Inuit Social and Historical Context

Total Page:16

File Type:pdf, Size:1020Kb

Inuit Social and Historical Context Inuit Social and Historical Context Allison Crawford, MD, FRCPC Map of circumpolar peoples Source: https://www.itk.ca/publication Cultural Origins – Migration Map Source: https://www.itk.ca/publication ! ! Virtual Museum: http://www.museevirtuel-virtualmuseum.ca/ Arctic People in Canada edu/ViewLoitCollection.do?! method=preview&lang=EN&id=10028 ! Map of Inuit Nunangat Source: Map of Nunavut Source: Knud Rassmussen Early 1900s Umiaks 1875, C. Rassmussen Inuit Oral History “Southerners don’t want to understand Inuit ways. They’re ignorant about our culture, don’t consider our opinion and treat us like we know nothing. Inuit culture is oral and we keep knowledge in our minds. Even without text, our culture is full of wisdom” Rita Nashook, Iqaluit quoted in Keavy Martin Richard Harrington, 1949 /Library and Archives Canada/PA-140582 Inuit Oral History "I have been asked by many people about how long the Inuit have lived in our lands. I tell them that I don’t have to know the answer to that question because we have been here from the beginning. That is what our stories are all about, and it is how we were taught to understand our world." " T.Q. Kanaksuk, April, 1979 http://www.museevirtuel-virtualmuseum.ca/edu/ Nunavut Qajanartuk. Kenojuak Ashevak, 1992! Contact and Colonization! 1500s !CONTACT European explorers! 1700s !Whaling" !!" 1800s !COLONIZATION with establishment !!of permanent whaling stations! 1850 !Decline of whaling! Late ! !Missionaries! 1800s !Fur trapping economy established! 1909! !Hudson Bay Trading Co expands !!posts into Arctic " This 1715 map is highly suggestive of European attitudes towards the polar regions. It is completely surrounded by scenes from the Arctic whaling industry, a reminder of the fortunes to be made in this inhospitable land (Library and Archives Canada, NMC 21059)! Contact and Colonization! early! 1900s !RCMP established posts" 1950s !Settlement! !!Social Welfare credit! !!Education, including residential ! !!school" 1953! !Government-sponsored relocation !!to Grise Fiord in High Arctic! 1955! !Relocation to Resolute Bay! !!Medical treatment in southern ! !!facilities (TB)! 1951, Craig Harbour, NWT [Nunavut]. Source: Library and Archives Canada, Wilfred Doucette, National Film Board of Canada, PA-176633! Mobility and Settlement! Thomas Kublu! Source: http://www.qtcommission.com! Relocation! Emily Takatak! Source: http://www.qtcommission.com! Schooling! July Papatsie! Source: http://www.qtcommission.com! Children in school in Iqaluit (then Frobisher Bay), summer 1959! Inuit Power Curve! Source: Nunavut Sivuniksavut ! Nunavut: Land Claims Process and Self Government! 1960s !Inuit and Eskimo Association " 1971 !Inuit Tapirisat of Canada (“Inuit will be united in Canada”) founded by Tagak ! ! !!Curley " 1976 !Inuit present the Nunavut proposal to federal government " 1982 !NWT referendum supports creation of Nunavut" 1993 !Canadian parliament passes the " !!Nunavut Land Claims Agreement Act " !! and Nunavut Act" !!Establishment of Nunavut Tunngavik Inc (NTI) " !! to ensure land claims agreement is upheld" 1999 !April 1, territory of Nunavut " !! joins the federation of Canada ! Nunavut Coat of Arms! Medical System! Inuit woman looking past tupik and qarmat towards C.G.S. C.D.HOWE anchored in Pangnirtung Fiord, July 1951. Source: Library and Archives Canada, Wilfred Doucette, " National Film Board of Canada, Still Photography Division, PA-166461! Inuit board the C.G.S. C.D. Howe, Eastern Arctic patrol vessel for medical examination and eye check, July 1951. Source: Library and Archives Canada, Wilfred Doucette, National Film Board of Canada, Still Photography Division, PA-189646.! C.D. Howe! Thomas Kublu! Source: http://www.qtcommission.com! Inuit traveling south to the tuberculosis sanatorium in Hamilton, Ontario - note the identification envelopes Inuit were required to wear around their necks (This undated image was published in issue #70 of Inuktitut Magazine in 1989 with photo credit given to Public Archives Canada) Source: https://www.itk.ca! Mountain Sanatorium, Hamilton, ON! 1955, Local History and Archives, Hamilton Public Library.! Strange Ladies. 2006 Pitaloosie Saila, Cape Dorset! Current Health System! Social Determinants of Health! Current Health Indicators! Resources! Further Reading! Internet Resources!.
Recommended publications
  • Contemporary Inuit Drawing
    Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts.
    [Show full text]
  • Celebrating 30 Years of Supporting Inuit Artists
    Celebrating 30 Years of Supporting Inuit Artists Starting on June 3, 2017, the Inuit Art Foundation began its 30th Similarly, the IAF focused on providing critical health and anniversary celebrations by announcing a year-long calendar of safety training for artists. The Sananguaqatiit comic book series, as program launches, events and a special issue of the Inuit Art Quarterly well as many articles in the Inuit Artist Supplement to the IAQ focused that cement the Foundation’s renewed strategic priorities. Sometimes on ensuring artists were no longer unwittingly sacrificing their called Ikayuktit (Helpers) in Inuktut, everyone who has worked health for their careers. Though supporting carvers was a key focus here over the years has been unfailingly committed to helping Inuit of the IAF’s early programming, the scope of the IAF’s support artists expand their artistic practices, improve working conditions extended to women’s sewing groups, printmakers and many other for artists in the North and help increase their visibility around the disciplines. In 2000, the IAF organized two artist residencies globe. Though the Foundation’s approach to achieving these goals for Nunavik artists at Kinngait Studios in Kinnagit (Cape Dorset), NU, has changed over time, these central tenants have remained firm. while the IAF showcased Arctic fashions, film, performance and The IAF formed in the late 1980s in a period of critical transition other media at its first Qaggiq in 1995. in the Inuit art world. The market had not yet fully recovered from The Foundation’s focus shifted in the mid-2000s based on a the recession several years earlier and artists and distributors were large-scale survey of 100 artists from across Inuit Nunangat, coupled struggling.
    [Show full text]
  • Arctic Community Exploration Tour August 5 - 12, 2020 Join Host Dr
    Arctic Community Exploration Tour August 5 - 12, 2020 Join host Dr. Darlene Coward Wight on a Discovery Tour of Inuit Art in Canada’s Arctic Winnipeg Art Gallery Arctic Community Exploration Tour 5 – 12 August 2020 In the lead-up to the opening of the WAG Inuit Art The Winnipeg Art Gallery holds in trust more than Centre in fall 2020, this tour will be escorted by Dr. 13,000 Inuit artworks – each one with stories to tell. Darlene Coward Wight, who has been the Curator of Sharing these stories with the world is at the core of Inuit Art at the WAG since 1986. Darlene has received the WAG Inuit Art Centre project. The WAG Inuit Art a BA (Hons) in Art History and an MA in Canadian Centre will be an engaging, accessible space where Studies from Carleton University and an honorary you will experience art and artists in new ways. Doctor of Letters from the University of Manitoba in On this tour you will visit two of the main centres for 2012. She has curated over 90 exhibitions and written Inuit art, Cape Dorset and Pangnirtung. You will also 26 exhibition catalogues, as well as many smaller have a chance to meet several of the artists and publications and articles. She is also the editor and engage with them as you learn about the inspirations major contributor for the book Creation & for the tremendous art they create. Transformation: Defining Moments in Inuit Art. Inclusions: • Includes tour escort Darlene Coward Wight, Curator of Inuit Art at the WAG • Round trip airfare Ottawa – Pangnirtung – Cape Dorset – Iqaluit – Ottawa • One-night accommodation Hilton Garden Inn Ottawa Airport • Two nights accommodation Auyuittuq Lodge Pangnirtung, with full board • Two nights accommodation Cape Dorset Suites, with full board • Two nights accommodation Frobisher Inn Iqaluit (no meals included) Exclusions: • Boating excursion to Auyuittuq National Park (duration approx.
    [Show full text]
  • Ecopy Sample 3
    Canadian Eskimo Arts Council, RG85-E-2 (R216), vols. 2160-2194 85-34 Level of Media / Box / Date 1 Date 2 RG# Title / Titre Ecopy number Dates descri Support Boîte yyyy-mm-dd yyyy-mm-dd ption Reports, correspondence and articles sub-series December 23, 85 File Text 2160 Report - Keewatin by John Evans e011269624 1968-12-23 1968-12-23 1968 85 File Text 2160 Report - Keewatin by Alaistair Macduff e011269625 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by John Robertson e011269626 April 5, 1968 1968-04-05 1968-04-05 85 File Text 2160 Report - Keewatin Arts and Crafts Activities by George Swinton e011269627 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by Doris Shadbolt e011269628 1968 1968-01-01 1968-12-31 85 File Text 2160 Report - Keewatin by Alma Houston e011269629 March 21, 1968 1968-03-21 1968-03-21 [Report - Inuit Arts and Crafts by Eric Mitchell]. Original title: November 12, 85 File Text 2160 e011269630 1968-11-12 1968-11-12 Report - Eskimo Arts and Crafts by Eric Mitchell 1968 85 File Text 2160 Proposal for a Film - Northern Settlements by John Robertson e011270234 1968 1968-01-01 1968-12-31 [Marketing of Inuit Arts and Crafts - Meeting at Canadian Guild January 11, 85 File Text 2160 of Crafts]. Original title: Marketing of Eskimo Arts and Crafts - e011270235 1968-01-11 1968-01-11 1968 Meeting at Canadian Guild of Crafts Report - CEAC Activities and Recommendations by George 85 File Text 2160 e011270236 April 29, 1968 1968-04-29 1968-04-29 Swinton September 19, 85 File Text 2160 Report - Keewatin
    [Show full text]
  • View Pdf Catalogue
    INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project.
    [Show full text]
  • 2017-2018 Annual Report
    AR 2017/18 COVER: New this year, monthly stroller-friendly tours give parents and caregivers an opportunity for conversation in the galleries, while connecting kids with art, like this happy little guy. PHOTO BY Breanne Lucky. Message from the Chair of the Board Traveling to the Embassy of Canada to the United States in Washington, D.C. to launch Ningiukulu Teevee: Kinngait Stories was a true highlight this past year. The WAG is a cultural advocate that uses art to connect, inspire, and inform, and this was very clear as we celebrated Inuit art in the U.S. capital. Graphic artist Ningiukulu Teevee spoke about finding inspiration in traditional stories and the changes she sees around her in contemporary Cape Dorset. It was such a pleasure to meet and hear from her, and see her artwork up close. Looking towards the 2020 opening of the WAG Inuit Art Centre, we continue to build bridges between Canada’s North and South through art and stories. The excitement was mounting that night and keeps on rising! As members and supporters of the WAG, YOU made a year of amazing art possible for our community. Thank you! Dr. Ernest Cholakis CHAIR, BOARD OF DIRECTORS L-R: Dr. Anastasia Kelekis-Cholakis, artist Ningiukulu Teevee, Dr. Ernest Cholakis, Dr. Darlene Coward Wight, Hazel Borys and Dr. Stephen Borys. PHOTO PROVIDED BY THE Embassy of Canada to the United States, Washington, D.C. Message from the Director & CEO I will remember 2017-18 for many incredible moments but the opening of INSURGENCE/RESURGENCE really stands out.
    [Show full text]
  • Kinngait Studios: Printmaking in the Arctic Circle See Story on Page 2
    FALL/WINTER 2018 Kinngait Studios: Printmaking in the Arctic Circle See story on page 2 Kudluajuk Ashoona, Northern Exposure, 2014 Lithograph, 76.3 x 57 cm HIGHPOINTPRINTMAKING.ORG 2 From Kinngait Studios: the Directors Printmaking in the Arctic Circle Highpoint Founders named On View: October 19 – November 17, 2018 2018 Outstanding Printmakers Opening Public Reception: Friday, October 19, 6:30 – 9:00 p.m. by Mid America Print Council Tour and talk by Inuk Art scholar, Heather Igloliorte: Friday, November 16, 5:30 p.m. Highpoint Center for Printmaking is proud to announce founders Cole Rogers (Artistic Director & Master Printer) and Carla McGrath (Executive Director) are being honored as Mid America Print Council’s 2018 Outstanding Printmakers, and will present the keynote address at the MAPC conference that takes place October 3-7. Hosted this year at the University of Wyoming in Laramie, the MAPC Conference “promotes awareness and appreciation of traditional and contemporary forms of printmaking.” For more info, visit midamericaprintcouncil.org MAPC’s President Morgan Price commented: Throughout Highpoint’s existence (founded in 2001) Cole Rogers and Carla McGrath have worked to promote printmaking on both a regional and national level, inspiring and nurturing generations of new printmakers, providing education for all ages, access Pitaloosie Saila, Undersea Illusion, 2012, Lithograph, 38.5 x 56.5 cm for artists and producing top-quality collaborative prints. It is in recognition of Highpoint is thrilled to present Kinngait as Ningeokuluk Teevee, who has a their dedication and contributions to the Studios: Printmaking in the Arctic Circle, comprehensive knowledge of Inuit legends, medium that MAPC is proud to recognize an exhibition of recent prints created at created Nuliajuq’s Fate, a depiction of the them as the 2018 Outstanding Printmakers.
    [Show full text]
  • In 1959, Inuit from the Tiny Village of Cape Dorset Released a Collection
    MAThekIinr g In 1959, MInuit from the tinyA village of rkCape Dorset released a collection of prints that wowed the world and put Arctic art on the map. Now, the community’s artists are celebrating a remarkable half-century of printmaking – and questioning the future of their craft. B y M A r g o P f e I f f It’s early afternoon, and the only person around Cape Dor- Over the past half-century, Cape Dorset’s traditional and set’s Kinngait Studios is a grandmotherly Inuk in a worn wind- colourful images of hunters, amouti-clad women and Arctic breaker leaning against the trash bin outside, smoking a ciga- creatures rich with spirituality have been bestowed upon rette. Does she know where I can find the manager? I’d heard royalty, presidents, prime ministers and popes, and have the North’s most famous artist, Kenojuak Ashevak, would be been recognized worldwide as saying “Canada” more than dropping by to sign a recent batch of prints. She shrugs apolo- any other art form. They’ve become national icons, in par- getically, not understanding a word of my English. ticular Ashevak’s 1960 Enchanted Owl, which in 2001 fetched Twenty minutes later, as I chat with the studio’s then- $58,650 at a Toronto auction – the highest price ever paid manager, Jimmy Manning, the same woman ambles in. “Oh, for an Inuit print. Feted by the southern art world, Ashevak here’s Kenojuak now,” Jimmy announces. In Inuktitut, he tells has been given the Order of Canada and two honorary doc- her what I’d been seeking, and she beams a gap-toothed grin.
    [Show full text]
  • 20 Shows We Want to See in 2017
    1/3/2017 20 Shows We Want to See in 2017 FEATURES / / 20 Shows We Want to See in 2017 JANUARY 2, 2017 BY CANADIAN ART Danish-Icelandic artist Olafur Eliasson will be showing at the Musée d’art contemporain de Montréal from June 21 to October 8, 2017. 1. Keeley Haftner in Saint John, New Brunswick, in June For “Gallery㈀ll,” produced with the help of local artist-run centre Third Space, New Brunswick– trained, Chicago-based artist Keeley Haftner will collect unwanted artworks from artists in Saint John. These works will be used to produce what Haftner calls a “Gallery㈀ll”—that is, a land㈀ll, made to municipal speci㈀cations, but containing artworks alone—in a public space somewhere in the city. Elsewhere, a storefront video projection will document the process of installing “Gallery㈀ll,” and the storefront will also display a series of small 3-D prints made from waste http://canadianart.ca/features/20­shows­we­want­to­see­in­2017/ 1/7 1/3/2017 20 Shows We Want to See in 2017 plastics, the forms of which will be produced in response to the experience of working on the installation. Once the discarded artworks are added to “Gallery㈀ll,” the soil removed in the digging process will be packed on top and the ground will be re-sodded. 2. Olafur Eliasson at the Musée d’art contemporain de Montréal from June 21 to October 8 Danish-Icelandic artist Olafur Eliasson turned Tate Modern’s Turbine Hall into a sublime solarium, built a riverbed inside a museum, transported chunks of glaciers from the Arctic to Paris and Copenhagen, built a freestanding waterfall at the palace of Versailles and even dyed a river green.
    [Show full text]
  • 2016 Annual Report
    2016 ANNUAL REPORT Joanesie (possibly Qikiqtarjuaq or Pangnirtung), Testing One’s Strength, Pulling Game (Nusurautijuuq), steatite, 8 x 15 x 5 cm, Art Gallery of Hamilton, Chedoke Collection of Inuit Art, Anonymous Gift, 2016. Table of Contents Art Gallery of Hamilton Board of Directors 3 Message from the Chair and President & CEO 4 Exhibition and Collection Highlights 6 Programs and Education Highlights 10 Report from the Chair, AGH Volunteer Committee 13 Donor Support and Sponsorship 14 2016 Acquisitions 16 2016 Exhibitions 32 2016 Programming 33 123 King Street West Hamilton, Ontario L8P 4S8 T: 905.527.6610 F: 905.577.6940 E: [email protected] Facebook: Art Gallery of Hamilton Twitter: @TheAGH Instagram: @at_theagh www.artgalleryofhamilton.com Charitable registration number: 10672 3588 RR0002 2 Art Gallery of Hamilton Board of Directors Luigi V. Celli, Chair David Kissick, Secretary-Treasurer Charles P. Criminisi, Past Chair Dan Banko Paul Berton Dr. Brenda Copps Laurie Davidson Adrian Duyzer Craig Laviolette James Lefebvre Lisa Marcuzzi John Noestheden Councillor Maria Pearson Anna Ventresca Dr. Leonard Waverman Elizabeth Wensley, Chair, AGH Volunteer Committee Shelley Falconer, President & CEO, ex officio 3 Message from the Chair and President & CEO In 2016, we began to implement the four key priorities of the Art Gallery of Hamilton (AGH) Strategic Plan: 1. Renewed focus on the Collection and Program; 2. Community Engagement; 3. Learning through Art; 4. Long- Term Sustainability. This implementation included community consultations with our stakeholders and the public. We were pleased by the response of the many individuals who enthusiastically offered their insights and recommendations for increased access, diversity and continued engagement.
    [Show full text]
  • ASHEVAK, Kenojuak2015
    KENOJUAK ASHEVAK (KENOYUAK; KINOAJUAK; KENOAJUAK) Date of Birth: October 1927 - 2013 Male/Female: Female Place of Birth: Ikerrasak; resides – Cape Dorset Mother: Ushuakjuk Father: Silaqqi “I just take these things out of my thoughts and out of my imagination and I don’t really give any weight to the idea of its being an image of something. In other words, I am not trying to show what anything looks like in the material world. I am just concentrating on placing it down on paper in a way that is pleasing to my own eye whether it has anything to do with subjective reality or not. That is how I have always tried to make my images and that is still how I do it and I haven’t really thought about it any other way than that. That is just my style and that is the way I started and that is the way I am today.” Kenojuak, from an interview with Jean Blodgett, 1980 “Drawing out of your imagination is a lot better to me anyway. What you see in your head, is what you try to put in drawing…I try to make my drawings look attractive enough.” Kenojuak, from an interview with Odette Leroux 1991 Kenojuak Ashevak was one of Canada’s most acclaimed graphic artists. Her long list of achievements and honours is surpassed only by her stamina and good humour. Born on south Baffin Island at a camp area known as Ikirisaq, Kenojuak grew up traveling from camp to camp on south Baffin and in Arctic Quebec (Nunavik).
    [Show full text]
  • Norman Zepp and Judith Varga Collection
    MG 559: Norman Zepp and Judith Varga Collection Dates: [ca. 1940s] – 2015 (inclusive); 1981-2003 (predominant) Extent: 5.48 m of textual records and reference library, 3,273 slides, 1,448 photographs, 917 negatives, 13 digital images, 60 audio cassettes, 15 works of art on paper, 1 CD, equipment, 11 discs. Biography: Norman Zepp was raised on a farm near Yorkton, Saskatchewan, and earned his BA from the University of Saskatchewan. While at university Zepp met his partner Judith Varga; and he bought his first piece of Inuit art. Zepp switched his major from education to art history; and went on to earn an MA in art history from Carleton University, under the supervision of George Swinton, who remained a lifelong friend of Zepp and Varga. After earning his graduate degree Zepp was curator of exhibitions at the Mackenzie Art Gallery in Regina, and director of the Thunder Bay National Exhibition Centre and Centre for Indian Art. In 1988 he was appointed curator of Inuit art for the Art Gallery of Ontario (AGO), where he remained until 1994. During that time Zepp was instrumental in building the AGO Inuit collection, including helping to facilitate several major donations, including the Williamson and the Sarick collections. Following the AGO Zepp worked in Vancouver prior to returning to Saskatoon. He remains one of Canada’s foremost experts on Inuit art. Scope and Content: This collection primarily reflects Zepp’s interest in Inuit art and artists. It includes interviews with artists, images taken over the course of several years of the northern landscape, community and individuals.
    [Show full text]