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LAKE HARBOUR), Nwf THE ART OF GIVING: COOPERATION, RECIPROCIIT AND HOUSEHOLD ECONOMIe STRATEGIES AMONG SOAPSTONE CARVERS IN QIMMIRUT (LAKE HARBOUR), NWf by Michele Dupuis Department of Geography McGill University November, 1992 A thesis submittcd to the Faculty of Graduate Studies and Resean:h in partial fulfilment for the Degree of Master of Arts. Copyright 1992 @ Michele Dupuis 1 ") \ ()~ ~~ (- "- \ l • \ <- \\l l l " '. l ' (" J.'~ \ ') 'cî ' ' Î- , .-- r. ,-, "- Î \' 1 1 \ r\ \. _'-t"_ l 'i l ~ \ - ';, t- .-- .. rn _____ ~~ _~-)~ 1 (- " \ 1 \ . , " é-: - 1 , \ t \ l ( r _)V\C Al \" j-l, .'- )" 1 1 1 f, l' \ 1 \. )) ( ) 1 • Il 1 ( j ABSTRACT This thesis examines soapstone carving arnong Inuit in Lake Harbour, NWT, as a sociaJ/y adapted form of emp)oyrnent. A tirne allocation diary, participant observation and informai interviews were irnplernented. The ernpirical evidence reveals two important aspects of soapstone carving. First, carving acts as an important source of income for the mostly part-time carvers and their families in Lake Harbour. As such, carving functions as part of a household economic strategy that serves to capitalize the harvest of country food. Second, it notes that Inuit often produce carvings collectively, usually with the help of farnily members. Also, the returns from the carvings are shared not only among those who participate in the production of the sculpture, but among members of the extended farnily as a whole, following the patterns of kinship-based food-sharing. Thus, not only is carving an important supplement to other forms of incorne, it is an integral part of the existing social forrns of Inuit society, most notably generalized reciprocity. RESUME Cette these examine la sculpture de stéatite parmi les Inuit dl' Lake 1hl! hou!, TNO, en tant que une forme d'emploi adapté à leur mode de vic', Trois methodes de r('cherche furent déployes (des age.nda,> d'allocation temporelle, l' tJbservation participatoirc, ct dcs entrevues), qui ont réveles deux aspects importants de la sculpture dc steatite. Premièrement, les sculptures rapportent un revenu considérable aux tailleurs, pour la plupart engage dans cette activité à temps partielle, et leurs familles. De cettc fUfoll, la sculpture forme une partie intégrale des strategi es de survie domestiquc, SUI tout Cil tant que source de capital pour les activités de chasse. Deuxiemement, les sculptures sont souvent produit de facon collective par la famille imm~diate. Cependant, le revenu cst lion seulement partage parmi les sculpteurs, mais avec la famille élargie, scIon les nonnes de partage commensal. Donc la sculpture de stéatite represente non seulemcnt un supplement important aux revenu global, mais est aussi intégré aux forme sociaux Inuit existants, notamment la réciprocité généraliseé. PREFACE 1 have writtcn and rewritten this preface in my rnind 50 many tirne over the Jast few years and finally 1 am faccd with the most pleasant task of my thesis: expressing my thanks to ail tho,>e mvolvcd Hl its creation. First, J would like to thank the Department of Indian and Northern Affam for funding my initiai field season in Lake Harbour with their Northern Suenc.e Traming grant program. Second, 1 would like to thank Dr. Arlene Stairs for mak.lIg It po,>,>ible to return ta Lake Harbour ta follow up on my mitial work and for her enc,mragement, hdp and advlce on my carving research. Her suggestions and thcorctical advile have been cntIcal in helping complete this project. 1 would al"o Itkc to take this opportul1lty to acknowledge the assisf.ance of Dr. John 'nlOmpS()(), who provldcd me 1101 only with the necessary Teaching Assistant funding through the Canadlan StlJd/C" program but for bcing the driving force behind my entrance into gradua te M.hool. Thallb, tao, to Audrey Kobayashi for funding my last terrn. Another faculty member who helped me wa.., Dr. Ludger Müller-WiJle, whose advice, especiaJJy in thc carly preparation stage,> hclped me create a method which would prove very useful. 1 also wallt tn thank Dr. Toby Morantz, whose friendship and guidance made another year at Cana chan Studies a northernist's drearn. 1 llIust al"o thank ail those in Lake Harbour who opened their homes, lives and carving ~hacks to me for my field seasons. Thanks to Josie Padluq, Kootoo Shaw, Tass Ragi, pits Padluq, Lao St. Laurent, Sai mata Kilicktee, Paul Onalik, Inneak Akavak, Sandy Akavak, JO'iephee Padlllq, Nooshuta Padluq, Eyesiak Padluq and Rosemary Allen, 00 Aqpik, Seernccga Aqpik, Tommy Akavak, Geela Pitsiulak. Sam Pitsiulak and Sirneonie J'.qpik fOI hclping IllC to learn about Inuit. J woulcl also likc to thank Dr. George Wenzel, my thesis supervisor, for providing not only guidance but friendship. His advice when 1 needed it, and the ali-important "spa ce" when 1 just Ilccded time to puzzle things out by myself, helped not only produce my thesis but to have me learn il great deul mo;-e about how to do research. Finally, his hard work cditing the Vat IOUS drafts of the thesis have turned a tedious tome into a readable, 1 hope, proJcct. Thanks also to Ann Wenzel who opened her home not only to me but to my spOllse as weil, and who provided us with hours of good conversation, racoon-watching and dcliclous frcc food. Thanks also to rny colleagues at McGiIl: notably the North Talk group for great northcrn conversation - diversion without guilt. 1 must also thank Jeanne whose friendship was a grcat comfort as 1 struggled to write. Thanks to my family: Gisele, John and Wendy who werc Illy Sunday evcning oasis and to my in-iaws: Jim, Margo, Val and John who were my Saturday cvening oasi". Thanks finally to my spouse, Jacques Critchley, whose love, support arld kind words kept me going through three hard years. Jacques' cogent criticism (a living spcllchecker!) and editorial comments heJped me through the final stages of my work. dmd, Hamilton, Ontario TABLE OF CONTENTS PREFACE ........................................................ CHAPTER ONE: INTRODUCTION . .. l Introduction . .................. , 1 Problematic ... .. 1 Oeography and the Northern Economy .................................... 3 Chapter Review . 4 Sorne Definitions ....... 6 Methodology .. 8 CHAPTER TWO: LAKE HARBOUR: HISTORY, ECONOMY AND DEMOGRAPHY .......•........................................... 12 Introduction. .. 12 Contemporary Lake Harbour ... .. 17 The Carving Industry in Lake Harbour: Background and Overview ............ " 23 CHAPTER THREE: CARVINGS AND CASH: THE RISE OF SOAPSTONE CARVING AS A COMMERCIAL ENTERPRISE .......................... 27 Production for Use: The Prehistory of Inuit Art . .. 27 Production for Exehange: Soapstone Carving in the Historie and Conternporary Periods . .. 28 Art as an Economie Strategy .......................................... 31 CHAPTER FOUR: ART FOR WORK'S SAKE: CAR VING AS AN REVENUE EARNING STRATEGY AMONO FIVE INUIT HOUSEHOLDS IN LAKE HARBOUR, NWT ............................................................ 36 Introduction . .. 36 Economie Strategies of Soapstone Carvers ................................ 37 Market Factors and Economic Strategies ................................. 42 The Carving Households: Economic Generalists at Work ..................... 42 The Non-Carving Households: Employment as a Specialists's Taetic '" ................................................... 52 The Household Strategies: Discussion . .. 55 Target-Marketing: A Tactic for the Unknown Carver ........................ SR 11 CHAPTER FIVE: THE GENUINE ARTICLE?: CARVING AS GENUINE, ACCULTURATED OR COMMERCIAL ARTFORM ....................... 61 Introduction ................. 0 0 0 0 ••••• 0 0 .' •••••••••••••••••••••••••• 61 Soaps f one C'arvmg as "Tra dO,tJOna 0 J" A rhOf act ............................... 62 Inuit Carving in an Acculturative Framework .... .. 65 Carving and the Economy: Acculturation and Loss of Local Control ............ 69 Acculturativc Art Revisited: The Recent Debate . .. 71 CHAPTER SIX: YOUR CAR VING OR MINE?: COOPERATION AND RECIPROCITY IN THE PRODUCTION OF SOAPSTONE CARVING 0 ••• '" ••• o •••• o •••••• 78 Introduction 0 0 • 0 0 0 • 0 0 0 • 0 0 0 0 • 0 0 0 0 0 0 0 • 0 • 0 • 0 ••• 0 0 •••••• 0 ••••••• 0 • 0 • • •• 78 Cooperative ProductIon of Soapstone Carvings . 0 ••••• 0 0 ••• 0 0 •••• 0 0 •• 0 • • • • •• 78 How Carvings are Made: An Ethnography 0 • 0 0 • • • • • • • • • • • • • • • • • • • • • • • • • • •• 81 Gencralizcd Reciprocity and Soapstone Carving ............ 0 ••••••••••••••• 91 Sharing in the Rcturn of Carving ., 0 •••••• 0 ••••••••••••• 0 ••••••••• 0 ••••• 94 CllAIYfER SEVEN: CONCLUSION: INUIT SOAPSTONE CARVING AS AN INTEGRATED ECONOMIC AND SOCIAL ADAPTATION ................. 97 Introduction 0 0 •••••• 0 ••••• 0 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •• 97 Carving and the Subsistcnce Economy ................................... 97 Carving and the Houschold Economy .................................... 99 Men, WOlllen and Children: Carving Profiles. .. 101 IngcI1uity: Carving within the Subsistence System . .. 105 BIBLIOGI~API-IY ................................................. 108 LIST OF MAPS AND FIGURES Map 2.1: Location of Lake Harbour .................................... 13 Map 2.2: Soapstone Deposits in the Lake Harbour Area ..................... 22 Fig.l: Households and Kinship Relations of Study Sample (Lake Harbour, 1990) ... 44 APPENDICES Appendix 1 115 Appendix 2 , " .. , ....... , " , , , ,. " , " . " " " " , " " , , " , , , " " " " " " , , " " , , " " " " , , " 120 III LIST DI<' PHOTOGRAPI-IS 1. I...ake Harbour
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