Above & Beyond | Canada's Arctic Journal 2020 | 06

The Inflight Magazine for Canadian North

NOVDEC 2020 | 06 YOURS TO KEEP

Inuit Origins: Thule‐to‐Inuit transition

Arctic Try‐pots and Blubber Tanks

Qaumajuq: Connecting North and South

Inuksuit “We were here”

PM40050872

o www.arcticjournal.ca

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!

It’s hard to believe that we are already approaching the end of 2020.

While this will be remembered as a year filled with unprecedented difficulties, I am thankful that so many people have been able to work together to limit the spread of COVID‐19 across the North and in other places we serve. On behalf of all of us at Canadian North, we have been incredibly proud to support all of you.

ᐅᒃᐱᕆᒋᐊᒥᒃ ᐊᔪᕐᓇᑲᓴᒻᒪᕆᒃᑐᖅ ᐅᑭᐅᖓ 2020 ᐃᓱᓕᑉᐸᓪᓕᐊᓕᑲᐅᑎᒋᖕᓂᖓᑕ. ᐃᓛᓗ ᑖᓐᓇ ᐅᑭᐅᖅ ᐃᖅᑲᓇᐅᒪᔭᐅᕙᓐᓂᐊᖅᑎᓪᓗᒍ ᐊᔾᔨᖃᖖᒋᑦᑐᓂᒃ ᐊᔪᕐᓇᓕᕈᑎᐅᕙᒃᑐᓂᒃ ᐊᑐᕆᐊᖃᓚᐅᕐᓂᑦᑎᓐᓂᒃ, ᖁᔭᓕᔾᔪᑎᒋᕙᕋ ᐊᒥᓱᑦ ᐃᓄᐃᑦ ᐱᓕᕆᖃᑎᒌᒍᓐᓇᓚᐅᕐᒪᑕ ᓄᖅᑲᕐᑎᑕᐅᓯᒪᓕᖁᓪᓗᒍ ᓄᕙᒡᔪᐊᕐᓇᖅ-19 ᓯᐊᒻᒪᒃᑎᖅᐸᓪᓕᐊᔪᓐᓇᕐᓂᖓᓂᑦ ᐅᑭᐅᖅᑕᖅᑐᒧᑦ ᐊᒻᒪᓗ ᐊᓯᖏᓄᑦ ᓄᓇᓕᐅᔪᓄᑦ ᐱᔨᑦᓯᕋᕐᕕᒋᕙᒃᑕᑦᑎᓐᓄᑦ. ᑕᒪᑦᑕᐅᓪᓗᑕ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᓐᓂ ᐃᖅᑲᓇᐃᔭᖅᑎᐅᔪᑦ ᐱᔾᔪᑎᒋᓪᓗᒋᑦ, ᐊᖏᔪᐊᓗᒻᒥᒃ ᓴᕆᒪᒋᓪᓚᕆᒃᐸᕗᑦ ᑕᒪᑦᓯᓐᓂᒃ ᐃᑲᔪᖅᑐᐃᔪᓐᓇᖃᑦᑕᓚᐅᕋᑕ.

Nobody knows for certain what 2021 will bring but based on how we have all risen to this year’s challenges, I am confident that we will all be able to get through anything that arises and move together positively. As your airline partner, we will continue to provide the passenger, cargo, and charter services you depend on us for.

ᖃᐅᔨᒪᓪᓚᑦᑖᖅᑐᖃᖖᒋᒻᒪᑦ ᖃᓄᐃᑦᑑᓂᖃᕐᒪᖔᓪᓖ ᐅᑭᐅᖓ 2021 ᑭᓯᐊᓂᓗ ᒪᓕᒡᓗᒋᑦ ᒪᑭᒋᐊᕈᓐᓇᖃᑦᑕᓚᐅᕐᓂᕗᑦ ᑖᓐᓇ ᐅᑭᐅᕆᔭᕗᑦ ᐊᑐᖅᑎᓪᓗᒍ ᐱᓕᕆᓂᖃᓕᕆᐊᖅᐸᒃᓱᑕ, ᖁᓚᖖᒋᓚᖓ ᐊᓂᒎᑎᔪᓐᓇᕐᓂᐊᕐᒥᒐᑦᑕ ᓱᓇᑐᐃᓐᓇᓂᒃ ᐊᑐᕆᐊᖃᓕᕋᔭᕋᓗᐊᕐᒥᒍᑦᑕ ᑲᑐᔾᔨᓂᖃᓕᕐᕕᒋᓗᑎᒍᑦ. ᐱᔾᔪᑎᒋᓪᓗᒍ ᖃᖓᑕᓲᖅᑎᐅᔪᑦ ᐱᓕᕆᐊᖃᖃᑎᒌᑎᐅᔪᓂᑦ, ᑲᔪᓯᑎᑦᑎᓯᒪᓂᐊᖅᑐᒍ ᐃᑭᒪᕙᒃᑐᓕᕆᓂᕐᒥ, ᐅᓯᔭᐅᕙᒃᑐᓕᕆᓂᕐᒥ, ᐊᒻᒪᓗ ᓵᑐᒃᑯᑦ ᐱᔨᑦᓯᕋᕈᑎᒋᕙᒃᑕᑦᑎᓐᓂᒃ ᓲᕐᓗ ᑕᐃᒫᒃ ᐱᓕᕆᐊᒃᓴᖃᖅᑎᐅᕙᒃᑲᑦᑕ ᐱᓕᕆᐊᒃᓴᕆᕙᒃᑕᑦᑎᓐᓂᒃ.

We will also continue to lend our support to initiatives across the North, helping wherever we are needed. While most of this year’s events were unfortunately cancelled or postponed due to COVID‐19 precautions, we are keeping in touch with organizers so we can assist when they are ready to resume. In the meantime, we were happy to serve as named sponsor of the Canadian North Arctic Comedy Festival, held virtually in October in Iqaluit. The proceeds of the event went to Kamatsiaqtut Nunavut Helpline (www.nunavuthelpline.ca).

Laughter is a wonderful way to relieve stress and talk about difficult topics, so we applaud the organizers and performers for finding a way to make this year’s festival possible. You can view a video of this year’s performances at www.arcticcomedyfestival.ca.

I’m pleased to announce that our 2020 Canadian North Toy Drive is now underway. For the past several years, our team members have been proud to donate and deliver gifts to children and youth in some of the communities we serve, in partnership with our friends at Canada Goose. In 2019, we carried over seven skids full of donated presents to families in Pangnirtung, Igloolik, and Kuujjuaq.

This year, we will be sharing this holiday cheer with families in Grise Fiord, Nunavut, and Ulukhaktok, NWT. We’re looking forward to bringing smiles to these two communities and carrying on this tradition for years to come. You can see a video we produced during last year’s toy drive at www.canadiannorth.com/toy­drive.

ᐃᑲᔪᖅᑐᐃᓯᒪᓂᑦᑎᓐᓂᒃ ᑲᔪᓯᑎᑦᑎᓯᒪᓂᐊᕐᒥᔪᒍ ᐱᓕᕆᐊᖑᓕᕈᒪᔪᓄᑦ ᐅᑭᐅᖅᑕᖅᑐᓕᒫᒥ, ᐃᑲᔪᖅᐸᓐᓂᑦᑎᓐᓂᒃ ᐃᑲᔪᖅᑎᖃᕆᐊᖃᖅᑐᓄᑦ. ᐃᓛᓗ ᑖᓐᓇ ᐅᑭᐅᖅ ᐊᑐᖅᑎᓪᓗᒍ ᖃᓄᐃᓕᐅᖅᑎᑦᑎᓂᐅᕙᒃᑐ ᑲᔪᓯᑎᑕᐅᔪᓐᓇᓚᐅᖖᒋᒃᑲᓗᐊᖅᑎᓪᓗᒋᑦ ᐅᕝᕙᓘᓐᓃᑦ ᑭᖑᕙᕆᐊᖅᑎᑕᐅᓚᐅᕋᓗᐊᖅᑎᓪᓗᒋᑦ ᐱᔾᔪᑎᒋᓪᓗᒍ ᓄᕙᒡᔪᐊᕐᓇᖅ-19 ᐅᔾᔨᖅᓱᑦᑎᐊᕆᐊᖃᖅᑎᑕᐅᓂᕐᓄᑦ, ᐋᖅᑭᒃᓱᐃᔨᐅᕙᒃᑐᓂᒃ ᑐᓴᐅᒪᖃᑦᑕᐅᑏᓐᓇᖅᑐᒍ ᐃᑲᔪᖅᑎᐅᔪᓐᓇᕈᒫᕋᑦᑕ ᑲᔪᓯᑎᑦᓯᒋᐊᓕᖅᐸᑕ ᐱᓕᕆᐊᒃᓴᒥᓐᓂᒃ. ᒫᓐᓇᐅᑲᓚᐅᖅᑐᒥᓕ, ᖁᕕᐊᓱᒃᑐᒍ ᐱᔨᑦᓯᕋᖅᑎᐅᓂᑎᓐᓂᒃ ᑕᐃᔭᐅᓯᒪᓚᐅᕋᑦᑕ ᑮᓇᐅᔭᑎᒍᑦ ᐃᑲᔪᕈᑎᒃᓴᖃᖅᑎᑦᓯᓚᐅᕐᓂᕐᓄᑦ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᐅᑭᐅᖅᑕᖅᑐᒥ ᐃᔪᖅᓵᕆᑎᑦᑎᓂᕐᒧᑦ ᖁᕕᐊᓱᒍᑎᖃᖅᑎᓪᓗᒋᑦ, ᖃᕆᑕᐅᔭᑎᒍᑦ ᑕᑯᓐᓇᒐᒃᓴᐅᓪᓗᑎᒃ ᐅᒃᑐᐱᕆᐅᑎᓪᓗᒍ ᐃᖃᓗᓐᓂ. ᑮᓇᐅᔭᓕᐅᕈᑕᐅᓚᐅᖅᑐᑦ ᖃᓄᐃᓕᐅᖅᑎᑦᑎᓂᕐᒧᑦ ᑲᒪᑦᓯᐊᖅᑐᑦ ᓄᓇᕗᑦᒥ ᐅᖄᓚᐅᑎᑎᒍᑦ ᐃᑲᔪᖅᑎᓄᑦ (www.nunavuthelpline.ca). ᑐᓂᔭᐅᓯᒪᓕᓚᐅᖅᑐᑦ. ᐃᒡᓚᕋᔭᖃᑦᑕᕐᓂᖅ ᐊᑐᕐᓂᖃᓪᓚᕆᒻᒪᑦ ᐊᒃᓱᕈᕐᓇᕐᓂᒃᑰᕐᓗᓂ ᖃᓱᒋᐊᕈᑎᐅᕙᓐᓂᒥᒍᑦ ᐊᒻᒪᓗ ᐅᖃᓪᓚᐅᓯᖃᖃᑦᑕᕐᓂᖅ ᐅᖃᐅᓯᕆᒋᐊᒥᒃ ᐊᔪᕐᓇᕈᔪᒃᐸᒃᑐᓂᒃ, ᑕᐃᒪᓕ ᐸᑦᑕᒃᑐᕈᑎᔭᖅᐳᑦ ᖁᕕᐊᓱᒍᑎᒋᓪᓗᒋᑦ ᐋᖅᑭᒃᓱᐃᔨᐅᔪᑦ ᐊᒻᒪᓗ ᐃᔪᖅᓵᕆᔨᐅᓚᐅᖅᑐᑦ ᐱᓕᕆᓂᖃᕈᓐᓇᓕᖅᑎᑦᓯᓚᐅᕐᓂᖏᓐᓄᑦ ᑕᕝᕙᓂ ᐅᑭᐅᒥ ᖁᕕᐊᓱᒍᑎᖃᖅᑎᑦᓯᓪᓗᑎᒃ. ᑕᑯᓐᓈᒐᒃᓴᓕᐊᖑᓯᒪᔪᓂᒃ ᑕᕐᕆᔭᕈᓐᓇᖅᐳᓯ ᑕᕝᕙᓂ ᐅᑭᐅᑦᑎᓐᓂ ᐃᔪᖅᓵᕆᓚᐅᖅᑐᓂᒃ ᐅᕙᓂ www.arcticcomedyfestival.ca. ᖁᕕᐊᓱᒃᐳᖓ ᑐᓴᖅᑎᑦᓯᔨᐅᒋᐊᒥᒃ 2020 ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᑦ ᐱᖖᒍᐊᓂᒃ ᑲᑎᖅᓱᐃᓂᕐᒥᒃ ᐱᓕᕆᖃᓕᖅᓯᒪᒐᑦᑕ. ᐅᑭᐅᑦ ᐊᒥᓱᕐᓚᐅᓕᖅᑐᓂ, ᐱᓕᕆᐊᖃᖅᑎᒋᔭᐅᔪᑦ ᓴᕆᒪᒋᑦᓯᐊᕐᓱᒋᑦ ᑐᓂᕐᕈᑎᖃᖃᑦᑕᖅᓯᒪᕗᑦ ᐊᒻᒪᓗ ᐊᒃᔭᖅᓯᔨᐅᕙᒃᓱᑎᒃ ᑐᓂᕐᕈᑎᒃᓴᓂᒃ ᓱᕈᓯᕐᓄᑦ ᒪᒃᑯᒃᑐᓄᑦᓗ ᐃᓚᖏᓐᓃᑦᑐᓄ ᓄᓇᓕᐅᔪᓄᑦ ᐱᔨᑦᓯᕋᕐᕕᒋᕙᒃᑕᑦᑎᓐᓂ, ᐱᓕᕆᖃᑎᒋᓪᓗᑎᒍ ᐱᖃᑎᐊᓗᒋᔭᕗᑦ ᑲᓇᑕ ᒎᔅ-ᑯᑦ. 2019-ᒥ, ᐅᓯᓚᐅᖅᓯᒪᔪᒍᑦ ᐅᖓᑖᓄᑦ 7 ᑲᑎᑕᐅᓯᒪᔪᖁᑎᓂᒃ ᑐᓂᕐᕈᑎᒃᓴᓂᒃ ᐃᓚᒌᖑᔪᓄᑦ ᐸᖕᓂᖅᑑᓂ, ᐃᒡᓗᓕᖕᒥ, ᐊᒻᒪᓗ ᑰᔾᔪᐊᕐᒥ. ᑕᕝᕙᓂ ᐅᑭᐅᑦᑎᓐᓂ, ᑕᐃᒪᓐᓇ ᖁᕕᐊᓱᓐᓇᐅᓂᖓᓂ ᖁᕕᐊᓱᖃᑎᖃᕐᓂᕐᒥᒃ ᐊᒥᖅᑲᕈᑎᖃᕐᓂᐊᖅᑐᒍᑦ ᐃᓚᒌᖑᔪᓂᒃ ᓄᓇᓕᖏᓐᓂ ᐊᐅᓱᐃᑦᑐ, ᓄᓇᕗᒻᒥ, ᐊᒻᒪᓗ ᐅᓗᖅᕼᐊᑦᑑᖅ, ᓄᓇᑦᓯᐊᕐᒥ. ᓂᕆᐅᖕᓂᖃᖅᐳᒍᑦ ᖁᕕᐊᓱᒃᑎᑦᓯᓗᑕ ᖁᖓᑎᑦᓯᔪᓐᓇᕐᓂᐊᕋᑦᑕ ᑖᒃᑯᓇᓂ ᓄᓇᓕᖃᖅᑐᓂᒃ ᐊᒻᒪᓗ ᑲᔪᓰᓐᓇᖅᑎᑦᑎᓗᑕ ᐱᖅᑯᓯᕆᓯᒪᓕᕐᓂᐊᕐᓗᒋᑦ ᐊᒥᓱᒃᑲᓐᓂᕐᓄᑦ ᐅᑭᐅᓄᑦ. ᑕᑯᓐᓈᒐᒃᓴᓕᐊᖑᓯᒪᔪᓂᒃ ᐋᖅᑭᒃᓱᐊᕆᓯᒪᓕᓚᐅᖅᑕᑦᑎᓐᓂᒃ ᐊᕐᕌᓂ ᐱᖖᒍᐊᓂᒃ ᑲᑎᖅᓱᐃᕙᓪᓕᐊᑎᓪᓗᑕ ᑕᕐᕆᔭᕈᓐᓇᖅᐳᓯ ᐅᕙᓂ

www.canadiannorth.com/toy­drive.

This will be my final message for 2020, so I would like to wish you and everyone you care about a safe and happy holiday season and a healthy and prosperous 2021. It has been our pleasure to serve you this year and we hope we will have the opportunity to see you soon.

ᑖᒃᑯᐊ ᑭᖑᓪᓕᖅᐸᐅᓂᐊᖅᑐᑦ ᐅᖃᐅᓯᒃᓴᕆᓂᐊᖅᑕᒃᑲ 2020 ᐅᑭᐅᖓᓂ, ᑕᐃᒪᓕ ᑕᒪᑦᓯᓐᓂᒃ ᐊᒻᒪᓗ ᑕᒪᐃᓐᓂᒃ ᓇᒡᓕᒋᔭᑦᓯᓐᓂᒃ ᓈᒻᒪᑦᓯᐊᕐᓗᓯ ᐊᒻᒪᓗ ᖁᕕᐊᓱᓐᓇᐅᓂᖓᓂ ᖁᕕᐊᓱᒡᕕᒃᓯᐅᖁᔨᕗᖓ ᐊᒻᒪᓗ ᓂᕆᐅᓐᓂᐊᖅᐳᒍᑦ ᐃᓕᑦᓯᓐᓂᒃ ᑕᑯᔪᒫᕐᒥᒐᑦᑕ ᕿᓚᒻᒥᐅᔪᒥ.

Chris Avery President and CEO Canadian North

ᑯᕆᔅ ᐄᕗᕆ ᐃᒃᓯᕙᐅᑕᖅ ᐊᒻᒪᓗ ᐊᐅᓚᑦᑎᔨᒻᒪᕆᒃ ᑲᓃᑎᐊᓐ ᓄᐊᑦ

ᐃᖅᑲᓇᐃᔭᖅᑎᐅᑉ ᐅᔾᔨᕆᔭᐅᑎᑕᐅᓂᖓ Employee Spotlight | Iqqanaijaqtiup Ujjirijautitauninga

ᑳᑉᑎᓐ ᑭᐊᓪᕕᓐ ᑎᓪᓕ | Captain Calvin Tilley ᖁᕕᐊᓱᒍᑎᑦᑎᐊᖅᐸᕗᑦ ᐃᓅᓪᓗᓂ ᖃᖓᑕᓲᖅᑎ ᑭᐊᓪᕕᓐ ᑎᓪᓕ ᒫᓐᓇᓵᖑᓚᐅᖅᑐᒥ ᓯᕗᒻᒧᒋᐊᖅᑎᑕᐅᓚᐅᕐᓂᖓᓄᑦ ᓯᕗᓪᓕᖅ ᐃᖅᑲᓇᐃᔭᖅᑎᒥᑦ ᑳᑉᑎᓐᒧᑦ. ᑳᑉᑎᓐ ᑎᓪᓕ ᑲᓃᑎᐊᓐ ᓄᐊᔅᑯᓐᓄᑦ ᖃᖓᑕᓲᖅᑎᐅᓯᒪᓕᕐᐳᖅ ᑕᐃᒪᖖᒐᓂᑦ ᐃᖅᑲᓇᐃᔭᖅᑎᑖᖑᓕᓚᐅᕋᒥ ᕘᕐᔅᑦ ᐃᐊᒃᑯᑦ ᖃᖓᑕᓲᖅᑎᓕᕆᔨᖏᓐᓄᑦ ᐅᒡᒍᑎ 2016-ᒥᑦ. ᐃᓅᓕᓚᐅᖅᓯᒪᔪᖅ ᐊᕐᕕᐊᑦ, ᓄᓇᕗᒻᒥ, ᐊᑯᓂᐅᖖᒋᑦᑐᖅ ᑲᖏᖅᖠᓂᕐᒧᑦ ᓄᒃᑎᖅᓯᒪᓕᓚᐅᕐᖢᓂ ᐃᖃᓗᐃᑦ ᓄᓇᓕᖓᓐᓄᑦ ᓅᓯᒪᓕᓚᐅᕐᑐᖅ. “ᐊᒥᓲᓗᐊᖖᒋᑦᑐᓂᐅᒐᓗᐊᖅ ᖁᕕᐊᒋᔭᖃᓲᖑᔪᖓ ᖃᖓᑕᓲᖃᑦᑕᕆᐊᓐᓂᒃ ᐅᑭᐅᖅᑕᖅᑐᒥ,” ᐅᖃᖅᓱᓂ ᑎᓪᓕ. “ᓯᕗᓪᓕᕐᒥᒃ ᖁᕕᐊᒋᕙᒃᑕᕋ, ᐃᒪᓐᓇ ᖁᔭᓕᓂᖃᖅᐸᒃᑲᒪ ᖃᖓᑕᔪᓐᓇᖅᑎᑕᐅᒋᐊᓐᓂᒃ ᐊᕙᑎᒋᔭᑦᑎᓐᓂ ᐊᒻᒪᓗ ᑕᑯᓐᓇᕈᓐᓇᕐᓗᒋᑦ ᖃᖓᑕᓲᖅᑎᑦ ᐃᓂᒋᕙᒃᑕᖓᓐᓂᑦ. ᐃᓛᓗ ᖁᕕᐊᒋᕙᒃᑲᓗᐊᖅᓱᒍ ᑕᑯᓐᓇᕈᓐᓇᖅᐸᒋᐊᖅ ᑭᖖᒑᓗᓐᓂᒃ ᐊᒻᒪᓗ ᐊᖅᓴᕐᓂᕐᓂᒃ ᐊᓪᓚᖅᑑᓪᓗᓂ ᐅᑭᐅᒥ ᐅᓐᓄᒃᑯᑦ, ᖁᕕᐊᒋᓛᕆᕙᒻᒥᔭᕋ ᖃᖓᑕᔪᓐᓇᖅᐸᒋᐊᖅ ᐅᑭᐅᑕᖅᑐᖅᒥ ᐃᖅᑲᓇᐃᔭᕐᓇᖅ ᐃᓱᓕᓯᒪᓕᕌᖓᑦ, ᐊᖏᕐᕋᓐᓃᓕᖅᐸᓐᓂᕋ ᓄᓇᒋᔭᓐᓂ. ᑐᑭᓯᐅᒪᔪᖓ ᑕᐃᒫᒃ ᑕᒪᕐᒥᒃ ᖃᖓᑕᓲᖅᑎᐅᔪᑦ ᐊᑐᕈᓐᓇᖅᐸᖖᒋᒻᒪᑕ ᑕᐃᒪᓐᓇᐃᑦᑐᒥᒃ ᐃᖅᑲᓇᐃᔮᖃᕐᓗᑎᒃ ᑕᐃᒪᓕ ᐃᓂᒋᓕᖅᓯᒪᔭᓐᓂᒃ ᖁᔭᓕᔾᔪᑎᖃᓗᐊᕈᑎᒋᕙᒃᑕᕋ.”

We are pleased to congratulate Inuk pilot Calvin Tilley for his recent promotion from First Officer to Captain. Captain Tilley has been a pilot with Canadian North since he was hired by First Air in August 2016.

Born in Arviat, Nunavut, he lived briefly in Rankin Inlet before settling in Iqaluit.

“There are a few things I enjoy about flying in the North,” says Tilley. “First, is that it’s a privilege to be able to fly in the environment that we do and ᑳᑉᑎᓐ ᑭᐊᓪᕕᓐ ᑎᓪᓕ ᓴᐅᒥᐊᓃᑦᑐᖅ, ᔨᐊᕝ ᕌᔅᑰᐅ ᒥᓯᒋᐊᕐᑐᑉ see the things we’re able to see from ᐃᒃᓯᕙᐅᑕᖓᓃᑦᑐᑦ ᐊᒻᒪᓗ ᒪᐃᒃ ᐃᓄᒃᓱᒃ ᑕᓕᖅᐱᐊᓃᑦᓱᓂ. the cockpit. Although I appreciate see‐ Captain Calvin Tilley on the left, Jeff Rosko in ing the mountains and the Northern the jump seat and Mike Innuksuk on the right.

Lights on a clear winter night, my © Captain Calvin Tilley favourite thing about flying in the North is that when I’m done work, I’m home. I understand that this ᑳᑉᑎᓐ ᑎᓪᓕ ᐃᓕᓐᓂᐊᕌᓂᒍᑎᖃᖅᓯᒪᔪᖅ ᑮᓇᐅᔾ.ᒃᓴᓇᓱᐊᕐᓗᑎᒃ ᖃᖓᑕᓲᖅᑏᑦ ᐃᓕᓐᓂᐊᕈᑎᖓᓂᒃ ᒪᖕᒃᑕᓐ, is not a common occurrence in this industry and that makes me ap‐ ᓂᐅ ᐳᕋᓐᓱᕕᒃᒥ, 13-ᓄᑦ ᑕᖅᑭᓄᑦ, ᐱᓯᒪᓕᕈᓐᓇᓚᐅᖅᓱᓂᒋᑦ ᑕᒪᕐᒥᒃ ᓚᐃᓴᒋᔭᐅᕙᒃᑐᑦ ᐊᒻᒪᓗ preciate my position even more.” ᖁᑦᑎᖕᓂᕆᔭᐅᔪᓂᒃ ᐱᓯᒪᔭᕆᐊᖃᖅᑕᒥᓂᒃ ᐃᖅᑲᓇᐃᔮᖅᑖᕈᓐᓇᖅᑎᑕᐅᓂᐊᕐᓗᓂ. ᐅᖃᐅᔾᔪᐃᓗᓂ ᖃᓄᖅ ᐅᖃᕋᔭᕐᓂᖓ ᑕᐃᒃᑯᓄᖓ ᐃᓱᒪᒋᔭᖃᖅᓯᒪᔪᓄᑦ ᖃᖓᑕᓲᖅᑎᖖᒍᕈᒪᓪᓗᑎᒃ? “ᓯᕗᓪᓕᖅᐹᒥᒃ, ᐊᑯᓂᐊᓗᒃ ᐱᓕᕆᐊᒃᓴᑲᓪᓚᐅᕙᒻᒪᑕ ᐃᓕᓐᓂᐊᕈᑎᒃᓴᐅᓂᐊᖅᑐᑦ ᐊᒻᒪᓗ ᐱᖖᒍᐊᑐᐃᓐᓇᕐᓇᖖᒋᒻᒪᑕ. ᐃᓕᓐᓂᐊᖅᑎᑕᐅᔾᔪᑎᒃᓴᐃᑦ ᐃᓱᓕᓯᒪᓕᖅᐸᖖᒋᒻᒪᑕ ᐃᓕᓐᓂᐊᕐᕕᒻᒥᑦ ᐊᓂᓯᒪᓕᕐᓗᓂ ᐅᕝᕙᓘᓐᓃᑦ ᐱᓕᒻᒪᒃᓴᔭᐅᓂᖅ ᐃᓱᓕᓯᒪᓕᕌᖓᑦ. ᐃᓱᒪᐃᑦ ᒪᑐᐃᖖᒐᑎᑦᓯᐊᕆᐊᖃᕋᓐᓂ ᐊᒻᒪᓗ ᐊᖅᑲᓇᐃᔭᕈᓐᓇᕐᓂᑎᑦ ᐊᓯᔾᔨᕆᐊᕈᓐᓇᖅᑏᓐᓇᕐᓗᒋᑦ ᑕᐃᒪᓐᓇᐃᑦᑐᒥᒃ ᐃᖅᑲᓇᐃᔭᕐᕕᒻᒥ ᐃᖅᑲᓇᐃᔮᖃᕐᓂᐊᕐᓗᑎᑦ. ᐊᖏᖅᓯᒪᔪᓐᓇᕆᐊᖃᖅᐸᒃᑕᒃᑲ ᐊᔾᔨᒌᒍᓐᓃᖅᐸᓐᓂᐊᖅᑐᑦ ᖃᖓᑕᕕᒃᓴᐅᑎᑕᐅᔪᑦ, ᓯᓚᐅᑉ ᐊᓯᔾᔨᖅᓴᕋᐃᑦᑑᓂᖓ, ᖃᐅᔨᒪᓇᕋᑎᒃ ᖃᓄᐃᓕᖓᓕᕐᓂᐅᔪᓐᓇᖅᑐᑦ, ᐊᒻᒪᓗ ᐱᓕᕆᓂᖃᕈᓐᓇᕆᐊᖃᕐᓂᖅ ᐊᔾᔨᒌᖖᒋᐅᖅᑐᓂᒃ ᐃᓕᖅᑯᓯᖃᖅᑐᓂᒃ ᐃᖅᑲᓇᐃᔭᖅᑎᐅᔪᓂᒃ.” ᐃᖅᑲᓇᐃᔭᖃᑎᒋᔭᒥᓂᒃ ᐱᓕᕆᖃᑎᖃᕈᓐᓇᕐᓂᖅ ᐊᑐᕐᓂᖃᓪᓚᕆᒃᑑᑎᑕᖓ ᖃᐅᑕᒫᑦ ᐊᐅᓚᑦᓯᓂᖃᕈᓐᓇᕐᓂᐊᕈᓂ ᖁᕕᐊᒋᓪᓚᕆᒃᓱᒍ ᐃᖅᑲᓇᐃᔮᕆᔭᒥᓂᒃ. “ᐅᓪᓗᑦ ᐊᒥᓱᑲᓪᓚᐃᑦ ᐊᓂᒍᖅᐸᓪᓕᐊᓂᖏᑦ ᓱᒃᑲᓕᓂᖃᕈᑎᒋᕙᒻᒪᒋᑦ ᐱᐅᓪᓚᕆᒃᑐᓂᒃ ᐃᖅᑲᓇᐃᔭᖃᑎᖃᖅᑑᓗᓂ.” “ᐱᓕᕆᐊᒃᓴᖃᖅᑎᐅᑎᓪᓗᑕ ᖃᓄᐃᖖᒋᑦᑎᐊᖅᑎᑦᑎᓗᑕ ᐊᐅᓚᑦᓯᓂᖃᖅᐸᓐᓂᑦᑎᓐᓄᑦ ᖃᖓᑕᓲᓂᒃ ᐊᒻᒪᓗ ᖁᑦᑎᒃᑑᕙᒃᑎᓪᓗᒋᑦ ᐅᖁᒪᐃᑦᑑᔪᓐᓇᕐᓂᖓᑕ ᐱᓕᕆᔨᐅᔪᓄᑦ, ᑕᑯᓐᓇᕈᓐᓇᖅᑕᑦᑎᓐᓂᒃ ᖃᖓᑕᑎᓪᓗᑕ ᖁᕕᐊᒋᔭᖃᕆᐊᖅ ᐃᓱᒪᒋᖃᓯᐅᑎᕙᒋᐊᖃᖅᑕᕗᑦ,” ᐅᖃᖅᓱᓂ ᑎᓪᓕ, ᓇᓗᓇᐃᔭᕋᒥᐅᑦ ᐃᓗᒃᑯᑦ ᖁᕕᐸᓱᓐᓂᖅᑕᖃᓕᖅᐸᓐᓂᒥᓂᒃ “ᐊᒃᓱᕈᕐᓇᖅᑐᖃᖖᒋᑦᑐᒦᒋᐊᖅ ᐊᒻᒪᓗ ᐃᓅᖃᑎᖃᕈᓐᓇᕆᐊᖅ ᐃᓚᒋᔭᒥᓂᒃ ᐱᖃᑎᐊᓗᒋᔭᒥᓂᒃᓗ.” “ᐃᖏᕐᕋᖃᑦᑕᕈᓐᓇᕆᐊᖅ ᓇᒧᑐᐃᓐᓇᖅ ᖁᕕᐊᒋᓪᓚᕆᒃᐸᒃᑕᕋ. ᐅᒡᒍᐊᕐᓇᕋᓗᐊᖅᐳᕐᓗ, ᐃᖏᕐᕋᔪᓐᓇᕆᐊᒥᒃ ᐊᔪᕐᓇᓕᖅᓯᒪᔾᔪᑎᐅᓂᖓᑕ ᓄᕙᒡᔪᐊᕐᓇᖅ-19 ᖃᓂᒪᓇᖃᓕᕈᓐᓇᕐᓂᖅ ᓯᓚᕐᔪᐊᕐᒥᐅᓕᒫᓂᑦ ᐊᑐᓕᖅᑕᐅᓯᒪᑎᓪᓗᒍ. ᐊᐅᔭᐅᑎᓪᓗᒍ, ᖁᕕᐊᒋᕙᒃᑕᒃᑲ ᐃᖃᓪᓕᐊᕆᐊᖅᓯᒪᒋᐊᖅ ᐊᒻᒪᓗ ᐊᖅᓴᖃᑕᐅᕙᒋᐊᒥᒃ. ᐅᑭᐅᖑᑎᓪᓗᒍᓕ ᕼᐋᑭᖃᑕᐅᕙᒃᑐᖓ ᐊᒻᒪᓗ ᑕᐃᒫᓪᓗᐊᖅᑕᐅᖅ ᓯᑭᑑᒃᑯᑦ ᐃᖏᕐᕋᕙᓐᓂᕋ.”

Captain Tilley graduated from the Commercial Pilots Course at Moncton Flight College (MFC) in Moncton, New Brunswick, in 13 months, earning all the licenses and ratings he needed to land his first job.

His advice for those considering becoming pilots? “First of all, it’s a marathon and not a sprint. The learning does not stop after leaving the classroom or at the end of training. You have to have an open mind and be flexible to work in this industry. I have to accommodate odd schedules, unpredictable weather, unforeseen issues, and to navigate working with a range of personalities.”

He credits relationships with coworkers as the biggest factor in main‐ taining his excitement about the job on a daily basis. “A lot of days fly by when you work with good people.”

“With the responsibility we have to operate airplanes safely and the generally high‐pressure nature of the job, don’t forget to enjoy the view,” says Tilley, who describes happiness as “being stress‐free and spending time with my family and friends.”

“I really enjoy travelling. Unfortunately, that’s a bit harder to do now with the COVID‐19 pandemic. During the summer, I enjoy fishing and playing softball. Most of my winter is taken up by hockey and spending as much time on my snowmobile as I can.”

From the Flight Deck Winter flying Winter has once again set in across our flying network. This seasonal change introduces some additional challenges to our flight operations.

We don’t really need to change the way we fly the aircraft due to winter weather, but it does add some other elements that we need to consider when we are planning and oper‐ ating our flights.

Probably the most obvious change with winter flying is the cold. The cold impacts our operations in several ways. Leaving an aircraft parked overnight in the cold will lead to issues starting it up the next morning. As a result, we have modified our aircraft with several heaters. Just like your car, each engine is equipped with heaters that we can plug in overnight. We also have electric heaters around the aircraft batteries. You have also likely seen portable hot air carts connected to the aircraft in the mornings.

These carts provide heated air for the cabin before we start the engines so that the aircraft interior isn’t too cold.

Another interesting effect of the cold is that it impacts some of our flight instruments – specifically our altimeter, which tells us how high we are flying. As we climb, the air pressure decreases, and it increases as we descend (this is why you can feel your ears popping while we climb and descend). This pressure change is also impacted by temperature.

When it’s cold, the pressure changes faster than when it’s warm. Consequently, in the cold weather, the altimeter develops some errors which must be accounted for during the approach and landing phases of flight.

However, these errors are predictable, and before every landing the pilots make the required calculations for the conditions and adjust the minimum altitudes accordingly.

A portable heat cart heats the air in the aircraft cabin before start-up on a cold morning in Iqaluit, Nunavut. © Jason Miller

With winter weather, we also must deal with ice, snow, and frost. All our aircraft are equipped with de‐icing systems that allow us to manage freezing conditions in flight. We also complete de‐icing processes before takeoff if snow, ice, or frost is sticking to the wings. Most of you have likely witnessed such a process. You might have seen us use an orange fluid, which is designed to remove any ice. Perhaps you have seen a green fluid used that prevents new ice from adhering if there are still conditions present that would lead to ice reforming before takeoff.

Colder air makes our engines, propellers, and wings more efficient, and therefore improves the performance of the aircraft. We also see some interesting benefits to our perform‐ ance on gravel runways. In the summer months, the gravel is loose, which hampers the aircraft’s ability to accelerate during take‐ off. The loose gravel also reduces our braking performance when we are slowing down after landing. In the winter months, the gravel freezes together and, as a result, our acceleration during takeoff isn’t impacted and our braking performance is also improved.

We also need to think about the runway conditions and ensure they are suitable for takeoff and landing and that they aren’t cov‐ ered in too much snow or ice, or snowdrifts.

All airports have a runway clearing program in place and runway surface condition reports are issued routinely. Our flight dispatchers take these reports into account during the flight planning stage and our pilots monitor them in flight.

Winter flying ends up being a trade‐off — our pilots, ground staff and the airport work‐ ers need to work that much harder, however, once we have put in all of that effort we benefit from the better performance and efficiency that the cold air brings.

As you can see, winter weather brings several challenges to our flying operations, however there are some benefits to winter flying.

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

NOVDEC 2020 | 06 YOURS TO KEEP

Inuit Origins: Thule‐to‐Inuit transi琀on

Arc琀c Try‐pots and Blubber Tanks

November | December 2020 Volume 32, No. 6

Qaumajuq: Connec琀ng North and South

Inuksuit “We were here”

9 PM40050872

o www.arcticjournal.ca

24 28

An inuksuk in the Qikiqtaaluk region. © Nick Newbery/Government of Nunavut

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.

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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

20 Features

09

Inuit had limited communication systems before the arrival of southern technology but Inuksuit did at times serve that purpose.

— Text and photos by Nick Newbery

20

Inuit Origins: Thule to Inuit transition

Understanding the emergence of modern Inuit cultural identity requires exploring how certain culturally defining traditions and practices established during the Thule phase of Inuit society were affected by external forces over the last 500 years. — Scott J. Rufolo & Sean P. A. Desjardins

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

Inuksuit “We were here”

Arctic Try-pots and Blubber Tanks

When the Scottish and American whalers left the Canadian Arctic in the late 1800s, they left behind some intriguing relics or artifacts that help us understand their rugged industry. — David R. Gray

28

Qaumajuq: Connecting North and South

Qaumajuq is for all people. It will be a dynamic space for experiencing art and a hub of education, research, programming, and performance — Stephen D. Borys

N O V E M B E R D E C E M B E R 2 0 2 0 | 0 6 A B O V E & B E Y O N D — C A N A D A’ S A R C T I C J O U R N A L

12 Living Above&Beyond 19 Resources 32 Health Project Jewel — Elizabeth Kolb

36 Youth NYL Science Expedition — Ella Kokelj

39 Arts Iqaluit Music Society celebrates 25 years — Darlene Nuqingaq

42 Recipe 43 Bookshelf 44 Arctic Trivia Quiz — Alan G. Luke

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

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INUKSUIT

“We were here” Inuit communication system and markers Text and photos by Nick Newbery Inuit had limited communication systems before the arrival of southern technology but inuksuit, stone cairns placed on high or prominent land sites, did at times serve that purpose, relaying important information such as a route to follow, where a food cache might be or the location of a campsite.

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nuksuit can vary in size, with the largest being built of massive boulders, causing one to wonder how humans could construct such immense and heavy structures. Some inuksuit also have spiritual connotations, as reflected in the large group at Inuksuk Point near Cape Dorset on southwest Baffin Island.

Nowadays, inuksuit are often erected in front of important buildings, at significant locations or at major events. Some are simply constructed by individuals who want to mark a place of good memories.

Modern inuksuit are often constructed with heads, arms, and legs, made to look like human beings. But the elders remind people that when Inuit lived on the land, inuksuit were often used as eye-catching markers and didn’t necessarily have to resemble a human being. Their unnatural shape immediately told a passerby that it was man-made and therefore carried information. The well-known CBC Heritage Minutes clip about an inuksuk aptly confirmed the native presence in the Canadian North so many years ago when one of the Inuit in the film put claim to the land by saying “Now the people will know we were here!”

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Nick Newbery taught in several communities in Nunavut from 1976-2005.

The photos in this article are from Nick’s Arctic photo collection which can be found at www.newberyphotoarchives.ca and should be viewed from a historical perspective.

Nick passed away February 2020. This is the last installment of articles provided to above&beyond Magazine from Nick. We thank Nick and his family for his many years of contributions to Canada’s Arctic Journal.

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All Inuksuit photos are from the Qikiqtaaluk region.

All photos © Nick Newbery/Government of Nunavut

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LIVING ABOVE&BEYOND Jean Paul Riopelle (1923-2002), L’esprit de la ficelle (triptych) 1971 Acrylic on lithograph mounted on canvas, 160 x 360 cm, Private collection © Estate of Jean Paul Riopelle / SOCAN (2020).

Photo Archives Catalogue raisonné Jean Paul Riopelle

Northern and Inuit influences showcased in new exhibit On November 21, 2020, the Montreal Museum of Fine Arts launches a major exhibition dedicated to Jean Paul Riopelle. Based on original research, the exhibition explores, the artist’s interest in the North and Indigenous cultures, with nearly 175 works and more than 200 artefacts and archival documents.

Besides his contacts with Indigenous guides during caribou hunting and fishing trips for Arctic char, it was primarily books and exhibitions, including Inuit and First Nations art, that

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awakened his interest in Indigenous communi‐ ties, topographies and cultures.

Riopelle’s work in the 1970s was influenced by expeditions to Nunavik in 1972 and Nunavut in 1969, 1971, and 1977, as well as by Inuit art, as demonstrated in his Hiboux and Jeux de ficelles series, inspired by Inuit string games (ajaraaq). Northern themes, including cold, snow, ice and white, dominated Riopelle’s out‐ put in the 1970s, culminating in such works as: Icebergs and the Rois de Thulé series, based

on the legend of those who inhabit the most northerly reaches of present‐day Inuit territories.

In addition, the exhibition includes works by contemporary Inuit artists, such as Luke Akuptangoak, Noah Arpatuq Echalook, Mattiusi Iyaituk, and Pudlo Pudlat, as well as others.

Sponsored by Hydro‐Québec, Riopelle: The Call of Northern Landscapes and Indigenous Cultures will be on display until March 21, 2021.

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Bringing ice age animals to life Planet Ice: Mysteries of the Ice Ages opened its world‐premiere special exhibition October 2, 2020 at the Canadian Museum of Nature (CMN).

It will run until January 3, 2021.

The Planet Ice exhibit features five themed zones that delve into history to show how cold and ice have shaped humans and the world around them. It includes material about climate change and the Arctic, as well as the first‐time exhibition of Thule‐Dorset tools and artifacts excavated from the Igloolik, Nunavut, area.

It covers 80,000 years of the Earth’s history, showing animals adapted for cold — some long extinct (mammoth, giant beaver), others still alive today (caribou, musk oxen). Discover the lands lost long ago under the

world’s oceans. All presented through 120 specimens, artifacts and models, complemented by interactives and multimedia.

Thanks to an exciting collaboration with Montreal’s Moment Factory, visitors can bring extinct animals, such as the woolly mammoth and American lion to life. Incorporating touchless multimedia technology, both installations immerse visitors in digital winter environments, while intuitive body movements control the visuals and soundscapes.

Planet Ice partners include Polar Knowledge Canada, Hatch and Enbridge.

Tickets are available online at: https://nature.ca/tickets . https://www.youtube.com/watch?v=rp3Q1J8ig­I&feature=youtu.be

Artifacts from archaeological sites in the Foxe Basin on display in the Canadian Museum of Nature’s Planet Ice: Mysteries of the Ice Ages exhibit, in Ottawa. The exhibit will travel to other venues in Canada and the United States in the new year. © M. Lipman, Canadian Museum of Nature

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Northern stories by Northern artists in a Northern city "Weightless" — Isaac Strickland, taken during an afternoon dedicated to photoshoots in Iqaluit, Nunavut. This pose was inspired by Peter McKinnon, a well-known Canadian photographer and Youtuber. © Mac Pavia

The Far North Photo Festival (FNPF) is a space to elevate the work of visual storytellers in Northern Canada and across the circumpolar regions. The idea for the festival began in 2018 after discussions about how Northerners could reclaim their stories, share them with the world, and demonstrate that photography can be more than just pictures; it is a medium that can empower individuals, inform viewers, and shape culture.

Festival co‐founder and long‐time northern photojournalist, Pat Kane, shares, “as photo‐ graphers working here, but not all originally from the here, it was important that we find a way to encourage storytellers from the North to share their work, seek guidance, and amplify their own stories.”

The festival’s inaugural year in 2019 saw huge success. The pop‐up exhibition in an empty store space in Yellowknife’s downtown mall attracted over 800 people over the course of five days.

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Due to the restrictions on public gatherings from COVID‐19, festival organizers took the exhibit outside this year. Online webinars and outdoor, small‐group workshops were held.

Over 60 photographers from 10 circumpolar

countries displayed photos and stories about life and culture in their communities in Yellowknife’s Somba K’e Park over the course of 10 days. The space was donated by the City of Yellowknife, who has sponsored the last two years of the

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festival with the NWT Arts Council. The outdoor exhibit allowed over 20 school and community groups to bring classes and still meet social distancing requirements.

The exhibit, Of the North, featured one artist from each of the circumpolar countries, including one from each of Canada’s three northern territories. This year, Isaac Strickland, Weronika Murray, and Evan Rensch were chosen to represent Nunavut, the Northwest Territories, and the Yukon, respectively.

The exhibit also featured work submitted in an open call, ranging from professionals to those at the beginning of their photographic practice. Photographers were asked to submit work that reflected their concept of home. The result was a collective snapshot of life in the North, with submissions from across Canada’s northern territories.

To find out more about upcoming festivals or see more work from the artists featured this year, check out www.farnorthphotofest.com, or follow @farnorthphotofest on Instagram and Far North Photo Festival on Facebook.

Words and photos submitted by the Far North Photo Festival.

Aerial view of shore erosion at Peninsula Point, a research site nearby Tuktoyaktuk, NWT. The ground in the area consists of about 90 per cent ice. © Weronika Murray/Pingo Canadian Landmark

“Jimmy Johnny, Mayo” — Certain photos depict individuals who have past history living and working in the Keno silver mines. I photographed Jimmy in Mayo near the Stewart River where silver ore from Keno used to be shipped out of the area. He is a member of the Na-cho Nyak Dun First Nation, which is based in Mayo. © Evan Rensch NOVEMBERDECEMBER 2020 | 06

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Raising funds for mental health in the Arctic L to R: Comics Nicole Etitiq, Bibi Bilodeau, Gabrielle Morrill, Jade Halcyon, Skye Plowman and Emily Blake perform at the Canadian North Arctic Comedy Festival October 9-10 at the Frobisher Inn in Iqaluit, Nunavut. © Northwestel/Northern Story

People say that laughter is good for the soul, and for the third straight year, the Canadian North Arctic Comedy Festival brought some of that magic to Iqaluit, Nunavut.

Ten Northern comedians from Yellowknife and Iqaluit performed October 9‐10 for four shows at the Frobisher Inn, with special video appearances from top comics across Canada who were unable to travel due to COVID‐19 restrictions.

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“We are living through some pretty grim times,” says Jade Halcyon, Yellowknife comic and emcee for two of the four live shows.

“Comedy is the reprieve from the storm.

Laughter is the life raft, the hope for humanity.

Then again, I’m probably the kind of person who would laugh on a sinking ship.”

As a long‐time supporter of mental health, the Canadian North Arctic Comedy Festival partnered with the Nunavut Kamatsiatqut Help

Line to raise funds for essential mental health services in the North. Funds were raised through the live shows, as well as donations through various virtual events presented during Mental Illness Awareness Week (October 4‐10), such as live Zoom events and online video presentations, featuring video submissions from comics from across Canada.

Yellowknife performers Jade Halcyon, Skye Plowman and Emily Blake joined Iqaluit comics Bibi Bilodeau, Mary‐Lee Aliyak, Peter Autut, Azreer Gill (by tape from Cambridge Bay) and Nicole Etitiq for the four shows at the Frobisher Inn. Leading comedic talent from across Canada, including Mary Walsh, James Mullinger and Big Daddy Tazz, contributed taped sets for the festival’s virtual presentations.

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Nunavik artist designs new coin The Royal Canadian Mint has issued a new “entirely Arctic” $10 collector coin made with Nunavut‐sourced gold.

Designed by Nunavik artist Ulaayu Pilurtuut, the coin features an Inuk with a traditional qulliq, an Inuit oil lamp that provides light and warmth, as well as an inuksuit, symbolizing community and guidance.

Four thousand of the coins, which each retail for $249.95, were minted.

The new “entirely Arctic” $10 collector coin is made with Nunavut-sourced gold and designed by a Nunavik artist.

Image courtesy of the Royal Canadian Mint

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ᔫᓯᐱ ᐃᓪᓚᐅᑦ (ᑕᓕᖅᐱᒃ) ᕿᖑᒻᒥᒐᖅᑐᖅ ᓄᑕᐊᙱᒃᑐᒃᓴᔭᒧᑦ ᕿᖑᑎ ᓴᕕᕋᔭᒃᓴᒧᑦ ᓴᓇᓯᒪᔪᖅ ᓛᓴᓘᓯ ᑲᓪᓗᒃ ᓄᑕᐅᓂᖅᓴᒧᑦ ᕿᖑᒻᒥᒐᖅᖢᓂ. ᑕᓯᐅᔭᖅ, ᐊᐅᓚᑦᑎᕕᐅᑉ ᐅᐊᖕᓈᓂ ᐅᑭᐅᖅ 1954. N-1979-051-0703: ᓄᓇᕗᒻᒥ ᑎᑎᖅᑲᖁᑎᑐᖃᓕᕆᓂᖅ, ᐃᓕᖅᑯᓯᓕᕆᔨᒃᑯᑦ, ᓄᓇᕗᑦ ᒐᕙᒪᖓ Josepi Idlout (right) peers out of his old-fashioned brass telescope while Lazarus Kalluk looks out of a newer Bausch and Lomb model. Eclipse Sound, north coast of Curry Island. Winter 1954. N-1979-051-0703: Nunavut Archives Program, Department of Culture and Heritage, Government of Nunavut Josepi Idlout (taliqpiani) qiniqtuq utuqqan’naguyumik atuqhuni qin’nguunmik Lazarus Kalluk qiniqtilluni nutaatqiamik qin’ngunmik atia Bausch Lomb piutaaniq. Eclipse Sound, tunungani hinaani Curry Island. Ukiumi 1954. N-1979-051-0703: Nunavut In’ngilraangnitanik Pivinga, Pitquhiliqiyitkut – Nunavut Kavamanga Josepi Idlout (droite) regarde à travers son vieux téléscope en cuivre tandis que Lazarus Kalluk utilise un modèle plus récent de Bausch + Lomb. Détroit d’Éclipse, côte septentrionale de Curry Island. Hiver 1954.

N-1979-051-0703 : Archives Nunavut. ministère de la Culture et du Patrimoine, gouvernement du Nunavut

NUArchives@gov.nu.ca

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Arctic Bay. © Nick Newbery

Partnerships help clothe northern residents Braving the Arctic winter weather will be that much warmer for students at Inuujaq School in Arctic Bay, Nunavut, after receiving a donation of more than 300 Canada Goose parkas and footwear from Canada Goose, in partnership with Hollywood actor and film producer Ryan Reynolds and Baffin footwear.

Canada Goose is expanding its Resource Centre Program, which provides fabric to northern communities for making parkas, in partnership with Inuit Tapiriit Kanatami. The program has already donated over one million metres of material over the last decade. The expansion will include donations of thousands of repurposed parkas, many from Canada Goose’s warranty program. The refurbished parkas will be delivered to communities in all four regions of Inuit Nunangat, starting November 2020.

Canada Goose has also introduced its new HUMANATURE purpose platform that unites its sustainability and values‐based initiatives. In January 2021, Canada Goose will debut its most sustainable parka to date, the Standard Expedition Parka. The Standard, inspired by the iconic Expedition Parka, will help set the standard for the future of outerwear at Canada Goose. The Standard is made from recycled and undyed fabrics, lining and interlining, 100 per cent responsibly sourced down and reclaimed fur. The Standard Expedition Parka exemplifies the brand’s strategy and commitment to sustainability; the design generates 30 per cent less carbon, based on footprint, compared to the in‐line Expedition Parka.

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RESOURCES

NUNAVIK Commerce Resources Corp. has announced the start of a test project initiative with MineSense, a digital mining solutions provider based in Vancouver, British Columbia. MineSense specializes in digital technology solutions for ore‐ waste classification in real‐time at the mining stage.

Data analytics monitor mineralogical or grade changes in an ore body daily, allowing for optimal ore blending, grade trend characterization, and overall improved mine planning with resultant cost efficiencies.

A supply of Rare Earth Elements mineralized material from the Ashram Deposit in Nunavik is being used for the project.

Milne Inlet, up to 176 ship transits per year and annual production of up to 12 million tonnes of ore.

Many community leaders in North Baffin, especially in Pond Inlet, along with the World Wildlife Fund Canada and Oceans North, still aren’t satisfied with Baffinland’s proposals. The Mittimatalik Hunters and Trappers Organization in Pond Inlet does not support the expansion project.

The in‐person public meeting will be in Pond Inlet and will include a video link.

After the public hearing, the NIRB will prepare a report for the federal minister of northern af‐ fairs that will recommend if the project should go ahead, with a list of proposed terms and conditions for inclusion in a project certificate.

NUNAVUT

NWT

Test program to aid REE program

Potential for new gold and diamond found in samples

Mineral strategy management support

A University of Alberta research team has recovered three alluvial, kimberlitic diamonds from two small, separate samples of the Tree River Conglomerate (TRC) in the Kitikmeot Region of Nunavut. The recovered diamonds were from a sampling in the general area where samples were taken during regional mapping of the Anialik Lake Greenstone Belt in 1997.

The samples were collected from the basal unit of the TRC which contains abundant pyrite and anomalous to high‐grade gold. The samples were collected on IOL parcel CO‐69 about 300 metres from the boundary with the Tree River Property. Conclusive zircon age dating places the Tree River Conglomerate in the “Great Gold Deposition Event”.

Considering these results, Silver Range is designing a program to test the gold and diamond potential of the Tree River Conglomerate. As a precursor, the Company has submitted an Expression of Interest to Nunavut Tunngavik Inc. to obtain the mineral rights to explore IOL Parcel CO‐69.

Baffinland hearing to resume in new year The Nunavut Impact Review Board (NIRB) will reconvene an in‐person public hearing on Baffinland Iron Mines Corp.’s railway‐based expansion of the Mary River, starting the week of January 25 through to February 6.

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Aurora Research Institute, the research division of Aurora College, has released a Western Arctic Minerals Geographic Information System (MGIS) to support Northern stakeholders in making informed decisions about mineral strategy management and land use planning.

The MGIS integrates geospatial data with the most up‐to‐date information on existing oil, gas and mineral rights, important wildlife areas and ranges to visualize, store, analyze and provide information critical to support the development of mineral strategies.

This data will complement academic programs and strengthen the GIS research program and the capacity to train and prepare northerners for careers in the earth resource and environmental management sectors.

The project was made possible with support from the Northwest Territories Geological Survey, GNWT Department of Industry, Tourism and Investment, Petroleum Resources Division, the NWT Center for Geomatics and financial support from Natural Resources Canada, Geo‐mapping for Energy and Minerals (GEM II) Program.

YUKON Mill improvements and surface explorations nearing completion Progress on site‐wide capital projects including mill modifications and infrastructure improve‐ ments for Alexco Resource Corp. continue to be

on pace for completion with mill commissioning and production of silver concentrate in Q4 2020.

In the mill, installation of the new tailings filter press and second ball mill are 95 per cent and 75 per cent complete, respectively. Improve‐ ment projects underway include the construction of a crusher enclosure and ventilation system and modification of the fine ore feeder system.

Surface construction activities nearing final completion include the expansion of the camp accommodation complex including two new bunkhouse units, an upgraded administration complex, and employee dry and wash facilities.

Rehabilitation and capital development continue on schedule at each of the three underground mines slated for initial ore pro‐ duction, with emphasis on the Bellekeno Mine where initial ore will be used for commissioning of the mill in Q4. All major pieces of new underground mine equipment have been delivered to site and are currently operating or are being commissioned.

At the Bermingham mine, construction of the water treatment plant is underway, which is required prior to resuming ramp development.

The 2020 surface exploration program has been extended to include a total of approxi‐ mately 7,500 metres of core drilling in at least 12 holes, exclusively testing for deeper miner‐ alization in the Bermingham mine area. Drilling will continue until late November.

Targets offer potential for new gold discoveries White Gold Corp. has announced results of its recently completed diamond drilling program on the Ryan’s Surprise target which encoun‐ tered multiple high‐grade mineralized zones expanding gold mineralization in all directions.

The diamond drilling program comprised 6 drill holes totalling 1,632.5 m, with all holes encountering multiple gold intercepts, several of which are amongst the highest‐grade inter‐ cepts encountered to date on the White Gold property. It is considered a strong target for additional drilling.

The Ryan’s Surprise is situated on a large 11 km by 5 km mineralized trend which hosts several additional prospective targets. It is located approximately 2 km west of the Company’s flagship Golden Saddle deposit and 11 km south of the Company’s VG deposit.

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Inuit Origins: Thule to Inuit transition Exploring the Inuit past in the Foxe Basin

By Scott J. Rufolo and Sean P. A. Desjardins

NASA Satellite image of the northern Foxe Basin with Igloolik and the location of the Uglit archaeological site marked by circles. © S. Rufolo, Canadian Museum of Nature

rom the biased perspectives of many people living in warm climes, much of the Arctic environment may appear — at a distance — extreme and even resourcescarce. Those Southerners fortunate enough to experience the North firsthand, however, understand that the land-, sea- and icescapes of Canada’s Arctic are not only breathtakingly beautiful, but ecologically rich and dynamic. Visitors are also often deeply affected by the gracious and welcoming people of Inuit Nunangat who maintain a wealth of traditions rooted in the productive Arctic environment. As archaeologists who hail from points south of the Arctic Circle, it is these powerful and lasting cultural traditions that generally fascinate us most. Many archaeologists are introduced to Inuit culture through artifacts made of bone, antler or ivory seen in museum exhibits and university classrooms; a single summer spent in the Arctic working closely with Inuit is often enough to instill the desire to return year after year.

For one of us (Sean, a postdoctoral researcher with the Arctic Centre of the University of Groningen in the Netherlands), that desire led to a university-based career as a specialist in Arctic archaeology; for the other (Scott), it led to a museum position as the collections manager for part of the archaeological holdings of the Government of Nunavut, currently stored at the Canadian Museum of Nature in Ottawa. Together, we are involved in an ongoing project that explores the development of contemporary

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Left: Aerial view of the foundations of four sod houses surrounding the now-flooded remains of a qaggiq, a ceremonial structure used for men’s gatherings. © R. Palermo, University of Groningen NOVEMBERDECEMBER 2020 | 06

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Two views of a beautiful polar bear figurine carved from walrus ivory found at Uglit. © S. Rufolo, Canadian Museum of Nature

Inuit identity and traditions by examining the archaeological and historical evidence recording the transition from Thule Inuit to modern Inuit cultural practices (from around AD 1300 to present).

Launched in 2019 under Sean’s direction and with funding from the Dutch Research Council, the project — Limited Choices, Lasting Traditions: How Colonialism and Climate Change Have Affected Traditional Inuit Life — integrates archaeological investigation of ancient hunting camps; a planned series of community exhibits, workshops, and educational kits that will highlight results to audiences in Nunavut; as well as ethically-collected Inuit Qaujimajatuqangit (IQ) (Inuktitut for “things long known to Inuit”, or Inuit traditional knowledge) about recent-historic household life and hunting practices in the northern Foxe Basin region of Nunavut, near Igloolik. Ethical considerations of this work are of paramount importance. We understand the contentious history of archaeological research

in Inuit Nunangat, and we are committed to improving the relationship between researchers and Inuit rights-holders of their cultural heritage. Most importantly, we understand the nature and implications of our positions as settlers, and the importance of building meaningful research partnerships through co-creation of research projects in the North as the work moves forward.

Archaeology in the Arctic — and in Foxe Basin, in particular — holds tremendous potential for two reasons. First, the cold, dry climate preserves artifacts and other evidence of human activity very well. Second, modern Inuit continue to practice many of the same hunting traditions as their descendants in years past; there is also a rich body of IQ about these practices extending back into the deep past. Such a combination of conditions exists in few other parts of the world. Surveying the archaeological record for evidence of such cultural practices over time, as well as interviewing elders for their perspectives on hunting and house construction, greatly expands our understanding of past cultural development. Inuit of Igloolik (Iglulingmiut) are only about 60 years removed from a seasonally mobile lifestyle, and many elders are able to share the ways in which traditional houses were once built and how animals were hunted prior to settlement in Nunavut’s modern communities.

Additionally, the highly-productive ecology of certain areas in the Arctic, characterized by a concentration of resources long valuable to human subsistence, further enhances the extent of our reach into the past. With annual patterns of sea ice development that support large numbers of various marine mammals, particularly walruses, the coastlines of Foxe Basin have been attractive places to settle seasonally and hunt productively for people for thousands of years. The Limited Choices, Lasting Traditions project focuses on the last 800 years or so of that record. At the beginning of this period, people of the Thule culture moved into the Foxe Basin from the west, occupying territory previously populated by other groups (the Tuniit of Inuit oral history). As the direct ancestors of today’s Inuit populations, the Thule Inuit represent one point on a cultural continuum that leads from Thule through historic pre-contact Inuit society into modern Inuit culture. This transition entailed significant shifts in many cultural practices following interaction with Europeans, which in the Foxe Basin

The remains of a sod house at Uglit with well-preserved foundations and entrance. © S. Rufolo, Canadian Museum of Nature

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Interviewing elders at Avvajja, another site included in the Limited Choices, Lasting Traditions project that is located just west of Igloolik. Many of the elders remember living at this site as young children before their families settled in Igloolik. © S. Rufolo, Canadian Museum of Nature

occurred relatively late. The first non-Inuit arrived in the region in 1822, with sustained contact involving the Canadian government, the Hudson’s Bay Company, and Christian missionaries only beginning in the early 20th century.

During the summer of 2019, fieldwork was conducted at the ancient campsite Uglit, around 47 kilometres south of Igloolik. The site is a complex of semisubterranean whale-bone houses (“sod houses”), tent rings and caches that may have been constructed from the later Thule Inuit period into the 19th century. House remains were documented and mapped, and several middens (piles of animal bones representing kitchen waste) were investigated further. (No sod houses were disturbed during our work.) The resulting data will help us address two important aspects of traditional life in the Foxe Basin: annual residential patterns, and the nature of the local diet from ancient times to present.

Understanding the emergence of modern Inuit cultural identity requires exploring how certain culturally defining traditions and practices established during the Thule phase of Inuit society were affected by external forces over the last 500 years, particularly shifts in climate and interaction with Europeans and Euro-Canadian institutions, such as the RCMP, the Hudson’s Bay Company and the Roman Catholic and Anglican Churches.

In the Foxe Basin, traditional sod house architecture was abandoned as a more sedentary lifestyle was imposed upon communities. Despite this decrease in residential mobility and disruption of long-standing annual patterns of movements across the landscape, as well as a changing climate that reduced the availability of many important animal species, hunting practices and dietary patterns remained largely unchanged until very recent times. Even so, hunting remains an important and significant component of modern Iglulingmiut culture.

With fieldwork currently suspended due to the Covid-19 pandemic, it will be another three to four years before the Limited Choices, Lasting Traditions project is complete. The results will not only add additional detail to the archaeological culture history of the Arctic, but also hopefully deepen appreciation in the South of the dynamic and resilient social evolution underlying contemporary Inuit culture. We are using the time made available through the interruption caused by the pandemic to move ahead with plans to present our research to the public in collaboration with our Inuit partners. Artifacts from Uglit are now on display at the Canadian Museum of Nature, and a permanent exhibit in Igloolik is in development. These will be followed by educational kits designed for use in schools, libraries, and cultural centres in Nunavut. We hope these efforts will instill in others a fascination for the cultures of the North that inspired us years ago.

Mapping archaeological features at Uglit. © S. Rufolo, Canadian Museum of Nature

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Try-pots and Blubber Tanks Relics of Arctic Whaling Days

By David R. Gray When the Scottish and American whalers left the Canadian Arctic in the late 1800s, they left behind some intriguing relics or artifacts that help us understand their rugged industry. The largest of the whaling relics are iron try‐pots and iron blubber or oil tanks. They can be found across the Arctic, having survived well over 100 years. There are several former whaling sites on Baffin Island which are regularly visited by tour ships and local excursions. ritish and other whalers made whaling voyages to the Greenland side of Davis Strait for many years before penetrating the northern part of Baffin Bay and crossing to the Canadian side. The first whaling voyage into Lancaster Sound was in 1820. This area soon became one of the most famous of the northern whaling grounds. At the mouth of both Lancaster Sound and Pond Inlet, at the “floe edge” where the winter ice meets the open sea, bowhead whales congregated to feed.

And there the whalers gathered to hunt them for the valuable baleen (or “whale bone”) and blubber which was rendered into quality oil for lamps and lubrication.

The whalers hunted their prey in several nine-metre whaleboats, equipped with oars and a harpoon gun mounted on the bows. Killing a whale was a dangerous and difficult task, and when successful, they often had to tow the whale a considerable distant back to their ship.

When the dead whale was brought alongside the ship, it was attached at both head and tail and the processing began. A long piece of blubber about one metre wide, called the “cant piece,” was first stripped off, starting at the whale’s neck, and pulled up to the ship. As the long narrow piece was stripped off, the whale carcass rotated.

Once the cant piece was hauled on board, the “harpooneers” cut off 40 cm square chunks of the skin with blubber knives, and passed them on to the “boat steerers,” who, armed with choppers, stood behind a sixmetre trough and cut the blubber into smaller chunks.

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What happened next depended on where the whaling ship was from.

Most of the Arctic whalers were from either Scotland or the United States, and the techniques they used to process whale blubber were quite different.

The American whalers processed the blubber in the Arctic either onboard their ships or on land. They rendered, or “tried” the chunks of blubber into oil using the try-works, a brick structure containing large cast iron pots, known as try-pots. The pots were heated using coal and pieces of blubber. The liquid oil was then poured into wooden barrels for shipping back to their home port.

The Scottish whalers originally packed the smaller chunks of blubber into wooden barrels (later into iron tanks), and only rendered them into oil once they reached their home port.

Both American and Scottish whalers set up whaling stations in Cumberland Sound, on southern Baffin Island. At Kekerten Territorial Park, a National Historic Site near Pangnirtung, the remains of both processing techniques can be seen. Three large tanks at Kekerten are from the whaler Ernest Williams, one of the last of many whalers wrecked in the Arctic.

Cornilius Nutarak, an Inuk Elder from Mittimatalik (Pond Inlet) shared his memories of whale oil processing in an interview in 1994. "During the same years [about 1902-1904] these containers were still being used to make oil at Sannirut... I remember seeing them, when they were still at Sannirut...” (Sannirut, on Bylot Island, is also known as Button Point.)

Hoisting of the cant-piece.

Stereoview, author’s collection

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Try-pots at Kekerten Territorial Park. © David R. Gray

An old whale boat in Mittimatalik (Pond Inlet) near the visitor center. © David R. Gray

“When I was a child I saw where they used to boil fat, there was a furnace and a large container… As a child I was almost unable to get to the top. So there used to be those things used by the whalers to boil fat with, and they also had containers to catch the liquid after with a big pipe, which seems to be covered with metal. These containers were taken aboard the ship to be taken away.” Nutarak later saw the same kind of containers in Pangnirtung: “I wanted to see how big they really were. I stood beside it to measure it and it came up to here [his chest].”

On a trip to the Arctic in 1928 on the Beothic, as part of the annual Eastern Arctic Patrol, national museum biologist Dr. R.M. Anderson visited Button Point. His notes mention the remnants of the old whaling station: “One frame shack on shore, and ruins of another, an old try-pot and several casks from the old whaling station.”

During a Students on Ice expedition to the floe edge at Pond Inlet in June 2004 we stopped at Qaiqsut, a traditional Inuit hunting and living place, just west of Sannirut / Button Point. Near the beach was an old iron tank, and on the beach, a damaged trypot, upside down and partially buried in the gravel pushed up by sea ice. Two years later this try-pot was almost completely buried in beach rock and gravel. The staff of Sirmilik National Park subsequently rescued the try-pot and it now sits well above the beach beside the iron tank.

The use of iron storage tanks on the new Scottish whalers, beginning in about 1857, was an important development for whaling, and of particular interest to the historic whaling sites on Baffin Island. No longer was the blubber shipped home in wooden barrels, but in screw-top iron tanks, most about one metre square.

Whaleboats, showing the harpoon guns in the bows. Stereoview, author’s collection.

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Whalers “cutting in,” stripping blubber from the whale. Stereoview, author’s collection Model of the Scottish whaler Eclipse showing blubber tanks stored below decks. © David R. Gray

By 1883 all the steam whalers of the American fleet were also provided with iron tanks, which fitted inside the shape of the ship. In their system the hot oil from the try-pots was poured into open settling tanks or directly into the ship tanks after the “trying out” or rendering.

On the Scottish whalers, as the boat steerers received large chunks of blubber, they cut them into small pieces on a cutting block, which was sometimes a piece of the whale’s tail. The choppers had to be careful not to leave any meat, known as “krang,” attached to the blubber to avoid spoilage. The pieces then fell into the trough, which had a hole in the middle connected to a large shoot or pipe. The “skeaman,” the officer of the hold, directed the shoot, made of canvas or gutta-percha, into the blubber tanks below decks. The tanks in the middle of the deck were square or rectangular, but those placed against the hull were curved to fit, making full use of the available space.

One of the most successful of the Scottish whaling steamships was the Eclipse, owned by the famous Scottish whaler, Captain David Gray. Built in 1867, Eclipse carried 55 hands, eight 9-meter whaleboats, and about 37 blubber tanks, with a capacity for over 200 tons of oil. Under several different captains and owners, the Eclipse hunted bowhead whales from 1867 to 1908. Under Captain John Gray, Eclipse was the first whaler to navigate through Eclipse Sound, near Pond Inlet, named after the first ship of the same name.

As the whalers’ success at hunting bowheads dwindled due to over-hunting, the local Inuit whalers switched to hunting beluga whales and a new industry started based on beluga oil, and tanned skins for shoemaking. At the historic Pangnirtung Blubber Factory, in operation between the late 1920s to the mid-1960s, large settling tanks and iron tanks from an earlier era sit next to rows of the modern steel barrels that replaced them.

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Dr. Riva Symko, WAG Head of Collections & Exhibitions in Qaumajuq's Visible Vault. © Jocelyn Piirainen, Courtesy of the Winnipeg Art Gallery

Qaumajuq An art museum connecting North and South

By Stephen D. Borys, OM, PhD, MBA Since becoming Director and CEO of the Winnipeg Art Gallery (WAG) in 2008, I have worked with countless partners, curators, artists, and cultural stakeholders to develop Qaumajuq, the world’s largest museum dedicated to Inuit art and culture. Connecting to the WAG on all levels, Qaumajuq will be a space for the appreciation of the North in the South, bringing us all closer together. he WAG holds in trust the largest public collection of contemporary Inuit art in the world. To celebrate the art, the people who make it, and the lands from which they come, we are building Qaumajuq with the guidance of the WAG Indigenous Advisory Circle. Opening celebrations will take place in February 2021 and throughout the inaugural year.

“We are excited for Qaumajuq!” says Dr. Julie Nagam, Co-Chair. “The Circle recently worked with language keepers to name the buildings and galleries at the WAG in Indigenous languages. It has been an incredible experience for all Circle members. We are ecstatic to see our languages in the physical space and hearing people use those words, which is an important move towards decolonization.”

Qaumajuq is an Inuktitut name meaning “it is bright, it is lit,” a reference to the sunlight that pours into the building through the glass walls and skylights.

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WAG Qaumajuq. © Michael Maltzan Architecture

A place for building relationships

Innovating the art museum

With the opening of Qaumajuq, the WAG will be able to accommodate 100,000 students every year and virtually connect students, teachers, curators, artists, and Elders — from North to South.

Today, over 2,000 Inuit artists from many Inuit Nunangat communities are represented in the WAG’s permanent collection. While several thousand of the artworks are sculptural, we also care for a wide range of prints, textiles, clothing, and digital media.

Our curators visit artists in their homes, workspaces, and communities, and spend time on the land with them to maintain strong relationships. We purchase works directly from the artists in their communities, or through the global art market. In addition, we collaborate with other museums, galleries, and Arctic co-ops to exhibit artworks on loan.

Qaumajuq will build on the WAG’s long history and international recognition. Founded in 1912, Canada’s first civic art gallery is housed in an iconic modernist building in the heart of downtown Winnipeg. Designed by Gustavo da Roza and opened in 1971, the Gallery rises like the prow of a ship on a triangular ocean. In addition to eight galleries, the building contains a 320-seat auditorium, a shop with handmade work

by Canadian and Indigenous artists, and inspired meeting spaces. The Rooftop Sculpture Garden is the place for cultural programming and scenic views.

Qaumajuq, a 40,000 square-foot addition designed by Michael Maltzan Architecture in collaboration with Cibinel

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Part of Qaumajuq’s inaugural exhibition: Joe Talirunili. Migration, 1951.71.

Stone, bone, gut, sinew.

Collection of the Winnipeg Art Gallery. © Ernest Mayer

Architecture faces south toward the Manitoba Legislature.

The vastness, expansive light, and beautiful landscapes of the North have shaped the building’s physical structure.

When approaching the entrance at the corner of St. Mary’s Avenue and Memorial Boulevard, you will see an undulating white façade that evokes an iceberg. The outdoor plaza will be a landscaped gathering space for all, and the café’s patio will offer a unique vantage point for enjoying the city.

Visible from the street, a three-story glass vault will hold thousands of carvings. The vault’s curved glass walls extend from floor to ceiling and include shelving that follows the curvature of the enclosure. You will see curators and interns working inside the vault! Qaumajuq’s main level will be open to all, free of charge.

An interactive theatre will welcome school groups, Elders, performers, and academics for in-person and virtual sessions connecting North and South. The knowledge and sharing centre on the second level will encompass the learning common, and the research library and archives.

The largest gallery on the building’s third level is 8,000 square feet and wide open with possibility. The monumental, sculptural walls evoke the landscapes of many northern towns and inlets. 22 overhead skylights will allow curators to play with natural light, an unprecedented factor in most gallery spaces.

New sun-filled art-making studios and classrooms are concentrated on the penthouse level and rooftop. They will include a lobby and reception area, clay studio, digital media 30

L-R: Dr. Darlene Coward Wight, WAG Curator of Inuit Art with the late Inuit Artist Elisapee Ishulutaq and her daughter Myna in Pangnirtung, 2013. © Iwan Baan

studio, kiln room, and two exterior studios for summer and winter activities, such as stone carving and ice sculpting.

Inuit involvement and partnerships The WAG’s Indigenous Advisory Circle is at the heart of all of our decolonization and the Indigenization work. The Circle provides leadership and counsel in the development and planning of related WAG exhibitions, education, community outreach, partnerships, and programming. It is made up of representatives from the four regions of Inuit Nunangat: Inuvialuit Settlement Region, Nunavut, Nunavik, and Nunatsiavut.

Urban Inuit and circumpolar Inuit communities such as Alaska are also represented, along with First Nations and Metis members from Manitoba and across the country.

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Nikki Komaksiutiksak gives a throat singing performance at the WAG August 2, 2016 for a Qaumajuq campaign announcement. © Eric Au

In 2015 the Government of Nunavut (GN) entrusted the WAG with its Fine Arts Collection, which includes approximately 7,500 objects. This long-term loan involves care, storage, exhibition, mentorship, and development of public educational programming. Qaumajuq will provide a temporary new home for the GN collection.

“Our partnership with the WAG has also allowed us to develop training and internship modules to train Nunavummiut as cultural workers — as curators, educators, conservators, designers, and cultural marketers,” says David Joanasie, Minister of Culture and Heritage, Government of Nunavut. “Through innovative and collaborative education, training and exhibit programs, we now have the opportunity to provide greater public accessibility to our art and heritage collections, and help develop new employable skills for local Inuit in the art industry.”

We are honoured to support the GN’s efforts in creating increased awareness and exposure to the extensive collection until its return to Nunavut. We are dedicated to caring for the Spirit of the art with Ceremony, while Treaty 1 is its home. We are committed to supporting the development of cultural heritage centres in Inuit Nunangat by offering resources and expertise, with the long-term vision of developing a sister relationship with Qaumajuq for cultural exchange.

INUA: Moving forward together Curated by an all-Inuit team representing the four regions of Inuit Nunangat, INUA is Qaumajuq’s inaugural exhibition. On view from February until August 2021, the show will challenge preconceived notions of Inuit art, celebrating the past and present work of Inuit artists who embrace the future.

“We’re mindful of representing each Inuit region and urban Inuit, while bringing together different generations of artists and art in many different media. Qaumajuq is for all people. It will be a dynamic space for experiencing art and a hub of education, research, programming, and performance,” says Dr. Heather Igloliorte, lead curator of INUA. Qaumajuq builds on the WAG’s long history of collecting and exhibiting Inuit art and working with Inuit partners and stakeholders. By amplifying the voices of the artists and promoting cultural understanding, we aim to support reconciliation, and

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provide a gathering place for all people. The Centre will be a cornerstone for building capacity among emerging Inuit arts and heritage professionals, a place for mentorship, learning, and intercultural dialogue. Our mission is to provide a platform for Inuit voices and ensure all Inuit are welcomed.

You can learn more about the project and find out how you can get involved at inuit.wag.ca .

INUA Curatorial Team at Qaumajuq groundbreaking.

L-R: Kablusiak, Krista Ulujuk Zawadski, Asinnajaq, Dr. Heather Igloliorte. © Pauline Boldt 26 Projects

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H E A LT H

Project Jewel Family Wellness at Reindeer Station Text and photos by Elizabeth Kolb Project Jewel is Inuvialuit Regional Corporation’s (IRC) land-based health and wellness program.

It is principled on being culturally relevant, client-centred, community-driven and collaborative.

After starting as a pilot program in 2014, Project Jewel has expanded by those principles: offering follow‐up camp opportunities and aftercare to participants, and working with an Advisory Committee established with Elders, past participants and staff. A strategic planning session in 2018 with 42 elected Inuvialuit Settlement Region Directors suggested having their own wellness camps and programs based in each community.

A year later, Land Program Coordinators in each community had been hired and exposed to a full complement of tailored training and certification from emergency response and risk management, Mental Health First Aid Inuit and ASIST (Applied Suicide Intervention Skills Training) to program development, administration and Canadian Firearms Safety.

Project Jewel Community Programs like Seal Hunt with Strength and Perseverance for Youth,

Elder’s Fishing Trip, and Culture and Wellness Winter Camp were starting in several commu‐ nities, relationships and partnerships with stakeholders and organizations were being solidified and tent frame locations were being sought for year‐round programs accessible to the community.

By spring and summer 2020, the value and benefit of families spending their time as much as possible on the land was being acknowledged

The land way above Reindeer Station has blueberries in the summer and a view of the Delta.

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Everyone learns and practices string games.

and actively stressed as a healthy form of “social distancing” and good results were witnessed across the Region. Project Jewel staff members had had great spring and summers at their respective personal camps, but there was interest in safely delivering Project Jewel wellness opportunities again, especially to offer experience to those families who might not have access to the transportation, skills and support needed to go out on their own. An open call for interested families was put out on IRC’s social media.

Any trepidation surrounding utmost COVID precaution was met with Public Health approved planning, careful re‐design of the kitchen, changes like single‐serving condiments, continual extra cleaning and morning screenings (kept on file and completed vigilantly by the Land Program Coordinators of individual participants Lynn Tologanak drum dances wherever she lives and now teaches her boys. At Reindeer Station, she takes turns dancing and drumming with Kathy Inuktalik, who she knew from childhood, and who is Ulukhaktok’s Land Program Coordinator.

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Thomas Tologanak loves a game which mimics hooking by throwing a rope and then hauling in a seal. The games also teach hunting and survival skills like coordination and agility.

Established in 1984 to manage the settlement outlined in the Inuvialuit Final Agreement (IFA), Inuvialuit Regional Corporation (IRC) represents the collective Inuvialuit interests in dealings with governments and the world at large. IRC's goal is to continually improve the economic, social and cultural well-being of the Inuvialuit through implementation of the IFA and by all other available means.

Inuvialuit beneficiaries directly control IRC and its subsidiaries through a democratic process of elected directors from each of the six Community Corporations.

The head office for IRC is located in Inuvik. Over 180 employees, both full-time and casual, work for IRC. Inuvialuit beneficiaries currently make up over 80 per cent of IRC and Inuvialuit Development Corporation (IDC) staff positions, including those at the senior divisional management level.

Both corporations are committed to increasing the per cent of employed beneficiaries throughout all levels of the organization. A broad range of external and internal staff training, internship and advancement opportunities are available to beneficiaries to help reach this goal.

Inuvialuit Regional Corporation Tel: (867) 777-7000 Toll-Free: 1 (855) 777-7011 107 Mackenzie Road Bag Service #21 Inuvik, NT X0E 0T0 www.inuvialuit.com

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Dallas Tologanak works on a net.

Verna Pokiak hangs dry fish she showed the youth how to cut.

and staff alike). The historic camp location had been mostly closed due to large landslides in recent summers but was again deemed stable enough to be used at this time.

As Jimmy Kalinek’s Only Way Outfitting boat dropped first staff with supplies, and then Land Program Coordinators on the riverbank, followed the next day by those families who had come forward, everyone involved kept saying just how grateful they were to be there!

Two families who had been previously living south were chosen as participants. Scheduled activities included Northern Games demonstra‐ tions, research into Family Trees, Art for Wellness with Kathy Inuktalik from Ulukhaktok, bear safety stories by Annie Wolki, long‐time Wildlife Monitor and Land Program Coordinator from Paulatuk, as well as regular camp activities like collecting firewood and water. John Day, Camp Maintainer, and other staff would often have youth tag along in his boat to help. By the end of the week, staff collectively encouraged the grinning young men, saying, “you boys belong in the bush!”

Since different Inuvialuit communities have different land and fish, even the Land Program Coordinators, some used to open country, above treeline on the coast, learned to pull fish nets from river currents and compared how to clean nets. (In 2020, the Mackenzie water level stayed high; Ulukhaktok has been dealing in past years with more algae in the ocean).

So many new experiences and memories were made with participants looking forward to attending follow‐up camps in the future.

Elizabeth Kolb is Communications Advisor for Inuvialuit Regional Corporation.

From the river you can see historic Hudson Bay Company and modern buildings — many Reindeer herders families lived here — as well as evidence of the recent landslides which have forced closures of the camp.

Left: Young girls carry a whitefish, netted in the East Branch of the Mackenzie River and now ready to cut and dry in the smokehouse.

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NWT youth explore science during Expedition

By Ella Kokelj This September, I had the amazing opportunity to spend a week living on a research vessel on Great Slave Lake. As a Field Instructor for Northern Youth Leadership (NYL), I helped lead a seven-day youth science expedition aboard the Nahidik, a research vessel operated by Arctic Research Foundation (ARF). There were seven youth and three NYL staff on board who took part in the program. The expedition was the result of a partnership between NYL, Nature United, and ARF. Our goal was to give youth from across the NWT opportunities to explore and learn about climate change, northern science, and potential career opportunities in a hands-on, dynamic way.

I have always loved being out on the land.

It’s where I can be the best version of myself and I am the happiest. I am lucky enough to have a job through NYL that allows me to share that love with others. I get to take kids out in the bush for extended periods of time and give them opportunities to build confidence and competence while travelling on the land. Growing up, I have had the opportunity to participate in various northern science programs. Initially, it was my parents who signed me up. Somewhere, at some point, these activities stopped being 36

things I had to do, and started to become things I loved to do.

We boarded the Nahidik in Yellowknife and, over the course of the next week, travelled into the East Arm of Great Slave Lake. One of the main goals of the vessel’s science program was to retrieve a mooring at the deepest known point in Christie Bay. We watched the crew spend hours trying to find the long rope that went from just below the surface all the way down to the bottom of the lake, 614 metres deep. The youth were able to assist with taking

the data loggers off the mooring and download the data the loggers had been collecting all year long.

Our time on board the Nahidik was full! The pace of the day was often dictated by what needed to be done on board the vessel. The lake is the boss, and we were there to learn as much as we could along the way. We had a mixture of crew‐led activities, programming that NYL staff had prepared, and time for youth to lead their own inquiries to explore topics that interested them. This variety helped all the

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YOUTH The youth had the opportunity for an on-shore hike one day while passing through the Simpson Islands. © Ella Kokelj/Northern Youth Leadership (NYL)

Below: The youth were able to have lots of time to learn from and share their own northern knowledge with crew members. © Emily Smith/Northern Youth Leadership (NYL)

Middle: While the crew members were hauling up the mooring line, some of the youth helped remove temperature loggers from the line. © Emily Smith/Northern Youth Leadership (NYL)

youth connect, in one way or another, with northern science. For northern youth, science can be associated with leaving the North, as there are few post‐secondary options available to us within the territories. I think it’s important for youth to be aware that there are lots of cool and interesting science opportunities in our backyards.

Being on the ship with such a wide array of experiences and perspectives was eye opening for the youth and crew alike! While they may not be scientists or researchers, many of the youth participants have spent a lot of time on the land and are more experienced ‘in the field’ than most of the crew. Watching the youth find their voices and share their knowledge was inspiring.

As one of the leaders, there were some things I hoped youth would take away from this trip. I wanted them to know what a watershed is, what steps they might take to become an engineer, how data loggers work, and understand the unique geography of Great Slave Lake. However, my greatest hope for this trip was that it was the turning point for these youth. Next time they have a similar opportunity they realize that they don’t have to do it anymore, because they love to do it!

Bottom right: A youth participant sketches the foredeck as the mooring is being brought up. © Ella Kokelj/Northern Youth Leadership (NYL)

A view of the Nahidik from a motorboat. The vessel is just over 50 m in length. © Ella Kokelj/Northern Youth Leadership (NYL) N O V E M B E R D E C E M B E R 2 0 2 0 | 0 6 A B O V E & B E Y O N D — C A N A D A’ S A R C T I C J O U R N A L

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Iqaluit Fiddlers perform in the crowd-favourite annual 2019 Community Christmas Concert co-hosted by the Inuksuk High School and The Iqaluit Music Society. Front Row (L to R): Arielle Allain, Amaija Healey-Akearok, Alexa Senkow, Brian Harris-Galia. Second Row (L to R): Brogan Savard, Nuatii Paterson, Jonah Laird, Malaya Kennedy. Third Row (L to R): Tamuda Chakonza, Soleil Duval, Liam Joanasie-Nuyalia, Lesedi Kabelo, Ariana Atienza. © Mathew Nuqingaq

Iqaluit Music Society celebrates 25 years

By Darlene Nuqingaq One never realizes the lasting impact of a kind word of reference, an offer of support, or even a music lesson until reflection years later. This year marks a special anniversary for me: 50 years ago, at the age of eight, I received my first violin lesson as part of the Halifax City’s Public Schools’ Music Program.

I grew up in Halifax. I moved to Kimmirut, Nunavut, in August 1987, and then to Iqaluit in 1990 to teach elementary school. Music has always been an integral part of my classroom program. I have now lived and taught in NWT (then) and Nunavut (now) for 33 years. Twenty-five years ago, The Iqaluit Fiddle Club was formed, and this past summer, The Iqaluit Music Society held its 25th Annual Summer Music Camp! I fondly remember the thrill of being able to make my violin sing, every time I witness a similar sense of pride in the eyes of our beginner fiddlers.

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On the coldest day of our Covid-19 safe, outside 2020 summer music camp, Andrew Morrison, lead singer of The Jerry Cans (one of our first fiddlers and music campers 25 years ago) performs with his band’s drummer, Stephen Rigby, for the young music campers. © Mathew Nuqingaq

My journey of passing on the gift of music education began over 25 years ago with a reference from David Boileau, Iqaluit’s long‐ time soundman and supporter of local musicians, suggesting I represent the Qikiqtani region at the Northwest Territories Fiddle Jamboree in

Hay River in September 1994. There I met well‐ known fiddlers from across the North: Lee Mandeville, Colin Adjun, Cole Krook, and Frank Cockney (to name a few). During the day, we were each assigned a beginner fiddler to teach; and in the evenings, there were community dances with the fiddlers each taking turns to play their favourite tunes to the delight of the dancers. It was at this jamboree that I first met Andrea Hansen, co‐founder of Strings Across the Sky (SATS). She gave me strategies on how to teach my assigned young fiddler, seven‐year‐

old Jenna Daniels. At the closing of the Jamboree we were all challenged to return to our home communities with a commitment to teach youth how to play the fiddle. I accepted the challenge.

In 1995, the Iqaluit Fiddle Club was formed with a kind donation from Ann Hanson, our first donor, which allowed us to purchase small violins that we still use today. With the sponsorship of Canadian North Airlines, and Andrea Hansen, volunteering her time to come to Iqaluit, we were able to have a mentor to share teaching strategies and beginner tunes that we continue to teach, like Pingo Push, and Boil’Em Cabbage.

In 1997, our young Iqaluit Fiddlers had their first trip south to perform with Andrea Hansen, other SATS fiddlers from across the North, and The Toronto Symphony. The group included Andrew Morrison, lead singer, and Brendan Doherty, bass player, of the now popular Iqaluit band, The Jerry Cans.

Our first trip with SATS, gave us a zest for travel, a reason to practice, and a desire to share our culture with others. This led to many other journeys across the skies with the financial support of many partners such as: Canadian North Airlines, the Nunavut Government, Iqaluit City, many community organizations, The National Arts Centre’s Music Alive Program, Canadian Youth Exchanges Programs, and many generous music education advocates and visiting

Current young fiddlers gather on the tundra mid-summer for the first time since the Covid-19 ‘lock down’ in March 2020 to play a video tribute to James Ehnes for his and The National Arts Centre’s kind donation to the Iqaluit Fiddle Club. Darlene Nuqingaq (front left) accompanies the fiddlers on her ukulele. The young fiddlers are: Front Row (L to R): Edith Rhoades, Elise Chambers, James Sheridan, Iris Lessard-Michielsen. Back Row (L to R): Soleil Duval, Ymke-faith Ndeloh, Brianna Savard, Brogan Savard, Leah Wilkins. © Troy Rhoades

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ARTS

instructors. Over the years, the Iqaluit Fiddlers have travelled to the west coast and performed with the Coast String Fiddlers, to the east coast several times to learn from and perform with youth from The Maritime Conservatory of The Performing Arts in Halifax, and St. Ann’s Gaelic College in Cape Breton, and further North to Pangnirtung to attend the First Qikiqtani Music and Dance Summit. We have travelled to Ottawa several times on music exchanges with The Leading Note Foundation and with The Inuksuk Drum Dancers, the Ottawa Children’s Choir, and Can‐ tiamo’s Girls Choir, and have performed on The National Arts Centre’s Stage with Susan Aglukark and the NAC orchestra. We have opened for John Allan Cameron in Cape Breton and performed for Adrienne Clarkson in Iqaluit with the Coast String Fiddlers. We have performed locally with Gordon Stobbe, James Ehnes, The Gryphon Trio, and Ensemble Made in Canada. The list goes on.

We celebrated our 25th Annual Summer Music Camp this year with safe Covid‐19 health protocols with outside workshops led by eight of our alumnae, and a special guest perform‐ ance by one of our very first fiddlers and music campers, Andrew Morrison. All these alumnae are inspiring role models and, now as Nunavut music instructors, they are passing on the legacy of music education to younger children across our territory.

For more information on The Iqaluit Music Society’s programs and our future plans for expansion, please visit our website: https://iqaluitmusicsociety.wixsite.com/ iqaluitmusicsociety

Outside the Roy Thomson Hall, Andrea Hansen in the centre with Bob Mumford (NWT artist and musician), surrounded by the Strings Across the Sky Fiddlers. (Brendan Doherty and Andrew Morrison in the back row to the right of the pole). © Mathew Nuqingaq

Young Iqaluit Fiddlers in Toronto outside Roy Thomson Hall before their performance with the Toronto Symphony and Andrea Hansen’s Strings Across the Sky Fiddlers in June 1997. (Two youth in the back row – unknown.) Front Row (L to R): Iqaluit Fiddlers: Lawrence Sackett, Nanauq Kusugak, Damien Barnes, Andrew Morrison (now lead singer of The Jerry Cans), Brendan Doherty (bass player, The Jerry Cans), Special Kusugak, Maika Harper (actor in TV series Mohawk Girls and Electric Violin instructor), Emily Tumblin. © Mathew Nuqingaq N O V E M B E R D E C E M B E R 2 0 2 0 | 0 6 A B O V E & B E Y O N D — C A N A D A’ S A R C T I C J O U R N A L

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RECIPE

Christmas Cranberry Jam

By Greta Sittichinli Ingredients: 27 cups cranberries 6 cups water 1 small bag of frozen strawberries 1 small bag of frozen raspberries 2.5 pounds sugar 2 {3 ounce} liquid fruit pectin packets 1 teaspoon ground cinnamon 1 teaspoon ground ginger 1/4 teaspoon ground allspice 1/4 teaspoon ground cloves Mix water, cranberries and spices. Bring to boil. Add sugar and bring to boil again. Add liquid pectin and let cook for awhile.

Add jam mixture to sterilized jars. Fill jars and leave a 1/4 inch at the top. Place seal and rings. Put jars into canner and boil for 15 minutes. Remove from canner and place on a tea towel to cool (at least 24 hours). *After removing the jars from canner, you should hear a “popping sound” that means the canning process worked.

Recipe submitted by the Inuvialuit Regional Corporation.

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BOOKSHELF

Angel Wing Splash Pattern 20th Anniversary Edition Richard Van Camp Kegedonce Press September 2020 If you wanted to read all of Richard Van Camp’s characters in one volume, now you can with the release of the 20th Anniversary edition of his Angel Wing Splash Pattern Short Story Collection. This special edition includes a new introduction by the author, and two new illustrated stories, including Larry Sole, the protagonist of The Lesser Blessed, with his own story, “How I Saved Christmas”. The stories are set in the breathtaking territories north of 60 — Tłįchϙ territory — including Yellowknife, Fort Smith, Behchoko, Hay River, and more.

Ice Walker James Raffan Simon & Schuster October 2020

How I Survived Four Nights on the Ice Written by Serapio Ittusardjuat Illustrated by Matthew K. Hoddy Inhabit Media October 2020 After his snowmobile breaks down halfway across the sea ice on a trip back from a fishing camp, Serapio Ittusardjuat recounts the tradi‐ tional skills and knowledge he relied on to stay alive. This harrowing first‐person account shows the determination and strength necessary to survive in the harsh Arctic climate, even when the worst occurs.

Nanurjuk, or Nanu, “the bear‐spirited one,” is hunting for seals on Hudson Bay, where ice never lasts more than one season. For her and her young, everything is in flux. For millennia, Nanu’s ancestors have roamed this great expanse, living, evolving, and surviving along‐ side human beings in one of the most challenging and unforgiving habitats on Earth. But the world is changing. In the Arctic, oil has been extracted and spilled. As global temperatures have risen, the sea ice that Nanu and her young need to hunt seal and fish has melted, forcing them to wait on land where the delicate balance between them and their two‐ legged neighbours has now shifted. Ice Walker is an enlightening and original story about a polar bear’s precarious existence in the changing Arctic.

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

A plethora of Arctic-oriented journals and novels have been published for more than a century.

International explorers and creative authors have written harrowing tales of the Northwest Passage and the North Pole.

Quiz yourself on these dauntless historic journeymen.

4. White Fang is a classic Jack London novel (1906). What was the name of the Wolfdog (Arctic Wolf‐Siberian Husky hybrid) who was featured in the subsequent 1991 adventure film? a) Jerry b) Jessie c) Jake d) Jed

1. The Terror (2007) is an epic horror novel

by Don Simmons. This historical fiction documents the ill‐fated expedition of Sir John Franklin which occurred in what year? a) 1833 b) 1839 c) 1845 d) 1851

5. Which Monty Python alumnus wrote the novel, Erebus: The Story of a Ship, the vessel which accompanied the HMS Terror on its tragic Arctic voyage? a) John Cleese b) Terry Gilliam c) Michael Palin d) Eric Idle

8. Rear Admiral Robert Peary selected Captain Robert Bartlett (1895‐1946), who later had published, The Log of “Bob” Bartlett, to command what ice crushing vessel Peary himself designed for his 1908 North Pole expedition? a) SS Karluk b) SS Roosevelt c) SS Jefferson d) SS Cruncher

2. Fatal Passage (2002) is a Ken McGoogan novel about the untold story of what Arctic adventurer who discovered the fate of Sir John Franklin? a) John Rae b) James Ross c) Francis Crozier d) David Thompson 3. Which polar explorer was the first European to traverse the entire Northwest Passage via dog sled (1921‐24) in Across Arctic America (1927)? a) Pierre Radisson b) Knud Rasmussen c) Robert Bartlett d) Samuel Hearne

ANSWERS: 1. c) 1845 2. a) John Rae (1813‐93) 3. b) Knud Rasmussen (1879‐1933) 4. d) Jed 5. c) Michael Palin

6. d) 7 7. d) Norway 8. b) SS Roosevelt 9. c) ethnology (ethnicity anthropology) 10. a) Meteorological‐ observation station

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6. Matthew Henson (1866‐1955) wrote the novel, A Negro Explorer at the North Pole pertaining to his experiences with the Robert Peary Arctic expeditions. On how many of these expeditions did this African American explorer assist this renowned explorer and author of The North Pole? a) 2 b) 4 c) 6 d) 7 7. Roald Amundsen (1872‐1928), wrote two volumes on his historic northern polar voyage, The Northwest Passage (1908). What Scandinavian country was the birthplace of this seasoned explorer? a) Finland b) Denmark c) Sweden d) Norway

9. Manitoba‐born Vilhjalmur Stefansson (1879‐1962), was an Icelandic American Arctic explorer who became an authority on Eskimo life and language. He wrote several books including My Life with the Eskimo (1913) and The Friendly Arctic (1921). He was acknowledged as a specialist in what study? a) biology b) endocrinology c) ethnology d) geology 10.U.S. Army officer and polar explorer, Adolphous Greely (1844‐1935) led the Lady Franklin Bay Expedition (1881‐84) and penned the novel, Three Years of Arctic Service (1886).

The purpose of the expedition was to establish what, for the first International Polar Year? a) Meteorological‐observation station b) Astrological laboratory c) Tele‐communications Centre d) Tim Horton’s franchise All images credit: Alan G. Luke

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INUIT FORUM

© Jessica Deeks

Defining an Inuit Nunangat Policy for Canada In his first single, “Inuit Nunangat,” Terry Uyarak thanks our ancestors for this land that gives us strength and connects us to our history. He sings in Inuktut: “Please don’t forget the words/of our parents/ of our grandparents/Go accomplish greater things/for our culture/ for our lives.” His uplifting melody reminds us that there is nothing like our homeland.

Inuit Nunangat connects us not only with our ancestors, and with each other — but also with a Canada borne of colonization, and with a system of governance designed to divide us along the lines of political jurisdictions. Through the process of reconciliation, and the momentum of the Inuit Crown Partnership Committee, we are breaking down the barriers that perpetuate inequity, and creating new systems to support Inuit prosperity and self‐determination.

Inuit Nunangat is a distinct geographic, cultural and political region defined by our comprehensive land claims agreements. Together with the Government of Canada, Inuit are developing an Inuit Nunangat approach to policy development that would situate the design, delivery and evaluation of federal programs within a relationship informed by the principles, the legal obligations and the intent of our land claims agreements.

It would address existing gaps in federal policy and set the terms for new policy concerning Inuit and Inuit Nunangat. The primary objective of an Inuit Nunagat Policy would be to ensure that federal initiatives intended to benefit Inuit actually do benefit Inuit. It would do this by requiring federal departments and agencies to specifically define the potential application within Inuit Nunangat of any new policy or program.

An Inuit Nunangat policy would address the fiscal relationship between Canada and Inuit through a distinctions‐based approach to the allocation of federal resources. It would promote economic development by advancing support

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Inuit Nunangat is a distinct geographic, cultural and political region defined by our comprehensive land claims agreements. © ITK

for Inuit‐owned businesses that seek to procure federal contracts. And it would recognize the important links between research and policy by supporting Inuit self‐determination in research and enhancing the coordination of research and science conducted in our homeland.

It would also recognize Inuit populations living outside of Inuit Nunangat by providing guidance to federal departments and agencies seeking to implement programs and services that primarily serve Inuit living outside of our homeland.

Inuit in Nunavik and Nunatsiavut are often ineligible for federal programs designed to serve “Northerners”. An Inuit Nunangat Policy would ensure that initiatives that benefit two or more Inuit regions of Inuit Nunangat would be accessible to all four Inuit land claims organ‐ izations and their beneficiaries.

Many federal departments coordinate programming for Inuit across multiple adminis‐ trative regions. An Inuit Nunangat Policy would streamline federal administration and create equity in the application of government programming by creating an Inuit Nunangat administrative region similar to the new Arctic

region currently in development by Fisheries and Oceans Canada and the Canadian Coast Guard.

The federal government continues to announce funding programs intended for Indigenous Peoples, with no clear picture of how Inuit might benefit. Federal budgets still announce “Indigenous” pots of funding that are clearly designed for First Nations on reserve. An Inuit Nunangat policy would prioritize distinctions‐ based allocations that identify Inuit land claims organizations as recipients to ensure that funds earmarked for Inuit are delivered to Inuit and not reallocated as they pass through provincial and territorial governments with responsibilities to serve large non‐Inuit populations.

The purpose of this policy is to help create prosperity and support community and individual well‐being throughout Inuit Nunangat by promoting respect and support for Inuit self‐ determination consistent with the priorities, goals and principles identified in the 2017 Inuit Nunangat Declaration on Inuit‐Crown Partnership.

This is what systemic change looks like.

Natan Obed President, Inuit Tapiriit Kanatami

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