak (1954-),  Elsie Klengenberg (1946-), William Kagyut (1919-), Trex Kangoak Goose (1965-), Julia Manoyok  Ekpakohak (1968-), Harry Egotak (1925-) are artists who make drawings and prints with vivid colours and sophisticated compositions. Some of them also make sculptures even if this practice is not very developped in Ulukhaqtuuq. 

Reference :

Coward-Wight, D. (ed.), 2001. Holman, forty years of graphic art / Holman, quarante ans d’art graphique. Winnipeg: Winnipeg Art Gallery.

http://www.virtualmuseum.ca/Exhibitions/Holman/english/artists/index.php3

The Sanavik Co-operative

The Sanavik Co-operative was incorporated one year after the release of Qamanittuaq’s first print collection in 1970.  A disastrous fire in 1977 destroyed the print shop, as well as the archive of drawings and the entire print collection for the next year. The co-op rallied, and within a month had begun work of a new collection. After several years of financial difficulties, the print shop was forced to close after releasing the 1990 collection.

Beginning in 1996, a graphic program sponsored by the Nunavut Arctic College permitted the release of new experimental collection.  Added to the artistic production, Sanavik’s activities include a hotel, retail store, cable TV, post office, video rentals and property rentals.

Printmaking, Carving, Wall Hanging

The most frequently used printmaking techniques in Qamanittuaq is stonecut and stencil, often in combination, supplemented in later years by serigraphy, linocut and woodcut. Textile art is also practiced by women like Jessie Urnaq, Janet Kigusiuq and Irene Avaalaaqiaq who sew wall hanging from drawings, as a natural extension of their work preparing skin and using them to sew clothing. Not much carvers work in Qamanittuaq.

Because Qamanittuaq is located inland, the iconographic subjects, both in graphic and sculptural domains feature caribou and muskoxen rather than marine mammals (whale, beluga, walrus and seal), the Kiviuk myth rather than the Takanaaluk or Uinigumasuittuq (Sedna) story.

Traditional myths are very popular among Qamanittuaq’s artists such as drawers and printmakers : Simon Tukumi (Tookoomi), Victoria Mamnguqsualuk, William Noah, Irene Avalaaqiaq, Luke Anguhadluk, Jessie Urnaq (Oornak), Janet Kigusiuq as well as carvers like Jonhy Iquliq, Tuna Iqulik, Matthew Agigaaq, Nancy Atpanik, David Toolooktook and Barnabus Arnasunngaq.

Sanavik Co-operative :

http://inuit.pail.ca/sanavik-co-op.htm

References :

Nasby, Judith. (2002). Irene Avaalaaqiaq. Myth and Reality. Montréal: McGill-University Press.

Hessel, Ingo. (1998). Inuit Art : an Introduction. Vancouver: Douglas & McIntyre.

Printmaking started in 1961 in Nunavik as a cultural and economic project of the newly formed Puvirnituq Cooperative, following the example of the Kinngait print shop in Nunavut begun in 1957. Prints were also created in others Nunavik communities in Inujjuaq, Ivujivik, Kuujjuaraapik and Kangiqsujuaq.

Annual print collections were produced in Puvirnituq from 1962 through to 1989 when the Co-operative closed the print shop. Indeed, at the end of the 1980’s the prints production reduced because of the decline in demand from the international art market and suddenly stopped after the print shop had been destroyed by a fire.

Over the ten last year, Inuit artists and several cultural organizations launched into printmaking programs in Nunavik area. In this context, Avataq Cultural Institut works  for the establishment of a new print shop in Puvirnituq, for example. Linked to the local Saputik Museum, this art studio will contribute to make artistic and cultural events lead as much as to provide new jobs in the community.

Artists and Subjects

Davidialuk Alasuaq Amittuq, Charlie Sivuarapik, Joe Tallirunili, Leah Qumaluk, Qumaluk Tukalak, Jusi Papialuk, Johny Amittuq, Lucassie Tukalak, are one of these famous artists in Nunavik, drawers, sculptors as well as print makers.

Print subjects represent Inuit family and individual histories, as well as traditionnal myths. They show with pride the Arctic territories, their animals, spirit creatures from the shamanic world, the Inuit way of life from past to present. The prints are one of their important methods of storytelling, thus continuing the transmission of traditional knowledge.

Stone-cut Technique

Stone-cut is the most current technique of printmaking in Nunavik and is an Inuit savoir-faire unique in the art world. Stone-cut consists in reproducing an original drawing through a flattened stone block, smoothed by sanding and filing. The negative image from the original drawing is traced onto the stone which is carved then following the outlines: relief areas match the coloured forms whereas the hollow of the stone are colourless. Then the printer master inks the carved stone (areas in relief), adds over it a paper and press it by hand. Finally, the paper is removed from the stone and the print is done.

Printmaking a stone-cut is a long process and with this method every print is unique as stone block is inked with different colours in different ways each time. No more than fifty editions are usually made from  the same stone block.

A co-operative –or the co-op - is a group gathering people together who work in the same way in order to achieve the same objectives.  By 1956, in Kinngait (in Nunavut), the Inuit artists who were looking for more autonomy established the first co-operative in their community with financial supports from the federal government and James Houston’s help. 

The local printmaking studio comes under the control of the co-operative which takes charge of the artists’ pay, material supplies, equipments and the artworks distributions on southern art market. In Panniqtuuq and Kinngait for example printmakers and some drawers are employed by the co-operative at the printshop whereas carvers work freelance even if they often sale their sculptures to the co-operative.

Following the economic success of the artistic program hold at the printshop in Kinngait, new co-operatives and printmaking studios, only managed by Inuit people, were established in other Arctic settlements such as : Puvirnituq (Nunavik) and Iqaluit (Nunavut) in 1962; Ulukhaqtuuq (Holman, Norwest Territories) in 1965; Qamanittuaq (Baker Lake, Nunavut) in 1968; Panniqtuuq (Nunavut) in 1973.

Objectives of Co-operative

The main objective of each co-operative is to unite the community and to act as a spokesperson for their interests. Therefore the co-op is more than just an artistic studio, as is evident from their success in activities as diverse as : operating retail store; banking, post offices cable TV and Internet services; management training; staff development and auditing services; marketing Inuit art across Canada and around the world; operating hotels and a travel agency; fishing and hunting camps; bulk storage and distribution of crucial, oil and fuel supplies; constructions projects in Nunavik for housing, school etc…

The Co-operative movement is so important in the Canadian Arctic as it is now the largest non-government employer in the Arctic area with over 270 full time and 54 seasonal employees in Nunavik and 120 full-time employees in Montreal. The co-ops are managed exclusively by Inuit staff; thereby ensuring that the knowledge and experience gained from operating their collective enterprises remains an asset of the community.

The Fédération des Coopératives du Nouveau Québec (FCNQ) in Nunavik

The Fédération des Coopératives du Nouveau Québec (FCNQ) is owned by its fourteen member’s co-operative in the Inuit communities of Nunavik. The FCNQ was established in 1967 to provide the growing co-operative movement with more effective powers and services to help attain their vision - atautsikut/together -  working to develop as a people, leaving none behind.