Leo Angotingar lives in Naujaat (Repulse Bay in English), in the Kivalliq area in Nunavut, an Inuit community of 548 inhabitants (2006 census, Statistic Canada). Leo’s parents, Lionel and Olalie Olartituk Angotingoar, and his sister, Elizabeth Uluta Angotingoar, are all artists in the community, where he was born during the spring 1953.

In 1989, an international touring exhibition presented by the Amway Corporation at the United Nations General Assembly, Masters of the Arctic: An Exhibition of Contemporary Inuit Masterworks, included artworks made by Leo Angotinuar and other well-known Inuit artists.

When Leo is not carving, he likes going out of the settlement, for walrus, seals or caribous hunting with some friends. He also enjoys music such as guitar played by Jimmy Hendrix and songs by Bob Marley and Leonard Cohen. On his Bebo profile, he says that his happiest time is “when I keep myself busy, and driving my machine on my trap line. Enjoying the great white trundra and what is out there.” And he adds: “The only thing I like doing right now is to have fun and enjoy what ever life have to give me.”

Leo’s answers as for the questions:

- When did you start carving and how did you learn?

Leo: I don’t know. We had a dog team at the time and I was given the work to make sure all the dog harnesses, had their ivory or angler loop holes and snaps were in shape at all times, and Mom made sure what ever handles for the working tools to be in shape. Most of all to have some toys made for my kid bros and sis.

- Do you remember the first carving you made? What kind of topic did you depict?

Leo: To trade? A small Nanook and made 25 cents. As for topic did I depict? Just only ten years ago pick the drum dancer. Why? Drum beat was loud, over the years had slowly drifted as all the Inuit stuff, but if you listen hard enough and look to the past you will still hear the BEAT. The stories and beliefs are still there but not as load. Sorry to say

His artistic style

Leo explains that his sources of inspiration are mainly related to the old stories he heard from the past and had experienced himself. His favourite topic consists in depicting human figures linked to Inuit myths and cosmology but also to the daily life from the past. In this perspective, he loves carving women carrying their baby in their amauti’s hood with tenderness and emotion.

Another current topic within Leo’s artistic production is Sedna as she is called by Qallunaat (non Inuit people), even if her real name could be, depending the Arctic area: Uinigumasuittuq “the one who did not want to get married”; Takannaaluk “the Big there below”; or Tallilayuk. Anyway, she is considered as the Sea Godness among Inuit societies. Following the Inuit cosmology, she is at the origin of the living beings thus, being the most popular figure related to Inuit culture (see: Laugrand, F. and Oosten, J. 2009, The Sea Women : Sedna in Inuit Shamanism and Art in the Eastern Arctic, Fairbanks: University of Alaska Press).

Most of his carvings are made out of stone and whale bones; sometimes both materials are used thus, playing with their colours. At first, the silhouette of human figures could seem to be massive (maybe because of the general form and the texture of the material) but looking at them closer, you would identify many details from furs, clothes and hairs, as well as discreet smiles on faces. Through his carvings, Leo depicts human figures on movement - moving actually means to be alive. These figures often look up the sky, as if they want to keep connection with their ancestors and spirits.

Regarding this exhibition of his carvings at the Inuit Art Zone gallery in Quebec city, he just leaves the following message : “Enjoy !”

Each image is printed in an edition of fifty. 

Printmaking from the Kinngait studios in Cape Dorset is well-known across the world and the international art market, even more than their fiftieth anniversary was celebrated last year through numerous celebrations and travelling exhibition such as the National gallery of Canada’s exhibition “Uuturautiit: Cape Dorset Celebrates 50 years of Printmaking”, curated by Christine Lalonde and Leslie Boyd Ryan. Kinngarmiut artists have been practiced their graphic skills for over 50 years and thus, their reputation is well established within the international art scene.

Art making is considered as traditional practice by Inuit elders and youth, taking a strong part within daily life. This notion of “tradition” may be understood following the Inuit way as “deeply rooted past knowledge that are still relevant today among Inuit societies”; this is the concept of Inuit Qaujimagatuqanngit (well-known by its acronym I.Q.) developed by the Nunavut government.

The official opening date is Friday, October 15th. Catalogues and brochures of the 2010 Kinngait annual print collection are available.

Link:

http://www.dorsetfinearts.com/

Transformation scenes are delighted topics among Inuit artists as well as Inuit art collectors. There is so many different transformations depicted in art from the Arctic and each of them is unique. Many artists depict transformation scenes into carving, drawing or print such as Nick Sikkuak, Matiusi Ayaituk, Simon Tukumi, Alasau Sharky, Joe Ikidlak, Maudie Ohitook, Tukiki Manumi, Markusie Papigatok, Napachie Ashoona. Carving or drawing a transformation scene could be consisting in depicting different parts of animals’ and humans’ bodies put together to form a new creature. But it is not easy as it looks like !

Transformations are strong meaningful topics in reference to Inuit cosmology and shamanism. According to Inuit people, the universe (silajjuaq) is organized around three worlds : one where live human beings (humans, animals, vegetables); another one inhabited by dead animals or humans ; and, a last one occupied by spirits (tuurnngait). Theses three worlds are different but inter-penetrating and the shaman serves as intermediary between these worlds thus maintaining the balance. He can be helped by protector auxiliary spirits  - tuurnngait - to realize this task; they get to the shaman strength and power. (see this blog on May 8^th, 2008)

The conception of the Inuit world represents a continuum, where each element is a part of a whole. Each human being can change his/her own body then integrates a new one, animal or human. This time could be one kind of transformation scene depicted into carving or drawing; but it is not the only one. Much artists today don’t know much about shamanism as they didn’t experimented it themselves, except the elders.  Artistic depictions linked to shamanism are however still important today since Inuit elders pass on traditional stories to young generations through orality and art.

The power of transformation expresses itself on many Inuit stories and myths from Alaska, Greenland and Canada. We could remember the story of Uinigumasuittuq, « the one who didn’t get married » : deceived by a dog who turned into a human : she married him, got children mid-dog mi-human who gave birth to White, Native and Inuit people (see this blog on May 27^th, 2008).

Another myth talks significantly about transformation: this is  the story of the Sun and the Moon, such as this version collected in 1899 by Edward Nelson in Alaska (McDonald, 1998 : 272).

In a coast village once lived a man and his wife who had two children, a girl and a boy. When these children grew large enough, so that the boy could turn over the gravel stone, he became in love with his sister. Being constantly importuned by the boy, his sister finally, to avoid him, floated away into the sky and became the moon. The boy has pursued her ever since, becoming the sun, and sometimes overtakes and embraces her, thus causing an eclipse of the moon.

References

MacDonald, 1998, The Arctic sky : Inuit astronomy, star lore, and legend, Iqaluit :  Nunavut Research Institute.

Saladin d’Anglure, Bernard (ed.), 2002, Interviewing Inuit Elders. Inuit cosmology and shamanism, Iqaluit : Nunavut Arctic College.

The 2009 collection of Kinngait count thirty six prints, made out of different techniques of making prints : stonecut, lithograph, serigraph, aquatint, etching, stencil. Itee Pootoogook, Kananginak Pootoogook, Kavavaow Mannomee, Kenojuak Ashevak, Mayoreak Ashoona, Ningeokuluk Teevee, Ohotaq Mikkigak, Pitaloosie Saila, Suvinai Ashoona, Tim Pitsiulak made the original drawings ; and, Kavavaow Mannomee,  Niviaksie Quvianaqtuliaq, Pitseolak Niviaqsi and Qiatsuq Niviaqsi realized the prints.

A 2009 special releases is added to the thirty six prints, with drawings made by Kenojuak Ashevak, Meelia Kelly and Pudlo Pudlat when Kavavaow Mannomee, Kooyoo Simiga and Iyola Kingwatsiak made the prints.

These prints show how the artistic sphere from the Canadian Arctic is still dynamic with the artworks made by Inuit elders and younger artists. Although many birds are well represented by the artists in the 2009 collection, all of them are different through their subjects (it could be snow owls, loons, geese, ptarmigans, ducks or ravens), theirs styles and the way of drawing them.

Other Arctic animals are not only illustrated as caribous, muskox, seals, walrus, polar bears, whales and fishes, but also landscapes and myths from the oral tradition. Each print is unique and reveals drawers’ and printmakers’ know-how, with their own artistic  styles.

Celebrating 50th anniversary of making prints in Kinngait

Kinngait, an Inuit community located in Nunavut more known as Cape Dorset (its English name) and commonly called “Dorset”, is well-known as the artistic capital among Inuit circumpolar territories (Alaska, Canada and Greenland) on the international art market.

This year, its inhabitants, called Kinngaimmiut, celebrate the fiftieth anniversary of the West Baffin Eskimo Co-operative’s establishment. The Co-operative was established in 1959 by Inuit people who lived in Kinngait, in order to organize and control the artworks’ distribution on the international artistic sphere, but also to give income to the artists and locally share the profit of sold prints; all Kinngaimmiut would enjoy.

Thus, the new 2009 Kinngait prints collection coincide with the West Baffin Eskimo Co-operative’s fiftieth anniversary. In order to underline this event, an exhibition takes place at the National museum of Canada from October 2009 to January 2010 : « Uuturautiit: Cape Dorset Celebrates 50 Years of Printmaking ».

Link :

http://www.gallery.ca/english/592.htm

http://www.inuitartzone.com/fr/exposition/29/calabrons-50-ans-les-gravures-de-cape-dorset-1959-2009.html

References :

Ryan, Leslie Boyd, 2007, Cape Dorset prints, a retrospective : fifty years of printmaking at the Kinngait studios, San Francisco, Pomegranate.

West Baffin Eskimo Co-operative, 2009, Cape Dorset prints. Celebrating 50, 1959-2009, catalogue annuel d’estampe de Cape Dorset 2009.

(Please, contact us to get these books)

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