Above & Beyond | Canada's Arctic Journal 2021 | 02

The Inflight Magazine for Canadian North

MARAPR 2021 | 02 YOURS TO KEEP

Twin Flames A Musical Journey

Gahnįhthah Mįe Archeology Project

The Launch of Inuit Graphic Art

InuitChic Transforming Northern Fashions

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Dear Guest ᑐᕌᖅᑐᑦ ᐃᑭᒪᔪᓄᑦ,

Chris Avery ᑯᕆᔅ ᐄᕗᕆ

Johnny Adams ᔮᓂ ᐋᑕᒥ Executive Chairman of the Board, Canadian North ᐃᓱᒪᑕᐅᓪᓗᓂ ᐃᒃᓯᕙᐅᑕᕆᔭᐅᔪᖅ ᑲᑎᒪᔨᓂ, ᑲᓃᑎᐊᓐ ᓄᐊᑦ

Welcome aboard!

ᑐᖖᒐᓱᒋᑦᓯ ᐃᑭᒪᑎᓪᓗᓯ ᖃᖓᑕᓲᑦᑎᓐᓂ!

As we enter spring, a time of new growth and renewal, I again cannot help but reflect on the past year. What was to be a two‐ week lockdown turned very quickly into a year of restrictions, masks, and new safety procedures. I continue to be optimistic that we will see an end to this crisis in 2021 and will be able to see more of you onboard again.

ᐅᐱᕐᖔᒧᑦ ᑎᑭᐅᑎᕙᓪᓕᐊᓕᕐᒥᑎᓪᓗᑕ, ᓄᑖᒥᒃ ᐱᕈᖅᐸᓪᓕᐊᓂᕐᓄᑦ ᐊᒻᒪᓗ ᓄᑕᐅᓕᕆᐊᕐᓂᕐᓄᑦ ᐱᓕᕆᓂᐅᓕᕈᓐᓇᖅᑐᓄᑦ, ᐃᖅᑲᐅᒪᓗᒋᑦ ᑭᓯᐊᓂᐅᓕᕐᒥᔪᑦ ᐅᑭᐅᕆᓚᐅᖅᑕᑦᑎᓐᓂ ᐊᑐᖅᓯᒪᔭᑦᑎᓐᓂᒃ. ᐱᓇᓱᐊᕈᓯᕐᓄᑦ ᒪᕐᕉᓐᓄᑦ ᓇᒧᖖᒐᐅᔪᓐᓇᖅᑎᑕᐅᖖᒋᓐᓂᐅᓂᐊᓚᐅᕐᑐᖅ ᕿᓚᒥᐊᓗᒃ ᐱᑕᖃᓕᕐᑎᑕᐅᓯᒪᓚᐅᕐᒪᑦ ᐅᑭᐅᓗᒃᑖᒥ ᑭᒡᓕᖃᖅᑎᑦᓯᓯᒪᓂᐅᔪᓂᒃ, ᑮᓇᒧᑦ ᓴᑉᓗᓯᒪᔭᕆᐊᖃᕐᓂᕐᓄᑦ, ᐊᒻᒪᓗ ᓄᑖᓂᒃ ᖃᓄᐃᖖᒋᑦᓴᕆᐊᖃᕐᓂᕐᒥ ᐱᓕᕆᔾᔪᓯᐅᕙᒋᐊᓕᖁᑎᓄᑦ. ᓱᓕ ᓂᕆᐅᓐᓂᖃᑦᓯᐊᖅᐳᖓ ᑕᒪᑐᒪ ᑐᐊᕕᐅᕐᓇᖅᓯᓯᒪᓂᐅᔪᑉ 2021-ᒥ ᐃᓱᓕᓯᒪᓕᕈᒫᕐᓂᖏᓂᒃ ᐊᒻᒪᓗ ᐊᒥᓲᓂᖅᓴᓂᒃ ᐃᓄᓐᓂᒃ ᑕᑯᖃᑦᑕᓕᒃᑲᓐᓂᕐᓂᐊᕋᑦᑕ ᐃᑭᒪᕙᒃᑐᓂᒃ.

However, I am also proud of Canadian North, and how as an organization we have been able to pivot with the new restrictions and safety procedures so that we can continue to work to achieve our mission: To meaningfully improve the lives of our people, our customers, and the communities we serve. We would not have been able to do this without our dedicated and hardworking employees. I would like to thank all of our people for all of their hard work over this past year and their continued hard work into this year. On that note, I am also pleased to say that we were able to deliver the first batch of the Moderna vaccine to Iqaluit in December and will be continuing to transport vaccines and other crucial medical materials to the northern communities we serve.

ᑭᓯᐊᓂᓗ, ᓴᕆᒪᒋᖕᒥᔭᒃᑲ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᖃᖓᑕᓲᖅᑎᖏᑦ, ᐊᒻᒪᓗ ᖃᓄᖅ ᑲᑐᔾᔨᖃᑎᒌᖑᓪᓗᑕ ᐃᖏᕐᕋᓂᖃᕈᓐᓇᓚᐅᕐᓂᑦᑎᓐᓂᒃ ᓄᑖᑎᒍᑦ ᑭᒡᓕᖃᓕᖅᑎᑕᐅᓯᒪᒐᓗᐊᖅᓱᑕ ᐊᒻᒪᓗ ᖃᓄᐃᖖᒋᑦᓴᕆᐊᖃᕐᓂᕐᒧᑦ ᐱᓕᕆᔾᔪᓯᐅᕙᒋᐊᓕᓐᓂᒃ ᐱᑕᖃᓕᕋᓗᐊᖅᑎᓪᓗᒍ ᑲᔪᓯᑎᑦᓯᔪᓐᓇᓚᐅᕋᑦᑕ ᐱᓕᕆᐊᒃᓴᑦᑎᓐᓂᒃ ᐱᓕᕆᓯᒪᔪᓐᓇᖅᐸᒃᓱᑕ: ᒥᒃᓯᖃᑦᓯᐊᖅᑐᑎᒍᑦ ᐱᐅᓯᒋᐊᖅᑎᑦᓯᒋᐊᖅᓱᑕ ᐃᓄᖁᑎᑦᑕ, ᐃᑭᒪᕙᒃᑐᖁᑎᑦᑕ, ᐊᒻᒪᓗ ᓄᓇᖅᑲᑎᒌᖑᔪᑦ ᐃᓅᓯᖏᓐᓂᒃ ᐱᔨᑦᓯᕋᕐᕕᒋᕙᒃᑕᑦᑎᓐᓂ. ᑕᐃᒫᒃ ᐱᓕᕆᓂᖃᕈᓐᓇᕋᔭᓚᐅᖖᒋᑦᑐᒍᑦ ᐃᖅᑲᓇᐃᔭᖅᑎᑦᓯᐊᕙᓐᓂᒃ ᐊᒃᓱᕈᕈᑎᖃᖅᓱᑎᒃ ᐃᖅᑲᓇᐃᔭᖅᑎᖃᓚᐅᖖᒋᒃᑯᑦᑕ. ᑕᒪᕐᒥᒃ ᐃᖅᑲᓇᐃᔭᖅᑎᒋᔭᕗᑦ ᖁᔭᓕᕝᕕᒋᔪᒪᕙᒃᑲ ᐅᑭᐅᕆᓚᐅᖅᑕᑦᑎᓐᓂ ᑕᕝᕙᓂ ᐊᒃᓱᕈᖅᓱᑎᒃ ᐱᓕᕆᓯᒪᓂᖏᓐᓄᑦ ᐊᒻᒪᓗ ᑲᔪᓯᑎᑦᓯᓯᒪᓂᖏᓐᓂᒃ ᐊᒃᓱᕈᕈᐃᒋᓪᓗᓂᒋᑦ ᐱᓕᕆᐊᖃᖅᑐᐃᓐᓇᕐᓂᖏᓐᓂᒃ. ᑖᒃᑯᓂᖓ ᐅᖃᖅᑎᓪᓗᖓ ᐅᔾᔨᕆᔭᐅᖁᒻᒥᔭᕋ, ᖁᕕᐊᓱᒃᑲᒪ ᑐᓴᖅᑎᑦᓯᒋᐊᒥᒃ ᓯᕗᓪᓕᖅᐹᖅᓯᐅᑎᓂᒃ ᐊᒃᔭᖅᓯᔪᓐᓇᖅᓯᓚᐅᕋᑦᑕ ᓄᕙᒡᔪᐊᕐᓇᖅ-19ᒧᑦ ᐋᓐᓂᐊᖃᓕᕇᒃᑯᑎᓂᒃ ᒪᑑᕐᓇ (Moderna) ᐃᖃᓗᓐᓄᑦ ᑎᓯᐱᕆᐅᑎᓪᓗᒍ ᐊᒻᒪᓗ ᓱᓕ ᐊᒃᔭᖅᓯᕙᓐᓂᐊᖅᓱᑕ ᐋᓐᓂᐊᓕᕇᒃᑯᑎᓂᒃ ᑲᐱᔭᐅᔾᔪᑎᒃᓴᓂᒃ ᐊᒻᒪᓗ ᐊᓯᖏᓂᒃ ᐱᔭᐅᓯᒪᔭᕆᐊᖃᓪᓚᕆᒃᑐᓂᒃ ᐋᓐᓂᐊᖅᓯᐅᕐᑎᓕᕆᔾᔪᑎᒃᓴᓂᒃ ᐅᑭᐅᖅᑕᖅᑐᒥ ᓄᓇᓕᒋᔭᐅᔪᓄᑦ ᐱᔨᑦᓯᕋᕐᕕᒋᔭᑦᑎᓐᓄᑦ.

We are also looking after our Aurora Rewards members, by extending all of our existing Aurora Concierge memberships for an additional year, until March 31, 2022. We have also extended the 2‐year expiry date for all Aurora Rewards points earned between March 31, 2020 and December 31, 2021. Your points will continue to be valid until at least January 1, 2022, even with no new earning activity during this period.

ᐱᓕᕆᐊᒃᓴᖃᕐᒥᔪᒍ ᑲᒪᔨᐅᓂᑦᑎᓐᓂ ᐊᕈᐊᕋ ᕆᕗᐊᑦᔅ ᐃᓚᒋᔭᐅᖃᑕᐅᔪᖁᑎᑦᑎᓐᓄᑦ, ᐅᐃᒍᔭᐅᒋᐊᖅᓯᒪᓕᖅᑎᑦᓯᓪᓗᑕ ᑕᐃᒪᐅᓕᐊᓂᒃᓱᑎᒃ ᐊᕈᐊᕋ ᑳᓐᓯᐅᕐᔾ ᐃᓚᒋᔭᐅᖃᑕᐅᔾᔪᑎᓂᒃ ᐅᑭᐅᓪᓗᐊᒧᑦ ᑎᑭᓪᓗᒋᑦ, ᑎᑭᓪᓗᒍ ᒫᔾᔨ 31, 2022-ᒧᑦ. ᐅᐃᒍᒋᐊᖅᑎᑦᓯᓚᐅᕐᒥᔪᒍᑦ ᐅᑭᐅᓐᓄᑦ ᒪᕐᕉᓐᓄᑦ ᐃᓱᓕᕝᕕᒃᓴᖃᖅᑎᑕᐅᓯᒪᔪᓂᒃ ᐅᓪᓗᖏᓂ ᑕᒪᐃᓐᓄᑦ ᐊᕈᐊᕋ ᕆᕗᐊᑦᔅ ᐊᒥᓱᕈᖅᐸᓪᓕᐊᑎᑦᓯᓂᐅᕙᒃᑐᓄᑦ ᓄᐊᑕᐅᕙᓪᓕᐊᓪᓗᑎᒃ ᑲᑎᖅᓱᐊᖑᕙᓪᓕᐊᓯᒪᔪᓂᑦ ᒫᔾᔨ 31, 2020-ᒥᑦ ᐊᒻᒪᓗ ᑎᓯᐱᕆ 31, 2021-ᒧᑦ. ᑕᒪᒃᑯᐊ ᓄᐊᑉᐸᓪᓕᐊᔭᓯ ᓱᓕ ᐊᑐᖅᑕᐅᔪᓐᓇᕐᓂᐊᕐᒪᑕ ᑎᑭᓪᓗᒋᑦ ᔮᓄᐊᕆ 1, 2022-ᒧᑦ, ᓄᑖᓂᒃ ᐱᓕᕆᓂᖃᕐᕕᐅᓂᐊᖖᒋᒃᑲᓗᐊᖅᑎᓪᓗᒋᑦ ᐱᓕᕆᓂᖃᕐᕕᐅᓂᖏᓐᓂ.

In the meantime, we are looking after the safety and well‐being of all of our customers every time you travel and ship with us, with the many precautions in our CN Care program – learn more at www.canadiannorth.com/cn­care

ᑕᐃᒪᓐᓇᐅᑎᓪᓗᒍ, ᑲᒪᔨᐅᕗᒍᑦ ᐋᓐᓂᖅᓯᒪᓕᖅᑎᑕᐅᑦᑕᐃᓕᕙᓐᓂᖏᓐᓄᑦ ᐊᒻᒪᓗ ᖃᓄᐃᖖᒋᑦᑎᐊᖅᑎᑕᐅᔭᕆᐊᖃᕐᓂᖏᓐᓄᑦ ᐱᔨᑦᓯᕋᕐᕕᒋᔭᑦᑕ ᐃᖏᕐᕋᓕᑐᐊᕌᖓᑦᓯ ᖃᖓᑕᓲᑦᑎᒍᑦ ᐊᒻᒪᓗ ᐅᓯᑎᑦᓯᔭᕌᖓᑦᓯ ᐅᕙᑦᑎᒍᑦ, ᐊᒥᓱᑲᓪᓚᐅᓪᓗᑎᒃ ᐅᔾᔨᖅᓱᖅᑕᐅᔭᕆᐊᓕᖁᑎᐅᔪᑦ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᑲᒪᑦᓯᐊᕈᑎᓄᑦ ᐱᓕᕆᐊᖏᓐᓂ — ᑖᒃᑯᓄᖓ ᖃᐅᔨᒋᐊᒃᑲᓐᓂᕈᓐᓇᖅᐳᓯ ᐅᕙᓂ www.canadiannorth.com/cn­care

Nakurmiik, quyanainni, qujannamiik, matna, quana, mahsi cho, merci and thank you, Chris Avery President and CEO Canadian North

ᓇᑯᕐᒦᒃ, ᖁᔭᓇᐃᓐᓂ, ᖁᔭᓐᓇᒦᒃ, ᒪᑦᓇ, ᖁᐊᓇ, ᒫᓯ ᓲᐅ, ᒥᕐᓰ ᐊᒻᒪᓗ ᖁᔭᓐᓇᒦᒃ

ᑯᕆᔅ ᐄᕗᕆ ᐃᒃᓯᕙᐅᑕᖅ ᐊᒻᒪᓗ ᐊᐅᓚᑦᑎᔨᒻᒪᕆᒃ ᑲᓃᑎᐊᓐ ᓄᐊᑦ

ᐃᖅᑲᓇᐃᔭᖅᑎᐅᑉ ᐅᔾᔨᕆᔭᐅᑎᑕᐅᓂᖓ Employee Spotlight | Iqqanaijaqtiup Ujjirijautitauninga

ᑭᐊᓐᓂᔅ ᕿᐸᓐᓂᖅ | Kenneth Kripanik ᑭᐊᓐᓂᔅ ᕿᐸᓐᓂᖅ ᐱᓕᕆᕝᕕᓐᓂ ᐋᖅᑭᒃᓱᐃᔨᒋᔭᐅᕗᖅ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᖃᖓᑕᓲᒃᑯᕕᖓᓂ ᐃᒡᓗᓕᒃ, ᓄᓇᕗᒻᒥ. ᑖᒃᑯᓄᖓ ᖃᖓᑕᓲᖅᑎᐅᔪᓄᑦ ᐃᖅᑲᓇᐃᔭᖅᑎᒋᔭᐅᓯᒪᓕᕐᑐᖅ 19-ᓄᑦ ᐅᑭᐅᓄᑦ. ᐅᖃᓚᐅᕐᑐᖅ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᓐᓄᑦ ᐃᖅᑲᓇᐃᔮᖃᕈᒪᓕᓚᐅᕐᓂᕐᒥᓂᒃ ᐱᔾᔪᑎᒋᓪᓗᒍ ᐱᑦᓯᐊᖅᑕᐅᓂᕐᒥᓂᒃ ᐃᒃᐱᒍᓱᓚᐅᖅᓯᒪᓂᕐᒥᓂᒃ ᐊᒻᒪᓗ ᐃᒃᐱᒍᓱᑦᑎᐊᖅᑑᓂᖏᓂᒃ ᑕᑯᖃᑦᑕᕐᓯᒪᒐᒥᒋᑦ. ᑭᐊᓐᓂᔅ ᐃᖅᑲᓇᐃᔮᒥᓂ ᐱᒋᐊᕈᑎᖃᓚᐅᖅᓯᒪᔪᖅ ᐊᑕᐃᓐᓇᖖᒋᑦᑐᒥᒃ ᐃᖅᑲᓇᐃᔭᖅᑎᒋᔭᐅᓕᕋᒥ ᐊᒻᒪᓗ ᑖᒃᑯᓄᖓ ᑲᒻᐸᓂᒃᑯᓐᓄᑦ ᐃᖅᑲᓇᐃᔮᖓ ᖁᒡᕙᓯᒃᓯᒋᐊᖅᓯᒪᓕᕐᓱᓂ ᐱᓕᕆᕝᕕᓐᓂ ᐋᖅᑭᒃᓱᐃᔨᐅᓕᕐᓂᕐᒥᓄᑦ ᑎᑭᑦᓱᒍ.

Kenneth Kripanik is a Station Coordinator for Canadian North in Igloolik, Nunavut. He has been with the airline for the last 19 years. He says he was drawn to Canadian North because of the kindness he felt and saw in the company. Kenneth started his career as a casual employee and has since worked his way up in the company to full‐time Station Coordi‐ nator.

ᑭᐊᓐᓂᔅ ᖃᐅᔨᒪᔭᐅᕙᑦᑐᖅ “ᐅᐸᒡᕕᒋᔭᒃᓴᐅᓂᖓᓂᒃ” ᐱᓕᕆᐊᖃᖃᑎᒌᒃᑐᓂᑦ, ᖃᓄᐃᑦᑐᑐᐃᓐᓇᓂᒃ ᐃᑲᔪᖅᑕᐅᔪᒃᓴᓄᑦ ᐊᐱᖅᑯᑎᒃᓴᐅᔪᓂᒃ ᐱᔾᔪᑎᒋᓪᓗᒋᑦ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᑭᐅᔪᓐᓇᖅᐸᓐᓂᖓᓂᒃ. “ᑭᐅᔾᔪᑎᒃᓴᖃᖖᒋᓐᓂᕈᒪ ᐊᐱᖅᑯᑕᐅᔪᒧᑦ, ᖃᐅᔨᓯᒪᓕᕐᓂᐊᖅᑕᕋ ᓇᓂᓯᓗᖓᓗ,” ᐅᖃᖅᐸᒃᑐᖅ..

Kenneth is seen as a “go‐to guy” on our team, with the ability to answer any type of customer questions regarding Canadian North. “If I don’t have the answer, I will find it,” he promises.

ᐱᓕᕆᕝᕕᓐᓂ ᐋᖅᑭᒃᓱᐃᔨᒋᔭᐅᓪᓗᓂ ᐊᒻᒪᓗ ᓯᕗᓕᖅᑎᒋᔭᐅᓪᓗᓂ, ᑭᐊᓐᓂᔅ ᐱᓕᕆᐊᒃᓴᖃᖅᑎᐅᕗᖅ ᐱᑕᖃᖅᑎᑦᓯᔨᐅᕙᓐᓂᕐᒥ ᐃᖅᑲᓇᐃᔭᖅᓯᓐᓈᑦ ᐱᓕᒻᒪᒃᓴᔭᐅᕙᓐᓂᖏᓐᓂ ᐱᓕᕆᐊᖃᖃᑎᒌᒃᑐᓄᑦ, ᒪᓕᒐᖁᑎᒋᔭᕗᑦ ᐊᒻᒪᓗ ᐱᓇᓱᐊᕈᓯᐅᕙᒋᐊᓕᖁᑎᕗᑦ ᒪᓕᒃᑕᐅᑦᓯᐊᕆᐊᖃᕐᓂᖏᓄᑦ, ᐊᐅᓚᑦᓯᓂᕐᒧᑦ ᖃᖓᑦᑕᕐᕕᒃᓴᓕᕆᓂᕐᓂ ᐱᓕᕆᐊᖑᔭᕆᐊᓕᓐᓂᒃ, ᑐᓴᐅᒪᑎᑦᓯᕙᓐᓂᕐᓄᑦ ᖃᖓᑕᓲᖁᑎᑦᑎᓐᓂᒃ ᐊᒻᒪᓗ ᑕᒻᒫᔭᖅᓯᒪᖖᒋᑦᑐᓂᒃ ᑎᑎᕋᖅᑕᐅᓯᒪᑎᑦᓯᕙᓐᓂᕐᓄᑦ ᖃᖓᑕᓲᑦ ᑎᑭᕕᒃᓴᖏᓐᓄᑦ ᐊᒻᒪᓗ ᖃᖓᑦᑕᕐᕕᒃᓴᖏᓐᓄᑦ. ᐱᓗᐊᖅᑐᒥᒃᓗ, ᐃᑲᔪᖅᑎᐅᕙᒻᒥᔪᖅ ᓂᐅᕕᖅᐸᒃᑐᖁᑎᑦᑎᓐᓂᒃ, ᐃᑭᒪᓂᐊᖅᑐᓄᑦ ᐃᑲᔪᖅᑎᐅᕙᓐᓂᕐᓄᑦ ᐋᖅᑮᓯᒪᓕᕆᐊᕐᓂᖏᓐᓂ ᖃᖓᑦᑕᐅᑎᖏᓐᓄᑦ ᐊᒻᒪᓗ ᐅᓯᔭᐅᔪᒃᓴᖁᑎᖏᑦ ᑲᒪᒋᔭᐅᑦᓯᐊᕆᐊᖃᖅᐸᓐᓂᖏᓐᓄᑦ.

As a Station Coordinator and leader, Kenneth is responsible for providing on‐the‐job training to his team members, ensuring that our policies and procedures are followed, managing scheduling requirements, keeping in contact with our aircraft and ensuring an accurate record of flight arrivals and departures. Most importantly, he helps to look after our customers, assisting passengers with reservations and ensuring that their cargo is handled with care.

ᖁᕕᐊᒋᓛᕆᕙᒃᑕᖏᓐᓄᑦ ᐃᓚᒋᔭᐅᖃᑕᐅᓪᓗᓂ ᑭᐊᓐᓂᔅ ᐃᖅᑲᓇᐃᔭᕐᕕᒻᒥ ᐅᓪᓗᕆᔭᖓᓂ ᐅᓇᐅᕗᖅ ᐃᖅᑲᓇᐃᔮᒥᒍᑦ ᐊᓯᒥᓂᒃ ᐃᑲᔪᕈᓐᓇᖅᐸᓐᓂᕐᒥᓂᒃ ᐊᒻᒪᓗ ᖁᕕᐊᓱᑦᑎᐊᖅᑐᓂᒃ ᓂᐅᕕᖅᐸᒃᑐᓂᒃ ᐃᖅᑲᓇᐃᔭᖃᑎᒋᔭᒥᓂᒃᓗ ᑕᐅᑐᒍᓐᓇᖅᐸᓐᓂᕐᒥᓂᒃ. “ᖃᐅᑕᒫᑦ ᐆᒻᒪᑎᒧᑦ ᓂᕈᒥᒃᑐᓂᒃ ᐱᓕᕆᓂᖃᖅᐸᒃᑐᒍᑦ, ᐱᓗᐊᖅᑐᒥᒃ ᑕᒪᕐᒥᒃ ᐃᓄᐃᑦ ᐱᖃᓯᐅᑎᓪᓗᒋᑦ ᐃᖅᑲᓇᐃᔭᖃᑎᒋᔭᒃᑲ ᖁᕕᐊᓱᑦᑎᐊᖅᑎᓪᓗᒋᑦ. ᖁᔭᓕᕝᕕᒋᕙᒃᑕᒃᑲ ᐃᖅᑲᓇᐃᔭᖃᑎᒋᔭᒃᑲ ᖃᐅᑕᒫᑦ,” ᐅᖃᖅᓱᓂ ᑭᐊᓐᓂᔅ.

One of the things that makes Kenneth’s day and something that he loves about his position is helping others and seeing happy customers and co‐workers. “Every day is a heartwarming adventure, especially when everyone including my co‐workers are happy. I give my thanks to my co‐workers every day,” says Kenneth.

ᐊᐱᕆᔭᐅᒐᒥ ᖃᓄᖅ ᓯᓚᑐᔪᒥᒃ ᐅᖃᐅᔾᔨᔪᓐᓇᕐᒪᖔᑦ ᑭᓇᑐᐃᓐᓇᒧᑦ ᐃᓚᒋᔭᐅᖃᑕᐅᓕᕈᒪᔪᒧᑦ ᖃᖓᑕᓲᖅᑎᓕᕆᔨᒃᑯᑦ ᓴᓇᕝᕕᖓᓂ, ᑭᐅᓚᐅᕐᒪᑦ: “ᑎᒥᒃᑯᑦ ᐃᓱᒪᒃᑯᓪᓗ ᓴᖖᒋᓂᖃᑦᓯᐊᕆᐊᖃᖅᐳᑎᑦ.”

When asked what words of wisdom he would give to someone wanting to join the aviation industry, his response was simple: “You have to be strong physically and mentally.”

ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᖃᖓᑕᓲᖅᑎᖏᑦ ᖁᔭᓕᔾᔪᑎᖃᕆᐊᓖᑦ ᐃᖅᑲᓇᐃᔭᖅᑎᑦᓯᐊᕚᓗᓐᓂᒃ ᐱᓕᕆᔨᖃᕐᓂᕐᒥᓐᓄᑦ ᐊᒻᒪᓗ ᐆᒪᓂᖃᓪᓚᕆᒃᑐᓂᒃ. ᕿᓂᓕᖅᓯᒪᓐᓂᕈᕕᑦ ᓄᑖᒥᒃ ᐱᓕᕆᐊᕆᓕᕈᓐᓇᕋᔭᖅᑕᕐᓂᒃ ᐃᖅᑲᓇᐃᔮᕐᓄᑦ ᐃᑲᔪᕐᓂᖃᒻᒪᕆᒐᔭᖅᑐᒥᑐᐃᓐᓇᐅᖖᒋᑦᑐᖅ ᑭᓯᐊᓂᓕ ᖁᕕᐊᒋᑦᓯᐊᖅᐸᒐᔭᕐᓗᒍ ᐊᓯᓐᓂᒃ ᐃᑲᔪᖅᑎᐅᖃᑦᑕᕆᐊᕐᓄᑦ, ᐊᑏ ᖃᐅᔨᒋᐊᕐᕕᒋᓗᒋᑦ ᐃᖅᑲᓇᐃᔮᖑᓕᕈᓐᓇᖅᑐᓄᑦ ᒪᒃᐱᕋᖓᓃᑦᑐᑦ ᐅᕙᓂ www.canadiannorth.com/careers

Canadian North is lucky to have such great people working and thriving. If you are looking for a new challenge that will not only be rewarding but also bring you a sense of satisfaction by helping others, please check out the careers page at www.canadian­ north.com/careers

From the Flight Deck What causes weather?

We often encounter dif‐ ferent, and often chang‐ ing, weather in flight and across all of the areas that our flights serve. What causes all this weather?

The short answer is that it really is all about water.

To get into a slightly longer answer, we need to start with what is actually in the air.

If you look at a parcel of air, it turns out that it is made up of many things. A piece of air is about 78 per cent nitrogen and 21 per cent oxygen. While that doesn’t leave much room for other gases in the air, there are, in fact, trace amounts of lots of other gases – carbon dioxide, argon, neon, as well as others, but, most importantly, there is also water vapour.

Even though it seems like it is such a small component, that water vapour is by far the most important component from a weather point of view.

One of the unique things about water is that we can find it in all three states (solid, liquid and gas) under normal atmospheric conditions. Normally, it exists as water vapour.

In that case, the water remains as a vapour (a gas) that is mixed into the air. When that happens, it is invisible so we do not see it, but it is always there. (This is where the moisture comes from that fogs up your glasses when you walk inside a building after spending some time out in the cold.)

Just like what happens on your cold glasses, if we cool the air down (normally by making it rise to higher altitude or moving it over cold land) some of that water vapour will start to cool and it will condense into a (liquid) droplet of water. Once this happens, the water becomes visible (although as a very tiny, microscopic, drop). When enough

© Brian Tattuinee

of those droplets come together, it forms a cloud (or fog if it is very close to the ground).

If the air in the cloud keeps moving around, those microscopic droplets start to collide. As that happens, two droplets become one, ever so slightly larger, single droplet. As that process repeats, the droplet gets bigger and bigger (meteorologists call this process coalescence) until it eventually gets so big (and heavy), that gravity makes it fall to the ground as rain.

The same process happens in colder air except that water droplet can end up being frozen (so a solid). In that case, it might freeze slowly and form an ice pellet or hail.

In other cases, the water may freeze very quickly into individual ice crystals or groups

of ice crystals that meld together to form a snowflake.

While understanding the weather is sometimes complex, it really just boils down to looking at what the water does. Even though it is a very small portion of the at‐ mosphere, as it moves around, and changes states, it is the water that makes the weather that we encounter each day.

Captain Aaron Speer Vice President, Flight Operations Canadian North If you are curious about a specific topic regarding flying and aircraft operations, let us know what you’d like to learn about and we’ll try to include it in a future column. Email: editor@arcticjournal.ca

Contents

The Inflight Magazine for Canadian North

MARAPR 2021 | 02 YOURS TO KEEP

Twin Flames A Musical Journey

Gahnįhthah Mįe Archeology Project

March | April 2021 Volume 33, No. 2

The Launch of Inuit Graphic Art

InuitChic Transforming Northern Fashions

PM40050872

o www.arcticjournal.ca

Bryanna R. Brown and Augatnaaq Eccles in Martha Kyak’s red dresses, a tribute to the MMIWG National Inquiry. © Tracey Lynne Photography

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Features

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Publisher: above&beyond ltd.

Managing Editor: Doris Ohlmann doris@arcticjournal.ca Advertising: 613‐257‐4999 Toll Free: 1‐877‐2ARCTIC 1‐877‐227‐2842 (Canada only) advertising@arcticjournal.ca Design: Robert Hoselton, Beat Studios above&beyond ltd., (aka above&beyond, Canada’s Arctic Journal) is a wholly owned subsidiary of Canadian North, and a media instrument intended solely to entertain and provide general information about the North.The views and opinions expressed in editorial content, advertisements, or by contributors, do not necessarily reflect the views, official positions or policies of Canadian North, its agents, or those of above&beyond magazine unless expressly stated. above&beyond ltd. does not assume any responsibility for any errors and/or omissions of any content in the publication. Reproduction in whole or part without permission is prohibited.

We welcome contributions but assume no responsibility for unsolicited material. Send to editor@arcticjournal.ca.

ANNUAL SUBSCRIPTION RATES (6 issues) Canada US Foreign $30.00 $50.00 $55.00 (includes applicable taxes) Send change of addresses to info@arcticjournal.ca or the address in the Publications Mail box below.

Read above&beyond, Canada’s Arctic Journal, online: arcticjournal.ca or issuu.com/Arctic_Journal Visit us on facebook/arcticjournal.ca or www.twitter.com/arcticjournal

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“Although we have travelled near and far, when I think back to the time that genuinely shaped us, it would be our time in Canada’s North.”

— Chelsey June

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InuitChic Transforming Northern Fashions

Through art you can make powerful statements.

Martha Kyak’s designs are a modern mix of Inuit and southern culture and style. — Season Osborne

24 PUBLICATIONS MAIL AGREEMENT NO. 40050782 RETURN UNDELIVERABLE CANADIAN ADDRESSES TO: ABOVE&BEYOND LTD. P.O. BOX 20025 CARLETON MEWS CARLETON PLACE ON K7C 3S0 Email: info@arcticjournal.ca

Twin Flames A Musical Journey

Gahnįhthah Mįe Archeology Project

The Dene people have travelled this valley since the beginning of time; many of them are profoundly tied to the tufa mounds and the waters of Gahnįhthah Mįe.— Kevin Gedling & Donalee Deck

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The Launch of Inuit Graphic Art

The small number of staff in the Industrial Division of Northern Affairs in 1959 had a key role to play in the early promotion and marketing of Inuit Graphic Art. — Norman Hallendy

MARCHAPRIL 2021 | 02

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12 Living Above&Beyond 19 Resources 34 Youth Building Community Capacity 37 Education Educational journeys 40 Youth Youth Training Program 42 Recipe 43 Bookshelf 44 Arctic Trivia Quiz — Alan G. Luke

46 Inuit Forum — Natan Obed, President, Inuit Tapiriit Kanatami

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Chelsey June and Jaaji in Kangiqtualuk Uqquqti, formerly Sam Ford Fiord, Qikiqtaaluk Region of Nunavut, 2018. © Natta-Summerky/SOI Foundation

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A musical journey Indigenous Duo shaped by Canada’s North

By Chelsey June Feeling the pull of the music industry’s under‐ lying current, we realized we had to release a new album and fast! It had been so hard to find the time to get back in the studio since our last album release of Signal Fire in 2017. With 300‐ plus shows a year, since our start as a duo in 2015, and being on tour regularly, we struggled to find the time. We started the preproduction for our third studio album, Omen, in the summer of 2019 with hopes of having it released by the following April 2020. Unfortunately, everyone’s world was flipped upside‐down due to the global pandemic! ho are we? We are Twin Flames, a multi-awardwinning chart-topping Indigenous Duo. We represent three Indigenous groups in Canada. I am Chelsey June (Metis, Algonquin Cree) from Ottawa, Ontario, and my husband is Jaaji (Inuit, Mohawk) from Quaqtaq, Nunavik.

We joined each other on this crazy ride of life and music shortly after meeting in 2014 on the set of a television show called TAM (Talent Autochones Musicaux). A few months after we met, we connected again in my hometown, Ottawa. As our romance bloomed, so did the possibility of starting a band together. We had both started out in music at the beginning of 2013 as solo acts and had received notable recognition; however, fate brought us together for many reasons. Making music was something we needed to try together. I'm so happy we did!

W

MARCHAPRIL 2021 | 02

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Omen Album Cover by Charlie Orellana. © Sean Sisk

Twin Flames performs during a Students on Ice expedition at Qeqertarsuaq, on the south coast of Disko Island on the west coast of Greenland in 2018. © Martin Lipman/SOI Foundation

Our musical journey as Twin Flames has taken us to every province and territory in the beautiful country of Canada. We are so lucky to call this place home. We have had the great opportunity to perform in France, Australia, Greenland and the U.S. Although we have travelled near and far, when I think back to the time that genuinely shaped us, it would be our time in Canada’s North.

Our first year touring as Twin Flames began in 2015; we debuted at the Puvirnituq Snow Festival in Nunavik in front of a highly enthusiastic crowd. I remember us both being so nervous, but the love we received that night changed how we saw ourselves and helped us realize the joy we could bring to people through music. What we experienced that night was a glimpse of the magic that was to come from our visits to Arctic communities.

The North may be cold in climate, but the people truly have the warmest hearts.

The support and love for local musicians is something I have never seen anywhere

The Band performs in Kangiqsualujjuaq, Nunavik, for the Check up Project 2016, in partnership with the Nunavik Health Board. © Chelsey June

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MARCHAPRIL 2021 | 02

The Band in Rankin Inlet for Nunavut Day 2019: Jaaji, Mike Giamberardino, Troy K Huizinga, Chelsey June, and Jay Watts. © Tyler Jamieson (Our awesome soundman!)

else. I have always felt incredibly privileged for my time spent in my husband's homelands. The community spirit, the people, and the celebrations are memories I will keep close to my heart forever.

Our plans and aspirations of making a name for ourselves were well underway for the past six years. In March 2020 we were still working on our almost complete album, Omen. We braced ourselves as we received news that all music studios were closed and that tours into 2021 were postponed due to the pandemic. With so much uncertainty, we chose to focus on a solution. We seized the opportunities that this pause allowed. Jaaji got hard to work, and with the input of Jake Jones, our producer, they came up with a fantastic solution: build a home studio, one that could be used virtually.

Our musicians, Jay Watts, Mike Giamberardino and Troy K Huizinga, had all been recorded in professional studios before the shutdown. With our new studio at home, we were able to finish tracking all our vocals for Omen, without compromising sound or quality. Omen features collaborations with Inspiring Indigenous women Nina Segalowitz, Andrée Levesque Sioui and Charlotte Qamaniq, two-time Juno Award nominee from Silla and Rise.

The album is concept-based around a dystopian reality, global warming, and humankind being free of social classes, mental health disorders, and addictions. It speaks to seeking omens and signs of hope within ourselves and Mother Nature. Omen is an album we are truly proud of and most fitting for the times we are living now.

We are hopeful our musical journey will continue and we all will get through this challenging time in history. Until then, we will keep writing and producing music. We forever hold the spirit of the North in our hearts and look forward to visiting again soon. Thanks to all who have supported us along the way.

Twin Flames. © Chelsey June MARCHAPRIL 2021 | 02

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LIVING ABOVE&BEYOND

By the North for the North projects awarded over $3 million For the first time ever, the Arctic Inspiration Prize (AIP) has awarded over $3 million to seven teams across the North for their ground‐breaking projects. The prizes were awarded in a pan‐northern virtual celebration broad‐ cast across the country on APTN February 26.

Four prizes were awarded in the AIP up to $500,000 category.

Niqihaqut was awarded $451,000 to develop a new model of social economy and food sovereignty anchored in sustainable and innovative harvesting and the processing and use of country foods, all guided by Inuit values. It hopes to provide local incomes, contribute to healthier diets, and help preserve local knowledge.

Aiming to bridge the gap between educational and health care services, Tusaajuit was awarded $500,000 to ensure community members have access to educational resources about hearing loss and to facilitate access to hearing care. This project also hopes to address the root causes of hearing loss by focusing on hearing loss prevention.

Imaa, Like this: Children and Youth Expressing Themselves Through Music was the 2020 $1 Million AIP Laureate. © “Imaa, Like this”

The $1 million prize went to “Imaa, Like this”: Children and Youth Expressing Themselves Through Music for their project focused on teaching Inuit children music, employing Inuit youth as music instructors, mentoring Inuit youth musicians to become community music leaders, and providing professional development opportunities for Nunavut educators and post‐ secondary students on integrating traditional Inuktut music into their programs.

Tusaajuit, a 2020 AIP Laureate, was awarded $500,000 to ensure community members have access to educational resources about hearing loss and to facilitate access to hearing care. © Tusaajuit

The First Nation of Na-cho Nyak Dun’s Indigenous Food Sovereignty Hub, 2020 AIP Laureate, won $485,000. © Indigenous Food Sovereignty Hub

The First Nation of Na‐Cho Nyak Dun’s Indigenous Food Sovereignty Hub won $485,000. This project proposes to reduce barriers to accessing healthy and culturally relevant foods while empowering individuals to design their own paths toward food sovereignty.

Niqihaqut, a 2020 AIP Laureate, was awarded $451,000 to develop a new model of social economy and food sovereignty. © Niqihaqut

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LIVING ABOVE&BEYOND

The Youth Training in Ethical Knowledge Sharing and Co-production to Advance Northern, Indigenous-led Conservation and Stewardship, 2020 AIP Laureate, was awarded $500,000. © Youth Training in Ethical Knowledge Sharing

Artspace, 2020 AIP Youth Laureate, was awarded $100,000. © Artspace

The final laureate in the AIP category is Youth Training in Ethical Knowledge Sharing and Co­production to Advance Northern, Indigenous­ led Conservation and Stewardship. This team was awarded $500,000 to train a generation of youth to design and deliver relevant research projects using Indigenous research methods, community‐based research methods, and ethical approaches to knowledge sharing between Indigenous and Western ways of knowing.

Performances included Nunavut’s Silla and Rise, Yukon’s Dakhká Khwáan Dancers, the Northwest Territories’ Wesley Hardisty and The Pan Lab Alumni Choir from Nunatsiavut.

This year’s virtual ceremony was also hosted by Whitehorse as the host city and partners the Arctic Indigenous Investment Conference and the Yukon Arts Centre.

Two prizes in the Youth category were awarded, worth up to $100,000 each.

Artspace was awarded $100,000 to offer arts programs in the evenings and weekends, as well as daytime drop‐in space, that cater to youth, individuals experiencing homelessness, and professional artists.

The Western Arctic Youth Collective (WAYC) was awarded $97,000 to create a network of allies and supporters of youth that understands each other’s worldviews and experiences and to organize creative and relevant programming for young people in the Gwich’in Settlement Region and Inuvialuit Settlement Region while connecting with like‐ minded groups in other northern regions.

Hosts for the Awards Ceremony were Yukoner Chantal Rondeau and Nunavik’s Andrea Brazeau, with NWT's Leela Gilday as artistic director and producer Animiki See Digital Production.

MARCHAPRIL 2021 | 02

Western Arctic Youth Collective, won $97,000 in the 2020 AIP Youth category. © WAYC

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LIVING ABOVE&BEYOND

Arctic gateway expands cargo service for summer sealift For the upcoming sealift season, the NEAS Group will have a new expanded Cargo Service Center and a larger Marine Terminal at the Port of Bécancour, on the south shore of the Saint Lawrence River, in southern Quebec, with advantageous intermodal transportation connections.

NEAS customers will benefit from efficien‐ cies, improved cargo drop‐off, enhanced packaging and innovative container services, expanded warehousing options, faster loading and mid‐season ship turnarounds.

The new Cargo Service Center includes 113,000 square feet of secure warehousing, with 10 per cent heated, and over 1.5 million square feet of secure yard and lay down areas.

The new Marine Terminal boasts gated access to five berths, with drafts necessary for the current and future NEAS fleet, and lands necessary for handling and storage.

From large mining, construction, and defense projects to small individual and family orders, and everything in between, reserve space, request packaging and view schedules at NEAS.ca.

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LIVING ABOVE&BEYOND

Outdoor displays celebrate inaugural opening of Qaumajuq

Goota Ashoona (b. 1967, Kinngait).

Tuniigusiia/The Gift, 2020. Verde Guatemala marble.

Collection of the Winnipeg Art Gallery.

Commissioned by The Manitoba Teachers’ Society on behalf of Manitoba’s public school teachers.

Photo Courtesy of the Winnipeg Art Gallery

Abraham Anghik Ruben.

Time to Play, 2020. Indiana limestone.

Collection of the Winnipeg Art Gallery.

Commissioned by Tannis M. Richardson, CM, LLD. Shown with Dr. Stephen Borys, WAG Director & CEO. Photo Courtesy of the Winnipeg Art Gallery

In celebration of the late‐March 2021 opening of Qaumajuq, the Inuit Art Centre, the public is invited to come view outdoor projections of contemporary Inuit artwork and imagery on the exterior of the two connected Winnipeg Art Gallery(WAG)‐Qaumajuq buildings. The display can be viewed from the street on Memorial Boulevard and St. Mary Avenue in downtown Winnipeg, Manitoba, and will play on a loop every half hour between 6 and 10 pm, Fridays and Saturdays until March 27.

The 20‐minute projection display, curated by Jocelyn Piirainen, WAG Assistant Curator of Inuit Art, consists of work by Glenn Gear and Zacharias Kunuk, Inuit artists featured in Qaumajuq’s inaugural exhibition INUA, as well as Northern footage made possible through partnerships with Destination Nunavut, Travel Manitoba, and the National Film Board of Canada. Inuk multimedia artist Geronimo Inutiq has provided a dy‐ namic soundscape throughout the display.

While taking in the projections, the public can also enjoy two newly unveiled outdoor sculptures Tuniigusiia/The Gift by Goota Ashoona and Time to Play by Abraham Anghik Ruben, and peek inside Qaumajuq’s glass entrance to thousands of Inuit carvings in the stunning Visible Vault.

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Inuit artist Goota Ashoona’s artwork was commissioned by the Manitoba Teachers’ Society “to honour teachers all around us—in the land and in our lives—who reveal the truth, wisdom and beauty that connect us all”. The multi‐faceted sculpture reflects knowledge transfer through education and storytelling, and the important role teachers play in our communities. The sculpture includes references to the Sedna legend (a powerful story about a woman who turns into a mermaid when she doesn’t want to marry when her parents want her to) and shows a mother and daughter. Watch this video to learn more about the sculpture and the artist: https://youtu.be/s77dyH4FW_0 Abraham Anghik Ruben’s stone carving is part of the Winnipeg Art Gallery’s collection and was commissioned by Tannis M. Richardson.

Carved from Indiana Limestone, the large sculpture features a family of bears, playfully climbing over one another. Watch this video to learn more about the sculpture and the artist: https://www.youtube.com/watch?v=U9MpGFmlNFg

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LIVING ABOVE&BEYOND

Accompanied by an honour party of flag-waving youngsters and romping neighbourhood dogs, Snowbuddy’s Winter Garden opened this year on March 1. © FrameFrame (Bill Braden) (4)

A dinosaur ‘farm’ is carved into the castle walls.

The ‘open-air winter garden’ includes a slide built from snow.

This year’s Snowbuddy’s Winter Garden snow castle in Yellowknife, NWT, is their biggest to date and is almost the size of a football field. The creators build plywood forms (like pouring concrete) and blow the snow in with a machine blower to provide a thick, solid wall of packed snow.

Castle features snowy garden of fun The annual Snowking’s Winter Festival in Yellowknife, Northwest Territories, has been revamped this year into an ‘open‐air winter garden,’ due to COVID‐19. Called the “Snow‐ buddy’s Winter Garden,” this year’s castle will feature a slide built from snow and seating areas for visitors with their “bubble” of close contacts as well as a dinosaur ‘farm’ carved into the walls and a snow maze.

This year, visits to the castle are free, but you’ll need to pre‐register. Registration for tickets each week opens online every Sunday 16

night, and visitors will have to book a time slot and show up five to ten minutes in advance. No food is allowed on‐site, and you’ll need to wear a mask at all times.

New this year will be the first local carving competition. Eight local teams will spend until March 15 working on their masterpieces, which will be displayed to the public outside the garden walls. No registration is necessary to view the sculptures.

The garden will also take reservations for private group events, like birthdays and

weddings, for groups under 20 people. Class groups are welcome to book the garden, even if they go above the 20‐person limit.

The castle is open until March 28 Tuesday through Sunday from 2:30 to 5 pm. Weekends it’s open from 12 to 5 pm. Weekday and Sunday visits allow for 90 minutes in the castle. Saturday evening slots are 60 minutes long. The garden is limited to 75 people.

Snowking.ca

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LIVING ABOVE&BEYOND

Left: Derrald Taylor’s drawing of As Spirit Told, inspiration for his ice sculpture for the competition.

Centre: Derrald Taylor at work on his sculpture As Spirit Told for the Winterlude 2021 virtual National Ice-Carving Competition.

Right: Derrald Taylor’s ice sculpture As Spirit Told . © Derrald Taylor (3)

Ice-Carving Competition goes virtual This year, the first‐ever virtual Winterlude National Ice‐Carving Competition was held simultaneously in seven cities across Canada: Yellowknife, Banff/Lake Louise, Winnipeg, Ottawa, Gatineau, Québec and Halifax. From January 8 to 10, within 28 hours, seven sculptors across Canada worked with blocks of ice to create a work of art based on the theme “Winter fun”.

The entry from Yellowknife was from Derrald Taylor. Derrald Taylor is an Inuvialuit carver who specializes in soapstone sculptures of Arctic animals, legends, traditional hunters and Inuvialuit dancers.

He describes his sculpture As Spirit Told: The spirit drum dancer is singing of our culture and customs and how our ancestors lived thousands of years ago. The Dancing Scarf Child is mimicking the spirit drum dancers’ stories being told. Even the Polar Bear celebrates with toys that were made from animals and materials from the land. Mother Earth is splendid!

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Gold Rush celebrated with new coin In August 1896, Keish (Skookum Jim Mason), his nephew Kàa Goox (Dawson Charlie), Shaaw Tlàa (Kate Carmack), and her husband, George Carmack, discovered gold nuggets in Rabbit (Bonanza) Creek, in Canada’s Yukon Territory.

This amazing find sparked a three‐year stampede of prospectors seeking riches in the far northern wilderness. The mining boom it produced put Canada on the map as a leading gold producer.

The Mint’s newest gold bullion coins inaugurate a new series dedicated to the 125th anniversary of the famous Klondike gold rush.

The reverse of the 1 oz Klondike Gold Rush: Panning for Gold coin features the artwork of accomplished coin designer Steve Hepburn. His illustration of a miner’s hands holding a gold pan is one of the most enduring symbols of the Gold Rush. The gravel inside the pan and the water shimmering within it as the material is rinsed to reveal precious gold flecks are engraved in exquisite detail.

The coin also features two sugar maple (Acer saccharum) leaves that represent Canada. Along with the double dates (1896 and 2021), which commemorate the 125th anniversary of the Klondike Gold Rush and the date of issue, each coin includes a gold pan privy mark that symbolizes the 1896 gold discovery on Bonanza Creek. The gold pan on the coin is topped with a genuine Canadian gold grain from the Royal Canadian Mint’s refinery.

The Royal Canadian Mint’s pure gold coin marking the 125th anniversary of the famous Klondike gold rush. © Royal Canadian Mint

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RESOURCES

NUNAVIK

NWT

Pre-feasibility study and drill program planned

Ekati Diamond mine gets new owners

Planning is underway for a diamond drill program at the Ashram Rare Earth and Fluorspar Deposit

by Commerce Resources Corp. A total of 15 to 20 NQ‐size drill holes, for approximately 2,500 m, will be focused along the northern, southern, and central portions of the Ashram Deposit.

The drilling will further delineate the deposit’s geometry and extent of mineralization, as well as target an increase in resource confidence to the measured category in the core area of the deposit where the neodymium‐praseodymium (“NdPr”) distribution is highest.

In addition to the diamond drill program, Commerce intends to carry‐out the remaining environmental work at site required to support the Ashram Project’s ongoing Pre‐feasibility Study. Several other related and remaining Pre‐feasibility components are also planned.

The Company expects to carry‐out the 2021 field program concurrently with the drill program

by Saville Resources Inc. on the adjacent Niobium Claim Group Property.

Dominion Diamonds Mines has completed the sale of the Ekati Diamond Mine and associated assets to Arctic Canadian Diamond Company Ltd. The company has also assumed $70 million U.S. of Dominion’s outstanding debt “under its existing revolving credit agreement and the reclamation obligations of the Ekati mine.”

Arctic Canadian Diamond Company Ltd. is formed and owned by funds and accounts managed by DDJ Capital Management, Brigade Capital Management, LP and Western Asset Management Company, LLC.

NUNAVUT Public hearing to resume April 12 The Nunavut Impact Review Board has extended the timeline on the proposed expansion of the Mary River iron mine, with the public hearing to resume April 12 and run until April 21 at the Aqsarniit Hotel and Conference Centre in Iqaluit.

Baffinland wants to build a 110‐kilometre railroad that would carry up to 12 million tonnes of iron ore each year to a port at Milne Inlet, as well as accommodate up to 176 ship transits per year. Opponents of the expansion say it will affect caribou in the area and narwhal in the waters around the port.

The Board has invited five representatives from each of the seven communities of the North Baffin region: Pond Inlet, Igloolik, Hall Beach, Arctic Bay, Clyde River, Resolute Bay and Grise Fiord.

Because of COVID‐19 restrictions, the hearing will be available to the public by teleconference and Zoom, with in‐person attendance by invitation only.

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Potential zinc producer continues development plans Osisko Metals 2021 exploration and development plans for Pine Point focus on continuing to de‐risk the project and bring further improve‐ ments to the 2020 Preliminary Economic Assessment (“PEA”).

Drilling that began January 14 focused on infill and extension drilling in the Western Zone with the objective of converting the bulk of three high‐priority prismatic deposits to the Indicated Resource category.

Hydrogeological studies and tests planned across the property to further refine the dewatering model used in the 2020 PEA could lead to substantial water management cost reductions over the life of the mine.

Pine Point is a Tier 1 zinc development project. Pine Point combines excellent open pit metal grades with available infrastructure and projected low operating costs, pointing to the potential for a “Top 10” global zinc producer.

Pine Point would produce, on average, over 350M lbs of zinc during its first six years of operation. This would make Pine Point the eighth largest zinc mine in the world. The proposed mine would have a 10‐year life. However, with over a dozen individual deposits still open along strike, there is substantial potential to increase the mine life beyond that.

The Pine Point Project is located on the south shore of Great Slave Lake in the Northwest Territories, near infrastructure, paved highway access, and has 100 kilometres of viable haulage roads already in place.

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With Osisko Metals request for an environ‐ mental assessment of its project to the Mackenzie Valley Environmental Impact Review Board, Osisko expects the review decision to be reached by the third quarter of 2023.

YUKON Significant silver deposits confirmed Alexco Resource Corp.’s 2020 surface exploration drilling program results included the discovery of a significant zone of high‐grade silver miner‐ alization beneath the Bermingham deposit. This confirms this is one of the more significant silver deposits in the entire Keno Hill Silver District, rivalling the extent of the historic Hector‐ Calumet deposit, which produced 96 million ounces of silver prior to shutting down in 1972.

The Northeast Deep zone mineralization occurs within a broad, structurally complex corridor that has a horizontal to gentle north‐ east plunge with an interpreted strike length of approximately 550 m and a dip extent of up to 100 m. To the southwest of the Northeast Deep zone, this same vein intersection and mineralized corridor can be traced over an additional 400 m strike length through the Bear, Arctic and Etta Zones of the Bermingham deposit. In mid‐March 2021, Alexco is planning to launch a large‐scale surface exploration program to drill a minimum of 25,000 m of the Northeast Deep zone miner‐ alization.

Ramp up of mining and milling operations at Keno Hill continue. Underground activity is focused at the Bellekeno mine where long hole drilling and blasting of residual ore is providing feed to the mill. The mill continues the commis‐ sioning process and is operating with a modified schedule to best match the ore delivery from Bellekeno as well as optimizing the metal‐ lurgical performance of the changes to the mill circuit. At the Bermingham mine, underground development is proceeding well – with initial ore production anticipated in Q2 2021. The Alimak raise contractor has completed mobiliza‐ tion and setup and is currently advancing construction of the raise to surface.

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InuitChic

Transforming northern culture into global fashions

By Season Osborne A white wedding gown adorns a dressmaker’s mannequin in Martha Kyak’s sewing room. Its fitted bodice drapes in long, white tails in front and back, like the traditional akuq on Inuit women’s amautiit. The satin fabric is covered in tiny opalescent beads and sequins, patiently handsewn in paisley‐like swirls. A skirt of white tulle spills out from behind the akuq, flaunting a modern mix of northern and southern culture and style.

Model Oc'eane Boh'emier Tootoo wears one of Kyak’s coats. © Tracey Lynne Photography

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A wedding dress and black fitted parka sit on dressmaker mannequins in Kyak’s sewing room, ready for final alterations. © Martha Kyak

he wedding dress is stunning, elegant, and unique. It is haute couture, something you would see on a fashion runway in Paris or New York. This kind of chic design is undoubtedly Inuit. Kyak calls it InukChic—the name of her fashion design firm.

“When I think of a design and it goes into my head, before I forget, I have to do a sketch,” says Kyak, sitting in what she calls her “creative mess,” surrounded by material, furs, sewing machines, and other seamstress’ accessories.

Kyak has no shortage of clothing design ideas. She turns the sketch-filled pages of a black covered notebook: a mini sealskin skirt, a dress jacket with a high fur collar, a casual top with a hood and akuq, and a fitted dress patterned with two types of material. “Teal leather” and “sealskin” are written beside the sketch.

One of those sketches, now an actual garment, hangs on another mannequin. It is a classy, black, fitted parka, cinched with a wide belt. The black sealskin leather below the waist is etched with a diamond pattern.

“She is taking Inuit fashion to the next level, away from more traditional styles into more stylish, chic things that a lot of young Inuit are attracted to,” says Krista Ulujuk Zawadski, an anthropologist from Kangiqliniq (Rankin Inlet), and a Nunavut Sivuniksavut board member. “People like my nieces—16, 17, 18-year-olds—are buying these very chic, beautiful parkas.”

Kyak says she always loved to draw, and was inspired to design clothing, as living in Mittimatalik (Pond Inlet) in Nunavut didn’t have a lot of choices for clothing made for the Arctic. For years, she made clothes for herself, her three children, and other family members.

“I grew up seeing a lot of Inuit making their own parkas.

That was part of our culture—sewing—and I did a lot of sewing. I came to Ottawa carrying that knowledge with me of sewing,” says Kyak who moved south 10 years ago to teach Inuit history and Inuktitut at Nunavut Sivuniksavut, a college

that provides unique cultural and academic learning experiences for Inuit youth from across Inuit Nunangat.

“She can take a very plain or a very random piece of fabric that you see nothing in, and she turns it into something absolutely gorgeous. She transforms it,” says Melissa Irwin from Igluligaarjuk (Chesterfield Inlet) and former instructor with Kyak at Nunavut Sivuniksavut. “She has that ability in graphic design. She has that ability in her clothing design; she does it with painting; she does it with sketches; she does it with anything she touches.”

After moving to Ottawa, Kyak needed to make extra money to help pay for the rent on her Ottawa home and the mortgage on her house in Mittimatalik. She made parkas and posted them on an Iqaluit auction Facebook page. Someone noticed her designs and contacted her about showcasing her pieces at the 4th Indigenous Art/Music & Fashion Show in Ottawa in 2017.

In the four years since, models wearing Kyak’s unique, identifiably Inuit designs have walked the runways at eight fashion shows in Iqaluit, Ottawa, and Calgary. She is now preparing for a fashion show in Vancouver for April 2022. Originally planned for 2020, it has been rescheduled twice because of the COVID-19 pandemic.

“This fashion show is global, worldwide. I wanted to showcase Inuit as much as I can and I really wanted to include sealskin—how much it impacts Inuit, and that it’s okay to wear fur and sealskin. And it’s more environmentally friendly than fake fur,” says Kyak.

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Model Melissa Attagutsiak in Kyak’s evening wear. © Tracey Lynne Photography

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Models Karis Gruben and Mikka Komaksiutiksak in parkas designed by Kyak. © Tracey Lynne Photography

Kyak not only designs the clothes and hires the models, but she chooses the music and orchestrates the event. Nothing is left to chance. Fashion shows aren’t just occasions for Kyak to feature her new clothing designs. They are also an opportunity to make a statement and, as she says, “mark ourselves in a map of the world.”

At Pauktuutit Inuit Women of Canada’s Annual General Meeting in February 2020, Kyak’s InukChic fashion show was the closing event. The half hour program was divided into four sections: casual wear; parkas, coats and jackets; elegant attire; and red dress. In the finale, the models all wore red dresses, some elegant, some not. But each woman had a red handprint across her mouth and one side of her face, as if she was being silenced with a bloody hand. It was a tribute to the Missing and Murdered Indigenous Women and Girls (MMIWG). The reaction was immediate and emotional for the women attending the AGM. “Being an Inuk, an Indigenous person, we all know personally women who leave us too soon,” says Irwin. “Maata (Martha)’s red dress collection was one of those things that came across to its audience in such a powerful way, and you don’t need to be an advocate for MMIWG to feel the powerful emotions. If you are a guest at that show, it’s raw. You feel it. It’s powerful. That’s what Maata has effectively done so well.”

Kyak has a personal connection with the MMIWG national inquiry. In June 2019, when Prime Minister Justin Trudeau spoke at the inquiry’s closing ceremony, the red amauti onstage behind him was created by Kyak. It was a powerful symbol of what Inuit women have suffered for so long.

“When I was asked to do that, I was quite emotional. My sister was murdered, so I dedicated that to her. And it was like a healing process for me,” says Kyak. “Seeing the amauti there, I could see her presence, like she is there and making sure she is okay. She was representing Inuit, and it felt good after.”

Irwin recognizes that Kyak’s creations come from a deeply personal place.

“I think her art is inspired through her experiences, and in some ways maybe it helps her heal and express herself—and speak to the volumes of people who are lucky enough to see her work,” she says.

Ulujuk Zawadski agrees, and notes Kyak is educating her audience through her art and designs.

“Through art you can make powerful statements. These are issues that affect us all with Missing and Murdered Indigenous Women and Girls,” she says. “Maata can take the spotlight and keep all the attention on herself, but she's choosing to take this opportunity to draw attention to these important social issues.”

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At the upcoming show in Vancouver, Kyak will have 10 minutes when her designs will be centre stage. People will be there from around the world. Kyak sees this as an opportunity.

“For that 10 minutes, what do I want to say to the rest of the world about Inuit?” she asks.

Her answer is already designed into the clothing she has created for the event. Like the red dresses, it will have an impact on the people watching, and they will take home with them an insight, a knowledge, about her people. That is the power of Kyak’s art.

Season Osborne is the author of In the Shadow of the Pole: An Early History of Arctic Expeditions, 1871-1912. She lives and writes in Ottawa, Ontario.

Martha beside her “retro look coat” at Kabeshinan Minitig Pavilion at 453 Sussex Drive, Ottawa, in 2019. © Martha Kyak

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Sharing archeology and traditional knowledge at Gahnįhthah Mįe

By Kevin Gedling & Donalee Deck The mountain valleys of Nahʔą Dehé are a truly iconic northern Canadian landscape, where cliffs and peaks rise from broad valleys of the northern boreal wood and are pierced by clear rivers of glacial water from high alpine reaches. The area is known more by its modern name—Nahanni—a 31,000 square kilometre National Park Reserve, which is potentially best known for its classic backcountry paddling and the thundering waters of Náįlįcho (Virginia Falls). But in any park or wilderness place, there are many, many special places that go unseen and lesser known.

Gahnįhthah Mįe is ringed by aspen-clad eskers. The area is well used today for backcountry camping near the same places where the artefacts were found. © Parks Canada (3)

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pstream from Náįlįcho and at the foot of towering mountains where the South Nahanni and Rabbitkettle Rivers meet, stands a fifty-metre-tall mineral spring, which is the largest landform of its kind in Canada. It’s called a tufa mound, and it’s comprised of rich calcium deposits that have been layered and layered in this place by trickling spring waters since at least the last ice age. Nearby is a series of kettle lakes and forested ridges: the biggest of these is called Rabbitkettle Lake and in Dene, this is Gahnįhthah Mįe. It’s the site of Parks Canada campground and is used by park visitors who stage multi-day canoe trips down the South Nahanni River from here each year. The lake is a spring fed mountain lake, with clear waters and a blue-green bottom. Nesting loons and grebes are common, and Bald Eagles and Osprey fly high. It’s untouched and pristine. With all these amazing qualities, the attractiveness of this lake as a place to camp for travellers is not a coincidence. For anyone who is fortunate to have spent time here, they know this places evokes a feeling of power. Gahnįhthah Mįe is a place of epic wonder and respect for the natural world.

George Tsetso is a Dehcho Dene from this region and he has served on the park’s cooperative management team since 2002. He is part of a team of Dehcho community representatives and Parks Canada staff who assist in making the decisions on how the park is managed. The Dene people have travelled this valley since the beginning of time; many of them are profoundly tied to the tufa mounds and the waters of Gahnįhthah Mįe. For the ancestral people who hunted here and followed the game trails that sustained them, this was a tough land to live in. When travelling through the valley on those trails, people would stop and camp out of respect for this area.

“U

Black bar = 1 cm.

Expedient tools had residue of ancient wildlife, like canids, mountain sheep and mountain goats on them, a possible indicator of what was being hunted by early travellers.

One day in 2017, George and the rest of the cooperative management team were at Gahnįhthah Mįe for a meeting out on the land at the parks cabin there. George was outside for a stroll when he stumbled upon an atlatl dart point and a broken stone knife eroding out of the ground near the cabin, under a food cache where rainfall had worn the soil away. He picked it up and after examining it, he knew that this was no

From the top of the tufa mounds, showing the spring and surrounding peaks.

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A flake of obsidian stone that was traced to Mount Edziza lava flows, almost 1,000 km away. © Parks Canada (6)

Black bar = 1 cm.

ordinary flake of rock. He took this chance find as a sign that maybe it was meant for him to find it. The artefacts were part of a previously known archeological site, which prompted archeological investigation over the next two summers.

George and his wife Anna joined Parks Canada archaeologists and staff to excavate and discover more about what life may have been like for these past travellers to Gahnįhthah Mįe. They discovered the remains of a hearth (an early campfire site) in nearly the same place that people camp and hike today.

Charcoal fragments from the archaeological hearth were dated to between 1,200 and 1,300 years ago. In and around the campfire, were more clues to what life was like for these former travellers, such as wood working, bone working and stone working tools.

They used stone that was available, right at the campsite and discarded it after use.

They also left behind broken flakes of tools that were made from stone extracted far away, including obsidian. Obsidian, or volcanic glass, has a unique “fingerprint” or chemical makeup that allows scientists to source which quarry it came from. The obsidian at Gahnįhthah Mįe was from Mount Edziza in what is today northwestern British Columbia, almost 1,000 km away. Another non-local material was Tertiary Hills Clinker. This stone was likely quarried from west of the Mackenzie River, around 300 kilometres north of Gahnįhthah Mįe.

Archaeologists were also able to tell more about what was happening at the old campsite by studying the residues preserved on the stone tool’s surface. One of the tools left behind had been used to process mountain goat or mountain sheep and the other was used on a bird, either from the duck, goose, or swan family or ptarmigan.

A flake that had broken off of an obsidian tool had canid (wolf, dog, fox) residue on it.

It is exciting to think that today’s visitors are walking in the same footsteps and camping at the same spots as travellers from many generations ago. Parks Canada interpreters share the oral history stories of Gahnįhthah Mįe with park visitors.

During normal operating years, Parks Canada conducts guided walks for visitors from the river-landing at Gahnįhthah Mįe to the tufa mounds. Talking about the area’s cultural history is a regular part of these hikes and the fireside chats held at the cabin and at Náįlįcho (Virginia Falls).

They will now be able to share these archaeological discoveries that were buried just steps away and came from travellers who also spent time around a campfire.

Parks Canada archeologists conduct a dig at Gahnįhthah Mįe.

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Early morning sunrise at Gahnįhthah Mįe, looking west to Nahanni’s famous granite peaks of the Cirque of the Unclimbables. © Parks Canada

Archeologists work to share and discuss the science of these kinds of discoveries in open conversation with members of modern Dehcho communities. To combine traditional knowledge and science in this place, by working together and sharing in the analysis of intriguing artefacts, both Parks Canada and the communities of the Dehcho have learned a little bit more about those earlier travellers to Gahnįhthah Mįe.

Right: A flake of Tertiary Hills Clinker, likely quarried from west of the Mackenzie River, around 300 kilometres north of Gahnįhthah Mįe.

Below: George and Anna assist by sifting through soil in search of artefacts and stone flakes.

Below right: George Tsetso holds the atlatl dart point he found in 2017.

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Eskimo Graphic Art 1960 Paperback Norman Hallendy January 1, 1971 Publisher and credit: West-Baffin Eskimo Co-op

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Inuit Graphic Art From bar room floor to NWT archives AN ESSAY ON WHAT ACTUALLY TOOK PLACE TO LAUNCH INUIT GRAPHIC ART IN 1959.

Note: Because of the time in history referred to in this article, the word Eskimo is used in this article.

By Norman Hallendy This essay has been written to fill the gap left unexplored by numerous “chroniclers” of Inuit graphic art. No one I know has sought to scan the files of the Industrial Division, Northern Affairs (now residing in the NWT Archives) to reveal the early development of bringing Inuit Art, known as Eskimo Graphic Art, to the public. n 1959, Gordon Robertson was the Deputy Minister of Northern Affairs and National Resources, Bent Sivertz was the Director of Northern Administration and Robert Phillips known as the “RAJ” was the Assistant Director who might, on occasion, report to the Deputy Minister. Alex Stevenson was a valuable member of the Northern Administration branch and played an important part in the early development of the plan of action to help James Houston promote Inuit Art from Cape Dorset, Nunavut.

I moved to the Industrial Division of Northern Affairs and National Resources in 1959. The division head was the talented Donald Snowdon. The division staff also consisted of Ronald Gould, Leo Bereasa, Paul Godt, Alex Sprutz, Chesley Russel, Max Budgle, Paul Valalee, Robert Jenness, and five excellent secretaries.

As I had a background and contacts in the Arts, my first assignment was to develop a plan of action to create public awareness of a new art form referred to as “Eskimo Graphic Art” and put it to work”. Armed with a huge roll of early prints that had been languishing in our locker in the basement of 150 Kent Street in Ottawa, Ontario, I headed to the National Gallery of Canada.

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The first meeting of the Committee: L to R: Committee secretary Norman Hallendy, Alan Jarvis, Bud Feheley, and Dr. Evan Turner. © Northern Affairs

First photograph of the famous artist Kenojuak Ashevak and her husband Johnniebo, himself an accomplished sculptor. © Norman Hallendy

Governor General Georges Vanier and his wife Pauline view the 1959 prints in the Ballroom of Government House. © Government House Photo Library

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The National Design Council, of which I had been Assistant Director, was an arm of the National Gallery of Canada; consequently, I knew Alan Jarvis, Director of the National Gallery, as well as Kathleen Fenwick, curator of prints and drawings, and Richard Simmins. My request to have a small exhibition of the 1959 prints was turned down by Kathleen who suggested that the Museum of Civilization might consider such a proposal. As I was about to leave the Gallery, Richard took me aside and stated that he might be able to help. Richard mentioned that the newly appointed Director of the Montreal Museum of Art, Dr. Evan Turner, might be interested in mounting an exhibition of Eskimo Graphic Art. Richard suggested if I were interested, he would talk to Evan who was visiting the National Gallery and proposed Evan and I might meet in the bar of the Beacon Arms Hotel just around the corner from the Gallery. About an hour later, Dr. Evan Turner arrived, we shook hands, ordered beer and I began to unravel the saga of what we were trying to do to promote this wonderful new art form from the Arctic.

Evan displayed interest and suggested I come to his gallery in Montreal with a selection of prints so he might assess their quality for a possible exhibition. I couldn’t help but smile as I said in response, “Wait just a minute I have something to show you.”

I returned from the bar’s cloakroom with the same bundle of prints I had shown to Kathleen and Richard just an hour or so before. I laid the prints out randomly on the bar room floor to Evan’s delight and the amused curiosity of the patrons in the bar.

Though there was a modest display of prints at Stratford, it was then and there, on a bar room floor, that the first major exhibition had its beginnings.

The first matter was the creation of a committee that would have the following tasks: 1) establish guidelines regarding the market value of each print, 2) decide on the number of prints to be produced for each subject, 3) select the prints to be included in the annual collection and 4) create marketing guidelines regarding business arrangements with art dealers. The committee could include any matter deemed to be of importance to the production, promotion and marketing of Eskimo Graphic Art. Given the perception of being an “arty guy” I was tasked with establishing the first committee.

I sought help from a fellow graphic designer, Paul Arther, who, in turn, recommended his close friend Bud Feheley. Alan Jarvis graciously accepted an invitation to join the committee and I vaguely remember Kananginak Pootoogook as an ex officio member as well.

Kiawak Ashuna (or Kiugak Ashoona), one of the famous artists of the remarkable Ashoona family of artists, 1960. © Norman Hallendy

Osuitok Ipeelee and Nepessa with their daughter, 1958. Osuitok, a world-renowned sculptor, was Norman Hallendy’s mentor over 30 years of friendship and a source of vast traditional knowledge. © Norman Hallendy MARCHAPRIL 2021 | 02

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The first Eskimo Graphic Art catalogue, 1959.

Pitaloosie and Pauta Saila, two highly regarded artists, 1963.

During the flurry of activity in 1959, Alex Stevenson revealed that James Houston wanted to leave Cape Dorset as soon as possible to take up a prestigious position with Stuben Glass in New York. Most importantly, there was no one in line to replace Houston. Alex asked if I knew of a possible replacement. I replied perhaps he might contact an old schoolmate of mine, Terry Ryan, who was working in Clyde River.

It was during this early period of developing ways and means leading to the success of Eskimo Graphic Art that Jim Houston came up with a brilliant idea. Why not have a Patron of Eskimo Art? Why not ask the Governor General (at the time) Georges Vanier to be its Patron? Jim drafted the letter from Kananginak Pootoogook to the Governor General asking that he honour the Inuit Artists of Cape Dorset. The letter was transmitted by Robert (Bob) Phillips to Government House and shortly thereafter, Bob and I were summoned to Government House to meet with the “GG”.

Off we went with a bundle of the 1959 prints and met with the Governor General and his lovely wife Pauline in the Ballroom.

I spread out the prints on chairs and the Ballroom floor (a little tonier than the bar room floor a few months previously).

Questions and enthusiasm from the Governor General and his wife heightened as we carefully moved about images of spirits, enchanted birds, animals, hunters and mermaids. The meeting was recorded by the Government House photographer and thus Kananginak’s and Jim Houston’s desire for the patronage of the Governor General of Canada was made a reality.

The small number of staff in the Industrial Division had a key role to play in the early promotion and marketing of Inuit (Eskimo) Graphic Art. For example, the prints were sent to us unnumbered and untitled, except for a single print of each subject in groups of 50 copies. We had to number each print, and write out in pencil the full title, including the artist’s name and date produced. This arduous task was shared by Ron Gould, Leo Bereasa, Paul Valalee, our five secretaries, and I.

I remember titling about 25 “Enchanted Owls,” then rushing to produce the first catalogue. There was no budget to produce that first catalogue, not a penny! There was a unit of the Queen’s Printer in the basement of our building. I knew the unit head and over coffee, told him about the project asked if he could give me some advice on how to produce a modest catalogue while having no budget. He asked me to bring him the “stuff ” to be printed and he would see what could be done.

I photocopied each print and painstakingly did all the typography on each photocopy using my old Leroy lettering set. When my friend in the printing shop saw the material, he said they would help by printing the catalogue. The only paper at hand was Ministerial letterhead. Fortunately, the second sheet did not bear the gold embossed emblem of Canada so that’s what we used to communicate with art dealers in Canada, the U.S. and abroad.

Following the production of the first catalogue, a budget was approved for subsequent ones related to each year’s offering of prints. Although not an awardwinning design, the opportunity to design the first of the line of catalogues was my redemption.

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The author and Leetia Parr, one of the brilliant interpreters in Cape Dorset, Nunavut, who assisted Norman Hallendy for many years. © Norman Hallendy (3)

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YOUTH

Building community capacity One youth leader at a time Without question, life became a little more challenging after March 2020.

But that didn’t stop more than 200 youth leaders across Nunavut from making a difference through recreation and sport in their communities.

In the last seven years, more than 750 youth leaders have participated in Recreation & Parks Association of Nunavut (RPAN) initiatives, com‐ bining training, certification, leadership and employment (seasonal and casual) to deliver quality programs to children and youth in their communities.

“We have youth delivering programs for children and their peers, and they are nailing it! We owe it to our youth to provide leadership initiatives, to support skill development, to assist in building confidence and self esteem.

These young leaders are our future!” says Dawn Currie, RPAN Executive Director.

RPAN supports year‐round initiatives, including their signature Get Happy Summer Day Camp program, LTW (Leading The Way) – After School Program, Multi Sport Camp Program and a new Teen Intramural Program, all delivered by youth leaders 15 to 27 years of age. At a time when the pandemic has changed so

The Get Happy Summer Day Camp team, representing 12 communities. © Dawn Currie (4)

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YOUTH

The "Great Derby Race" team building activity during the Get Happy Summer Day Camp training.

much, the value of recreation and sport has never been more important.

The Get Happy Summer Day Camp program runs annually from the end of June to mid August and is hosted in more than 15 commu‐ nities each summer. A training week for youth leaders is hosted in June (normally in person, but we learned we can do it via Zoom during a pandemic). Training includes first aid certifica‐ tion, team building, communications, planning daily and special event programs, hands‐on crafts and games sessions and fun!

The LTW – After School Program utilizes young leaders to organize after school programs for children. These programs focus on physical activities and are run two to four times a week.

The Multi Sport program includes young adults who are currently coaching or who have aged out of multi sport “Games” programs and university/college interns. Working in teams, these young leaders, after training, travel to communities for a week and deliver week‐long multi sport programs. This is just one avenue for recruiting young coaches in Nunavut. The Teen Intramural program is the first phase of an extended program to build community‐based youth recreation associations where youth are part of the planning and delivery system in their communities for recreational sport programs.

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Peter Kogvek Jr (Gjoa Haven) and Jusa Iqaqriak (Clyde River) in the "pass the ball relay".

CPR training and certification during the summer day camp staff training.

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YOUTH

Taloyoak Mayor Chuck Pizzo Lyall presents the 2020 Baffinland Iron Mines Recreation Leader of the Year award to Nathan Mannilaq from Taloyoak, Nunavut. © Jonathon Nuss

Commitment and excellence does not go unnoticed. In March 2020, just before the pandemic closed the world down, RPAN supported two youth leaders to attend the 2020 Via Youth Summit in Vancouver. Nathan Mannilaq (Taloyoak) and Quentin Sala (Sanikiluaq) were nominated and selected to represent Nunavut youth. RPAN also nominated Quentin for a national CPRA (Canadian Parks and Recreation Association) Emerging Leader of the Year Award and were thrilled to hear he had been selected. The CPRA Emerging Leader Award recognizes the importance of supporting and celebrating young Canadians, as they are the future leaders of the parks and recreation sector. This Award provides national recognition to an emerging leader in the field of parks and recreation who has made a valued contribution to the sector. The nominee will have contributed to a municipal, regional, provincial/territorial or national success in the spirit of contributing to the public good. Nathan was selected as the Baffinland Iron Mines Recreation Leader of the year! RPAN has young leaders going to college/ university or trades school being nominated for the Ted Roger’s Scholarship, which recognizes the inherent value of community service and a solid work ethic. This is made possible through RPAN’s ongoing partnership with the Jays Care Foundation.

RPAN is not alone in its belief in the value of supporting youth programs and youth leader‐ ship development. Annually, RPAN has more than 12 funding and training partners. “It is fantastic to partner with organizations that share in our vision and belief in the importance of building community capacity, one youth at a time,” says Dawn Currie.

RPAN looks forward to another year of working with communities and youth. They are already planning, already recruiting partners, already excited for 2021‐2022, regardless of how it will look.

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E D U C AT I O N

Educational journeys Teaching students on the land What is Land‐based learning?

NorQuest College will launch its new Indigenous Studies Diploma Program in September, 2021, and with that program comes a for‐credit course in Land‐based learning. What is Land‐ based learning? Basically, it is what it sounds like – learning, outdoors, on the land! But it is so much more. Learning on the land allows students to recognize the spiritual, environmental, and physical connections between Indigenous peoples and the land. It takes students out of the confines of the traditional classroom and gives them a hands‐on approach to learning about Indigenous cultures. Instead of just reading about Indigenous cultural practices, students participate in them.

How do students participate?

To start students off on their Land‐based learning journey, they first participate in ceremonies and offering protocol. NorQuest has been building relationships with Knowledge Keepers and Elders from local First Nations. Through these partnerships, the college teaches students to ground this process in ceremony to ensure accountability to Indigenous knowledge systems.

NorQuest is lucky to have the guidance of two Knowledge Keepers: Delores Cardinal from Whitefish/Goodfish First Nation, and George Desjarlais from Frog Lake First Nation, who help the college move forward in this work within the Nehiyaw concept of Wahkohtowin.

Wahkohtowin – which translates to “we are all related” – will continue to inform how the land‐ based learning activities and ceremonies are developed and ensures learning is focused on relationality and how everything is inter‐ connected.

What do students do on the Land?

Land-based teaching facilitates connection between culture, Indigenous knowledge systems, and western knowledges. © NorQuest College

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Once students have learned the importance of accountability and of the good intention of

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E D U C AT I O N Students engage with a wide range of equipment and cutting-edge technology at Finning’s career booth during Actua, Finning Canada and NorQuest College’s Indigenous youth STEM career day at NorQuest College in Edmonton, Alberta in 2018. © Actua

In Canada, land-based learning education has been practiced by First Nations, Métis, and Inuit communities since time immemorial. © NorQuest College

Indigenous students explore the benefits and uses of drone technology at Actua’s STEM career day hosted at NorQuest College. © Actua

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E D U C AT I O N NorQuest College hosted a land-based learning symposium in 2018 targeting educators from Indigenous communities, school boards, and post-secondaries across Canada. The symposium included keynotes and concurrent sessions from as far away as Australia and as local as the Edmonton region. © NorQuest College

confidence. Actua is a leader in STEM program‐ ming and provides a network of organizations and institutions that share best practices and programming. Some of the exciting upcoming programs under development include for‐credit Land camps and in‐school Land‐based courses to gain high school credits.

These new ways of introducing Elders and Knowledge Keepers to educate students

on the land marks how NorQuest College is incorporating Indigenous knowledge systems into students’ educational journeys. Weaving these systems together with Western knowl‐ edge systems is an attempt to close the gap between systems, highlighting the benefits in our interconnectedness.

moving forward, NorQuest engages students in activities such as sweats, North Saskatchewan River Valley walk teachings, pipe ceremonies, medicine walks, hide scraping, and other activ‐ ities and ceremonies—all delivered by Elders and Knowledge Keepers. Students learn through oral teachings and are given the chance to perform, journal, and create.

How did Land‐based learning begin at NorQuest College?

This focus on land‐based learning would not be here today if it were not for the success of the Land‐Based Learning Symposium held at NorQuest College in November 2018. The sym‐ posium had over 200 participants from all over Canada and presenters from all over the world.

The success of this symposium has propelled NorQuest as an up‐and‐coming institution focusing on land‐based learning and Indigenous science, technology, engineering, and math (InSTEM).

What is next?

A partnership between NorQuest College and Actua, a charity dedicated to preparing youth (six to 26) for leadership and innovation, will create another opportunity for NorQuest to focus on Land‐based learning and InSTEM programming. Through this annual partnership, students will gain experience and education that build critical employability skills and MARCHAPRIL 2021 | 02

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YOUTH

Youth Training Program to advance land stewardship and conservation The Youth Training in Ethical Knowledge Sharing and Co-production to Advance Northern, Indigenous-led Conservation and Stewardship Program will train a generation of Indigenous youth to design and deliver relevant research projects using Indigenous and communitybased research methods, as well as ethical approaches to knowledge sharing between Indigenous and Western ways of knowing. Youth will be trained both as guardians and researchers to develop the skills to understand, work and care for the lands and waters within their traditional territories.

Ice fishing in Labrador. © Ashlee Cunsolo

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Kaska Dena Land Guardians from Ross River, Yukon. © Norma Kassi

Canadian Mountain Network (CMN) Co‐Research Director, Norma Kassi, was awarded a $500,000 2020 Arctic Inspiration Prize (AIP) for the Program. Funding from AIP, together with support from CMN, will bring the total project budget to 1 million dollars, which will allow for up to 30 youth from the Yukon, Northwest Territories, and Nunatsiavut to attend 10‐day training camps in 2022 and 2023.

During these training camps, youth will work together, live together, and learn traditional knowledge from Indigenous Elders and scientific expertise from researchers directly on the land.

Not only will this build resiliency for Indigenous youth but will develop community capacities to understand and respond to environmental change, while contributing to diversifying economies in the North and supporting adaptation and sustainability.

“Young people are enthusiastic; they want to be on the land,” says Kassi. “They can be there to take care of the species, the animals, the water. The land is healing for them; it’s so important for them to try and make our planet better.”

She also voices the urgent need to work together in these challenging times: “We want to engage in research that will be really relevant for us and others living in the same area, that will educate future generations, for the whole community.”

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Norma Kassi, CMN Co-Research Director. © Arthur "Tookie" Mercredi

Indigenous peoples have a unique under‐ standing that could transform our country.

Norma Kassi’s project will improve our under‐ standing of changes we are facing in the Arctic across diverse landscapes that are essential to the environmental, economic, social, spiritual, and cultural well‐being of Indigenous Peoples.

This project is made possible with the contributions and partnerships from the Canadian Mountain Network, Yukon Region Assembly of First Nations, Council of Yukon First Nations, Dechinta Centre for Research and Learning, Gwich’in Tribal Council, Labrador

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Institute of Memorial University and the Sahtú Renewable Resources Board.

The Canadian Mountain Network (CMN) is a national not‐for‐profit organization that supports the resilience and health of Canada’s mountain peoples and places through research partnerships based on Indigenous and Western ways of knowing that inform decision‐making and action. CMN is funded through the Networks of Centres of Excellence program and is hosted at the University of Alberta.

To learn more, see CMN’s website.

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RECIPE

Bacon Cheddar Rink Burger Buns

By Carla Bullied A filled bun with the flavours of your favorite burgers from the local skating rink! Can be frozen and heated in microwave.

FOR THE BUN DOUGH: 1 1/2 cups warm water 1/4 cup sugar 1/2 tsp salt 3 tbsp oil 1 tbsp fast rising yeast 1 egg, beaten 3 to 4 cups flour

FOR THE FILLING: 1 lb hamburger 1 onion, chopped fine 1 lb bacon, cooked and crumbled or equivalent precooked bacon crumbles 1 cup old cheddar cheese 1/2 cup ketchup 4 tbsp mustard 3 tbsp sweet relish 2 finely chopped dill pickles (Or add any of your favourite burger condiments.)

FOR THE TOPPING: 1 egg Everything Bagel seasoning or sesame seeds Mix first 5 ingredients of bun dough. Add beaten egg. Mix in flour & knead. Add the last cup, as necessary. Dough should be slightly sticky.

Place in a greased bowl and cover lightly with plastic wrap or a clean towel (cover for every rise).

Let rise 15 minutes. Punch down. Let rise 15 minutes. Punch down. Let rise 15 minutes.

Punch down.

During dough rise times: • Brown ground beef and onion. Drain. Cool slightly.

• Mix in remaining filling ingredients.

• Divide dough into 12 (should be approximately 3 oz per piece).

• Flatten dough into a 3 to 4-inch circle. Place approximately 4 to 5 tbsp filling on each round (divide filling into 12). Pinch dough closed around filling, being careful to not get filling on the edges so a good seal is made. Turn over and place seam side down on a parchment lined cookie sheet. 6 buns will fit on a standard cookie sheet.

• Let rise 1 hour (covered).

• Beat egg and brush the tops of the buns evenly with it. Sprinkle with bagel seasoning or sesame seeds.

• Bake for 20 minutes at 350°.

Recipe submitted by the Inuvialuit Regional Corporation.

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BOOKSHELF

Niqiliurniq A Cookbook from Igloolik Micah Arreak, Annie Désilets, Lucy Kappianaq, Glenda Kripanik, and Kanadaise Uyarasuk Inhabit Media October 2020 Compiled by five women living in Igloolik, Nunavut, this collection of recipes brings together healthy traditional country foods—like seal, Arctic char, and caribou—with store‐bought produce to create delicious meals. With details on food safety and storage, as well as information on how to build a healthy, nutritious diet, this book will help even novice cooks feel empowered to begin cooking from scratch at home. With tasty recipes from the land and sea—from Arctic char pizza to caribou chili—this beautifully photographed cookbook provides whole‐ some, hearty meals that will become family favourites for years to come. Also available in Inuktitut.

Breaking Trail The Ancestors Are Happy

Fran Hurcomb Old Town Press October 2020 Moving to Yellowknife, Northwest Territories, in the spring of 1975, Fran Hurcomb quickly became immersed in an adventure that would last a life‐time. Breaking Trail consists of 14 semi‐autobiographical stories set in and around Yellowknife and the Great Slave Lake area from 1975 to the late 1980s. It is filled with humour and warmth, and is a wonderful chronicle of life, sometimes funny and sometimes challenging.

Underlying many of the stories is her 20‐year infatuation with sled dogs and dog teams. To order the book, contact Fran by email at franhurcomb@gmail.com

David Pelly Crossfield Publishing January 2021 The ancestors are happy, say Inuit elders, when the stories from the land are told, and retold, and preserved.

In this new book by the same name, seasoned Arctic writer David F. Pelly masterfully weaves a landscape of personal tales from Inuit elders whose lives collectively span the 20th century, a period of remarkable transition for the North. It draws on the author’s experiences and encounters over 40 years of living, travelling, and learning in Nunavut. At the core is an exploration of Inuit cultural tradition, oral‐history and traditional knowledge.

Carrying a good selection of northern titles.

Check out the website.

We ship worldwide!

4921 - 49th Street Yellowknife, NT X1A 2N9 1-800-944-6029 / 867-920-2220

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TRIVIA

Arctic Trivia Quiz

BY ALAN G. LUKE

Myriad stellar Inuit musicians have attained both national and international acclaim.

Test your knowledge of Canadian Arctic music and musicians with these multiple-choice questions.

1. Traditional Inuit music has been based on drums used in dance music for eons. The Inuit vocal style known as “Katajjaq” pertains to what? a) “Inuk shaking” b) “throat singing” c) “ritual chanting” d) “knee slapping”

5. Kelly Fraser was the Canadian pop artist who gained attention for an Inuit‐language cover of “Diamonds” performed by what popular singer? a) Beyonce b) Rihanna c) Katy Perry d) Taylor Swift

2. David Serkook, an Inuit Elder, teacher, and drum dancer is a native of Nunavut. He is known for which one of the following accomplishments? a) Being a best‐selling author of Inuit music and culture b) Launching the Aboriginal Pavilion during the Vancouver Winter Olympics c) Winner of the Arctic Drum Dancing Marathon d) Managing an Arctic Cultural centre complex 3. Jaaji is an Inuit lead vocalist and songwriter of the Twin Flames. What does his name translate into in English? a) Jason b) Martin c) George d) David

4. Tanya Tagaq performs the ancient art of Inuit throat singing and hails from which Arctic Territory/Region? a) Yukon b) Northwest Territory c) Nunavut d) Nunavik

ANSWERS: 1. b) “throat singing” 2. b) launching the Aboriginal Pavilion during the Vancouver Olympics 3. c) George 4. c) Nunavut

5. b) Rihanna 6. a) Taima 7. b) Yellowknife, NT 8. c) Terry Uyarak 9. d) Children’s TV series (APTN) 10. a) This Child (1995)

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8. Who is the Igloolik, Nunavut, resident who toured the globe with the only Inuit circus troupe, ARTCIRQ as a musician, actor and juggler? a) Dale Hawerchuk b) Nanouk Nanook c) Terry Uyarak d) Terry Sawchuk 6. Born to an Inuk mother, singer‐songwriter Elisapie Isaac, sounded what duo which was awarded a Juno for “Best Native Album” in 2004? a) Taima b) Tamron c) Tivo d) Tantrum

9. Riit is the stage name for a female Canadian Inuk musician and TV personality from Nunavut. Rita Claire‐Mike‐Murphy won the Emerging Talent Award in 2019 for her work on “Anaana’s Tent” which is what? a) Regional Inuit stage play b) Publicly owned radio program c) Musical Inuit tour group d) Children’s TV series [APTN]

7. Dene‐Canadian singer and songwriter, Leela Gilday won Aboriginal Recording of the Year in 2007. In what Arctic community was she born and bred? a) Arviat, Nunavut b) Yellowknife, NT c) Whitehorse, YT d) Akulvik, Nunavik

10.Multi‐Juno Award winner and nominee, Susan Aglukark received Canadian certification for a triple platinum album, which was entitled what? a) This Child (1995) b) Unsung Heroes (1999) c) Big Feeling (2003) d) White Sahara (2011)

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INUIT FORUM

© Jessica Deeks

Addressing the Inuit Nunangat infrastructure gap I spend a lot of my time talk‐ ing with government about the infrastructure gap in Inuit Nunangat. The infrastructure gap is the incredible deficit of critical social and economic infrastructure in Inuit Nunangat in relation to southern Canada.

For example, COVID‐19 responses that many people in southern Canada have benefitted from are generally not available to the same degree in our communities – think of public health care responses such as rapid access testing, educational responses such as online learning with broadband Internet access, transportation responses such as swift and inexpensive transport of goods to meet urgent needs, and housing responses such as space at home to work and study or isolate when sick.

Decades of inadequate and inequitable public investment contribute to our high cost of living and impact our society and health in countless ways. Major investments to close this gap are one of the top priorities of the Government of Canada and Inuit leadership through the Inuit Crown Partnership Committee, and the most urgent fiscal deliverable in 2021.

How did we get here? For too long, infra‐ structure spending has been directed with little regard for the needs and priorities of Inuit in our own homeland. For instance, Nunavut’s two deep water ports are not located in communities.

(A deep water port is being constructed in Iqaluit, and it will be the first to serve an Inuit community when completed). Only three of Inuit Nunangat’s 51 communities have small craft harbours, severely limiting our access to food harvested from the sea and limiting our ability to utilize marine transportation between communities or travel to traditional camps.

Most of our runways are gravel strips. Let’s take the Nain airport as an example. Nain is the largest and most northerly community in Nunatsiavut. Each week, approximately 20 flights arrive and depart Nain, carrying passengers,

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Most of the runways in Inuit Nunangat are gravel strips, including this one in Grise Fiord, Nunavut. © ITK/Jake Hanna

food, and other critical supplies. And yet the gravel runway has no lights. It handles only small aircraft (twin otters or smaller) and it is slowly sinking into the sea. In the winter there are no flights before 8 am and after 3 pm.

A study by the Centre for the Study of Living Standards in 2019 quantified the glaring infrastructure gap between Inuit communities and other parts of Canada. The researchers found that Inuit communities have an eco‐ nomic infrastructure index score of 0.14 out of 1, compared with an economic index value of 0.81 for non‐Indigenous rural and remote communities in Canada. Meanwhile, the average infrastructure index score for southern Census Metropolitan Areas is 0.97. This gap is no surprise, but it does shed a harsh light on the longstanding and inequitable distribution of infrastructure investments between Inuit and non‐Indigenous remote communities in Canada.

To help the federal government in its commitment to accelerate closing the Inuit Nunangat infrastructure gap, Inuit regions have identified 22 tier‐one priority infrastructure

projects across various asset classes. These range from transportation and telecommunications to health and social development to energy, including the Nain airstrip, substantially increased internet and broadband capacity in Nunavik, cultural and heritage centres in Nunavut and an energy security project in the Inuvialuit settlement region.

We need priority projects to be fully funded, and we need a permanent infrastructure funding mechanism through which we can build Inuit Nunangat infrastructure with strate‐ gic purpose over the long‐term. This approach is consistent with a number of shared priorities, including developing infrastructure expertise and capacity across regions, attracting Inuit capital and other private sector investment to Inuit Nunangat, and increasing Inuit self‐ determination under a joint shared reconciliation agenda.

Natan Obed President, Inuit Tapiriit Kanatami

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