302 ¥ REVIEWS process would more likely lead to sustainable development. and educational projects in the North and South for the The book is an important set of readings for anyone exhibition and texts, and in making additions to the collec- interested in development. While it does not offer tions. Their voices are heard throughout: in comments as they solutions to the problem of sustainable development, it is an worked on the preparations, in conversations and consulta- interesting survey of crucial problems in the Arctic. What it tions, from their videos and their writings. lacks in integration is made up in the substance contained in The book is written by Judy Hall, the curator of the the individual chapters. section of the exhibition, with Chapter Twelve, on contempo- rary and clothing, by Jill Oakes and Mark O. Dickerson Sally Qimmiu’naaq Webster. It makes an important contribu- Department of Political Science tion to the growing number of studies on , The University of Calgary opening the way to understanding the Inuit cultural legacy as 2500 University Drive N.W. a whole. Calgary, Alberta, The author has conducted a thorough search of the litera- T2N 1N4 ture: both the classics by Birket-Smith, Boas, Ellis, Hatt, Jenness, McGhee, Rasmussen, and Stefansson, and more recent works including those by Angugatiaq, Chaussonnet, SANATUJUT: PRIDE IN WOMEN’S WORK. COPPER Driscoll, Issenman, Rhoda Karetak, Sally Karetak, the AND CARIBOU INUIT CLOTHING TRADITIONS. By Mannings, Winifred Marsh, Oakes, Pharand, Rankin, Riewe, JUDY HALL, JILL OAKES and SALLY QIMMIU’NAAQ and Stenton. Full references are found in the well-developed WEBSTER. Hull, Quebec: Canadian Museum of Civiliza- bibliography. She draws effectively on the expertise of Inuit tion, 1994. ISBN 0-660-14027-6. xv + 136 p., 90 b&w and seamstresses, the early anthropologists and explorers, the works 13 colour photos, 2 maps, 5 line drawings, notes, bib. of Driscoll, Marsh and Oakes, and her own participatory Softbound. Cdn$29.95. research. The blend of academic references with a lively writing style makes the material most accessible to adult readers. The Canadian Museum of Civilization has published texts to Sanatujut focuses on the dress of two groups: the Caribou enhance its exhibition entitled “Threads of the Land: Cloth- Inuit, who live on the west side of in the southern ing Traditions from Three Indigenous Cultures,” that runs part of the District of Keewatin; and the , who from February 1995 to September 1997. The three-part inhabit the north-central region of the Canadian mainland in exhibition displays the dress and adornment of the Dene: the the area of Dolphin and Union Strait and Coronation Gulf, Northern Athapaskans of the , the Cop- and Victoria Island, still using Banks Island as hunting per and Caribou Inuit of the Northwest Territories, and the grounds. A general description of the Copper and Caribou NLaka’pamux of the British Columbia interior. Sanatujut is Inuit lands and environment helps readers visualize the way the title of the Inuit component of the exhibition and of the life was and is carried on. Hall situates the clothing as a vital book under review. The word “sanatujut” is trans- part of an ancient culture, playing the roles of physical lated by Sadie Hill (p. vii) as “women’s pride and skill in protection, custodian of cultural values, and a link to the making clothing.” Sally Kusugak and Sally Qimmiu’naaq animal and spiritual realms. Webster add the meaning of “having pride in doing things The book goes on to present some of the prehistoric with your own hands” (p. 123). evidence of skin preparation and sewing, describing the tools Before we look at the content of this work, it is important and the whole pieces and fragments of skin clothing found at to go back a few years to understand the full significance of archaeological sites. Along with Inuit oral narratives and the the process used to produce the book and the exhibition. In the accounts and illustrations of European visitors to the Arctic late 1980s, the Assembly of invited the Cana- in the historic era, the reader receives the perceptions of dian Museums Association to begin a joint evaluation of Natives and non-Natives. Chapter Three explores skin prepa- museum policies regarding the material and spiritual heritage ration and sewing techniques. The chapter on regional styles of Aboriginal peoples. Together, in 1990, they established the brings together detailed information that illuminates Task Force on Museums and First Peoples, which brought in commonalities and differences in the garments of the many its report two years later. The report agreed on guidelines to regional groups that make up the two larger communities. “develop an ethical framework and strategies by which Abo- Several chapters describe the attire and its role at crucial riginal peoples and cultural institutions can work together to times in the lives of the Copper and Caribou Inuit. Birth and represent Aboriginal history and culture.” The document childhood, body decoration, personal adornment, spirituality, legitimates and expedites practices whereby the display and celebrations and rituals, and death are the topics that inform interpretation of the native heritage become a joint venture the reader about the more profound significance of the dress. between partners. Chapter Ten outlines the influences on Caribou Inuit The Canadian Museum of Civilization procedures honor clothing of contact with non-Inuit, starting in the early 1700s the vision of the Task Force report. From the outset, the native with the arrival of European and American explorers and peoples and their communities were involved with institu- whalers and the Hudson’s Bay Company. Trade goods—the tions in the planning, design, selection of artifacts, research, most important for seamstresses being beads and fabric— REVIEWS ¥ 303 altered the appearance of skin garments, and added to the the front edge (Fig. 18, p. 26 and Fig. 62, p. 65). However, the kinds of pieces in the clothing repertoire. Chapter Eleven Copper Inuit clothing at the McCord Museum of Canadian demonstrates the effect of contact between the Copper Inuit History, Montreal, for example, and much shown in Sanatujut and British explorers in the eighteenth and nineteenth centu- and elsewhere, does not have this extension. Diamond Jenness’ ries, as well as contact with traders from , with the patterns of men’s and women’s coats (1946:12, 13, 34) show Dene, and with members of the Southern Party of the Cana- a straight-cut edge, as do the full dress dancing costumes dian Arctic Expedition, which took place from 1913 to 1916. worn by Ikpakhuak and his wife Higilak (Jenness, 1946: A dramatic change in style occurred in Copper Inuit costumes frontispiece), who adopted Jenness. Can we discover the reason when the Klengenberg family migrated from Alaska to for the seamstress’ decision to use one style or another? Was Coppermine in 1916. The changes are particularly interest- it a matter of decoration, group affiliation, a need for spiritual ing, as both Inuit and non-Inuit had acknowledged that protection, a reference to the life-springs, or the sensibilities traditional Copper Inuit dress had several drawbacks. The of the seamstress at a particular moment in her life? discussion of the new Mother Hubbard style for women and The stripes on Copper ’s trousers were found the limited use of beads rounds out our understanding of the on women’s trousers in , donned by some male sha- changes to the garments after contact. mans in their androgynous state. The motifs on Copper Inuit The last chapter, by Oakes and Webster, brings the reader tools, clothing, and tattoos are known in the Thule era, and into the 1990s by centering on contemporary Copper and from and Historic times in Siberia. Some symbols Caribou Inuit wear. Well-developed is the discussion on the in Caribou Inuit clothing and are found in some varieties of clothing available—skin, fabric, handmade, store- Siberian costume. Can we extend the frontiers of our studies bought—and the choices made according to role, function, of Inuit clothing by pursuing the search for the Northeast age, traditions, group affiliation, and the desire for attention Asian connection already documented in other fields? and decoration. The authors give many examples of the use of These comments aside, the book admirably fulfills its technological advances combined with traditional lore. This mandate to trace and describe the development of Copper and synergy has resulted in attire that meets the requirements of Caribou Inuit clothing. It draws together in a detailed, yet today’s life in the North as well as esthetic tastes, especially relatively compact form, the material about the attire and its of the young, influenced by the South. place in an ancient, rich, complex culture that is alive and well A judicious editor’s handwork is evident. The book de- in the Arctic. It goes further, by promoting the quiet revolu- signer has given the reader uncrowded pages, and clear tion taking place between the Aboriginal peoples and muse- references to images with well-placed captions. The photo- ums, wherein we can tread the same path as partners, toward graphs—archival, of museum artifacts, and modern—are consensus rather than confrontation, concerning ethical poli- outstanding. Dorothy Burnham’s illustrations are cies to preserve and advance the Aboriginal cultural heritage. rendered with clarity and precision, reflecting an understand- ing of how is cut and sewn. Some minor criticisms: I am troubled by the use, in REFERENCES connection with Inuit fur and skin garments, of the terms ‘hem,’ ‘hemline,’ and ‘,’ that are southern expres- ASSEMBLY OF FIRST NATIONS/CANADIAN MUSEUMS sions used in the dress industry or in home sewing. The word ASSOCIATION. 1992. Turning the Page: Forging New ‘’ implies transience, a striving to be in vogue, to have Partnerships Between Museums and First Peoples. Task Force le dernier cri, concepts quite distinct from the work of Inuit Report on Museums and First Peoples, Ottawa. seamstresses. More serious is the omission, perhaps because JENNESS, D. 1946. Material culture of the Copper Eskimo. Report of its controversial nature, of mention of the effect of the anti- of the Canadian Arctic Expedition, 1913Ð18, Vol. 16. Ottawa. fur harvesting lobbies on Inuit communities. The European and American ban on importing seal fur is the latest of a series Betty Kobayashi Issenman of blows to northern economies dictated by fashion, be it 3220 Ridgewood Avenue ideological or material: whaling ceased (not in itself a nega- Montreal, Quebec, Canada tive event) because and oil were no longer H3V 1B9 required in Europe and ; later, after a built-up demand, the market for Arctic dropped. The book could have been rounded out by an indication of A LONG WAY FROM HOME: THE TUBERCULOSIS areas for further research, although I already hear the protests EPIDEMIC AMONG THE INUIT. By PAT SANDIFORD of the editor about casting too wide a net. Possibly the elders, GRYGIER. Montreal and Kingston: McGill-Queen’s Uni- along with Inuit and non-Inuit scholars, will find answers to versity Press, 1994. 233 p., 20 b&w illus., 3 maps, 4 some of the puzzles. appendices, notes, index. Hardbound. Cdn$34.95. Sanatujut raises the question of the function of the kiniq (p. 34, sometimes translated as front flap or apron) in Copper Commencing in the late 1920s, many of Canada’s Inuit lived Inuit . The traditional Copper Inuit kiniq is a very small through a devastating tuberculosis epidemic that was intro- V-shaped or oblong extension, or an outline, at the centre of duced by visitors or early settlers from the south. Not until