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The Art of Being an Inuit Woman

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The Art of Being an Inuit Woman The Left Atrium Lifeworks The art of being an Inuit woman ho are the women of the Arctic? What trials do they of Sun and Moon, as shown in a striking print by Luke An- W endure? What joys do they reap? Inuit Woman: Life guhadluq called Sunwoman, cautions against incest. and Legend in Art, at the Beaverbrook Art Gallery in Freder- Darlene Coward Wight, curator of Inuit art at the Win- icton until April 2, offers a glimpse into the female condition nipeg Art Gallery, remarks on the power and strength con- in the North. veyed in these works. Traditionally, she notes, Inuit women The 35 carvings and 28 prints, on loan from the Winnipeg performed “essential roles ... in partnership with the men in Art Gallery’s Twomey Collection, explore the iconography of their families. ... [I]n the modern society of today’s north, female roles in Inuit society. The “life” component of the ex- women are moving into positions of political and social power hibit depicts women engaged in traditional tasks. The imple- on an equal footing with men.” ments of labour — e.g., the ulu, or woman’s knife, and the kudlik, or stone Barbara Sibbald lamp — take on Associate Editor a symbolic force, News and Features as does the wear- ing of the amau- tik, or mother’s parka. The word amautik (from The doctor’s farewell the Inuktitut word for “carry”) I know they came for her refers to the late that night pouch (amaut), in after all the goodbyes, and all the tears which babies are and another comforting doctor’s words. I know they came silently carried on their wordlessly mother’s back gently settling her onto a bed with wheels until they are to carry her deep into that final night, two or three. for anointing and grooming, This ingenious preparing her garment allows while I flew thousands of miles the child to be to see her one last time, swung to the preparing myself Davidialuk Alasua Amittu, 1910–1976. front for breast- for her final rite of passage, Untitled (mythological bird), 1958. feeding, and the a celebration of her life Stone; 43.4 x 38.2 x 16.2 cm. Collec- large hood allows in words and tears. tion of the Winnipeg Art Gallery. Three fresh air to filter drawings and this sculpture show be- We all comforted one another down to the ings that are part bird, part woman. gathering around her amaut. These are likely female shamans in the one last time. The “life” process of transforming into the form of I know they came for her their animal helping spirits. works are won- derfully instruc- but I’ve never felt this way before, tive, but equally I’ve never had these images. interesting are the origin myths depicted in the “legend” This time it was different, component of the show. In the shamanic traditions of the this time it was mother. Inuit, women are associated with the sea, the sun and birds. The sea spirit, Sedna, a sort of mermaid who gives birth to Catharine Dewar various sea creatures (or, in other versions, a new race of hu- Division of Rheumatology mans), is an archetype that recurs in numerous cultures. Sev- Sunnybrook & Women’s College eral exquisite sculptures, including one by Juanisi Irqumia Health Sciences Centre Kuanana, depict the fate of a bad mother transformed into a Toronto, Ont. narwhal. The often violent stories behind these artworks usu- ally relate to weather, luck or taboos; for example, The Story CMAJ • MAR. 7, 2000; 162 (5) 679.
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