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wanted from
Northern goods. In response, the program directors decided to shift to producing woven wall hangings or tapestries. To make the tapestries they needed original Inuit drawings to translate into the woven textiles. Stuart took paper and pens throughout the community, asking elders if they wanted to draw. Malaya Akulukjuk, then 51, was one of the first artists discovered. Her drawings set the precedent of what types and style of art was to be showcased on the tapestries. Other artists included Annie Pitsiuluk, Annie Kilabuk and Elisapee Ishulutak. The first exhibition of the Pangnirtung tapestries was on March 28, 1971, in Montreal. All 23 tapestries were sold to private collectors and museums.
273:(1980) was originally created with black and brown pen; while its rich and saturated colours were added by the tapestry artist, Kawtysee Kakee. Moreover, the original drawing has more defined lines, which clearly demonstrate how children engage in everyday activities such as brewing tea and cooking meat. However, in the tapestry production, the surface becomes rough, and the depictions of food are less detailed. The tapestry artist focuses on mixing the soft colours of the wool with a lighter thread, which creates the glow of warm evening light. By creating this natural light, the image is given a sense of time as well as a nostalgic feeling of beauty.
225:, the writer states that Inuit elders produce "memory art" instead of commercial art. The elders were eager to tell stories of the past and traditional lifestyles because they were afraid of losing their own identity to the western cultural invasions. Akulukjuk enjoyed using her imagination and memories to present Inuit life of her youth, as well as natural landscapes with tiny human or animal figures. Many of her drawings reconstruct traditional Inuit community life. In 1981, the tapestry of
234:(1980) revealed that Inuit lived in sealskin tents during the summer. The young couple lives in a smaller tent that has seal skin boots drying on the poles, while the older couple lives in a bigger tent with a wooden door. The door indicates that the old couple has high status in their community (they are suggested to be prominent hunters) because wood is a very precious resource in the Inuit society.
266:
of the weaving shop. The tapestry artist would choose the colours of the final production, which is rarely discussed with the drawing artist since weavers are believed to have more knowledge about the effective use of colours. Many of
Akulukjuk's drawings were made into tapestries by different weavers, and the final productions changed the colours, sizes, and proportions of her original drawings.
218:
she viewed drawing as a way to pass on her rich knowledge of the "true Inuit life" to the younger generation. After the resettlement, drawing was a coping strategy for
Akulukjuk to fulfil her responsibility as an elder. In the Tapestry Studio, the weavers are usually young girls in their early twenties and they learned the Inuit past from the elders by transforming their drawings into tapestries.
205:(1977), Akulukjuk depicts a girl who plays with her bird that she may has been tamed from a young age. The girl's hairstyle reveals that she is not married yet. Here, Akulukjuk emphasizes the intimacy between human and animal spirits, which reflects her shamanistic practices because she has personal interactions with those spirits. In Akulukjuk's another drawing,
249:(1995). These landscape drawings were created at the end of Akulukjuk's life. The artist was eager to go back to these campsites, but she could no longer go out on the land. They revealed Akulukjuk's strong emotional connections and her long-lasting memories of the old Inuit lands. On the other hand, there are pure animal depictions such as
209:(1981), Inuit and animal spirits are depicted in the same space. While community members are preparing for hunting and food storage, the goose spirit is moving in his own directions. Akulukjuk presents her perspective as a shaman by visualizing the co-existence of everyday community life and the spiritual realm.
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Tapestry weaving in
Pangnirtung has always been a cooperative production that combined the skills of two parties, the drawing artists and the weavers. The submission of the drawing is done by one artist, while the interpretation of the drawing into the medium of tapestry is produced by another artist
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In the
Pangnirtung Tapestry Studio, the first generation of artists like Malaya Akulukjuk were mostly elders that had previously lived a traditional Inuit life. Akulukjuk was growing up in a whaling station, and lived as a nomadic hunter during her early years. When she adopted her artistic career,
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She married at age 20. Her marriage was arranged, per Inuit tradition to ensure that all marriageable adults could have partners during their childbearing years. She gave birth to 13 children. She continued to hunt during her pregnancies, and sometimes went hunting while carrying a baby in her hood.
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In 1969, the
Canadian Federal Department of Indian and Northern Affairs opened the Pangnirtung Weave Shop with the aim of creating a craft industry in the community. With Akulukjuk's guidance her drawings were translated onto the woven tapestries by fellow members of the Pangnirtung Weave Shop. Many
192:
depicts a helping spirit, which could possibly be her own. During an interview with Asia
Papatsie, the Inuit elder confirmed that this helping spirit was a bird that acted as the shaman's eyes. In Inuit beliefs, such a spirit could fly over long distance and report to the shaman what it had seen.
163:
The
Pangnirtung Weave Shop was moved into the Uqqurmiut Inuit Artists Association Centre, leading to the central management of all arts and crafts. The centre consolidated the Print Shop, Tapestry Studio, Retail Craft Gallery and an office for administration under one roof. The Centre has continued
197:
in 1977 displays two polar bear spirits that live in a different dimension. These spirits are viewed as bear people, who hunt like the Inuit but usually live inside a paddle or a rock. In this drawing, the bear people are stretching an animal skin that may have been later used to sew skin clothes.
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traditionally drew from animism, belieiving that spirits exist in every being and take different forms, such as birds and polar bears. Shaman can maintain a spirit's favour by appropriately practicing her unique abilities, including her power of second sight, her "X-ray" vision, and her control of
276:
Akulukjuk's drawing, Spring Break (1995) is painted by coloured pencils, which depicts the scene of mountains, valleys and ice fields being lightened by the rising sun. Akulukjuk uses soft colours to portray this scene, including light yellow, blue and white. They create a dreamy atmosphere, and
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The pilot weaving program proved to be successful, and had a positive impact on the surrounding community; however, the cost of the program outweighed the profits made from the items being sold. The goods produced in the
Pangnirtung Weave Shop did not have the ‘Inuit look’ which is what customers
185:
animal spirits. In
Akulukjuk's drawings, she adopts the role of "artist as shaman" by portraying her access to the spiritual world, which is filled with transformative animals and supernatural beings. Her spirit figures are rooted from her imagination and the stories she had heard in childhood.
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region and contracted companies to administer and run these programs. Karen Bulow LTD, a weaving company from Montreal, created the Pilot Weaving Program for the Pangnirtung community. In 1970, the project manager Donald Stuart and three woman employees arrived to train and begin the program.
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The women quickly learned hand-weaving techniques and moved on to loom weaving, creating linear patterns and items like sashes, hats and blankets. These women's early success with weaving can be attributed to their knowledge of finger weaving, which had been introduced by missionaries in the
167:
In 2001, the Federal Development of Indian and Northern Affairs Canada estimated that 20% of the Inuit derive part of their income from arts and crafts programs. Without the work at the Weave Shop or other arts and crafts programs, many would be solely reliant on social assistance money.
102:, one of Canada's fine art auction houses, sells Akulukjuk's works as well as the tapestries of weaver Agah Etooangat based on Akulukjuk's drawings. Akulukjuk's art is crucial to the development of Inuit weaving tapestry by visualizing the old Inuit life and shamanism.
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evokes the impression of a paradise rooted from the artist's memory. Compared to the original drawing, the tapestry production adds more layers of perspective to the flat surface by incorporating vivid colours as well as making the mountains look sharp and outstanding.
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and was given a Pangnirtung Weave Shop blanket. Stuart recalls the Queen remarking how cold it was and "that when the blanked was presented she put it on and wrapped it around her knees right away…" Prince Philip reached over to touch and she said "No, it’s mine!"
133:
During the Resettlement Period in the 1960s, Canada's Inuit were relocated due to Canadian government policies, changing their semi-nomadic lifestyle significantly. To aid in this process, the Canadian government funded art and crafts initiatives across the
121:
sold at Waddington's Inuit Art Online Auction in 2017. Many of Akulukjuk's children became future artists in Pangnirtung, including five of her sons, Jeetaloo, Geeshee, Juelee, Enukee and Moar. Her daughter, May Lonsdale, developed into a graphic artist.
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demonstrated that the Inuit used the whale's body to store food and make tools. They also used sled dogs for transportation, and carried some weapons in their hands when they went out hunting. The other painting,
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In Akulukjuk's later artistic career, she started to depict complex themes with multiple characters, and those works continued to communicate her shamanistic beliefs. For instance, her drawing of
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of Akulukjuk's works were inspired by her memories of traditional life which revolve around camping and family gatherings, and the others were rooted from her imagination of mystical creatures.
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Akulukjuk's drawings also present her knowledge of land and wildlife in a practical sense. Some of her drawings are purely landscapes scenes of the old Inuit territories, including
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through depictions of human-animal transformations. Akulukjuk was born in 1915 (though some sources state 1912 and 1921), and lived a traditional Inuit life in a camp at Qikiqtat,
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in Ottawa. The Heffel Gallery, one of Canada's fine art auction houses, sells Akulukjuk's works as well as the tapestries of weaver Agah Etooangat based on Akulukjuk's drawings.
285:
Akulukjuk's works have been exhibited in galleries across Canada, including the National Gallery, the Inuit Gallery of Vancouver, the Arts and Crafts Guild of Quebec, the
257:(1980) in Akulukjuk's drawings. These animals were commonly seen on the Inuit land, and they used to be the primary food resources for the survival of the community.
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Akulukjuk's other drawings involve human interactions with birds, and animal spirits that co-exist with humans on the Inuit landscapes. In her drawing
979:"Speaking for Themselves: Eight Inuit Artists Compare Notes During a Seminar Organized by the Inuit Art Foundation.", edited by Marybelle Mitchell.
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374:
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1930-40s, as well as their knowledge of how to create traditional Inuit clothing and other items. In celebration of the centennial year of the
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In Akulukjuk's adult life, she suffered from poor eyesight, and sometimes she had to use magnifying glasses to create paintings.
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Akulukjuk's late husband, Nutaralaq Akulukjuk, was a sculpture artist. Several of his works had been sold at auctions, including
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Malaya Akulukjuk was born in Quikitat Camp (a former Whaling station) in 1915 (though some sources state 1912 and 1921).
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94:. Some of Akulukjuk's pieces such as Inuit Ways (1979) and Hunting Polar Bears with Harpoon (1982) are displayed in the
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95:
289:. They even went overseas, and reached as far as the Jerusalem Artists House Museum. Two of Akulukjuk's works,
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Swinton, George and William E. Taylor, "Prehistoric Doric Art: Discussion by an Archaeologist and an Artist.
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In 1960, she moved to the settlement in Pangnirtung on Baffind Island with her husband and children.
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940:"Malaya Akulukjuk (1915-1995), Inuit Artist Biography and Portfolio." Spirit Wrestler Gallery.
872:"Malaya Akulukjuk (1915-1995), Inuit Artist Biography and Portfolio." Spirit Wrestler Gallery.
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to serve as a source of cultural identity and pride and as an economic source for the region.
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822:"Canadian women Artists History Initiative: Artist Database: Artists: Akulukjuk, Malaya"
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Although Malaya Akulukjuk did not openly acknowledge her identity, she was reputed as a
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431:
181:
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1068:"Malaya Akulukjuk and Agah Etooangat Sale Results." Heffel Fine Art Auction House.
619:"Woven, Not Carved: The Pangnirtung Tapestries Are Northern Art With Global Appeal"
148:
76:
698:"Woven, Not Carved: The Pangnirtung Tapestries are Northern with Global Appeal"
83:
in 1962. Her career as an artist started later than most, at the age of 51.
177:
1037:
Hickman, Deborah (2003). "Art Making in Pangnirtung: A Collective Vision".
59:
927:
Maria von, Finckenstein. "…But I Always Think About the Old Days." In
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A large collection of Akulukjuk's drawings went on exhibitions across
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The Way of Inuit Art: Aesthetics and History in and Beyond the Arctic
804:
91:
648:
646:
567:"Malaya Akulukjuk (1915-1995), Inuit Artist Biography and Portfolio"
763:
Hickman, Deborah (1996). "Malaya Akulukjuk- A Tribute (Obituary)".
525:
Tapestry: A Northern Legacy. In Nuvisavik: The Place Where We Weave
480:
Tapestry: A Northern Legacy. In Nuvisavik: The Place Where We Weave
782:
Goldfarb, Beverly (1989). "Artists, Weavers, Movers and Shakers".
744:
Goldfarb, Beverly (1989). "Artists, Weavers, Movers and Shakers".
54:
1059:. Montreal, (Quebec: Canadian Museum of Civilization, 2002), 24.
957:. (Montreal, Quebec: Canadian Museum of Civilization, 2002), 28.
931:. (Montreal, Quebec: Canadian Museum of Civilization, 2002), 4.
527:. Montreal, Quebec: Canadian Museum of Civilization. p. 53.
482:. Montreal, Quebec: Canadian Museum of Civilization. p. 52.
456:
Hickman, Deborah (2003). "Nuvisavik: The Place Where We Weave".
420:. Montreal, Quebec: Canadian Museum of Civilization. p. 63.
322:. Montreal, Quebec: Canadian Museum of Civilization. p. 7.
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http://www.spiritwrestler.com/catalog/index.php?artists_id=370
874:
http://www.spiritwrestler.com/catalog/index.php?artists_id=370
677:
Watt, Virginia (1992). "Reflecting on Pangnirtung Weaving".
653:
Watt, Virginia (1992). "Reflecting on Pangnirtung Weaving".
495:
Inuit Women: Their Powerful Spirit in a Century of Change
828:. Canadian Women Artists History Initiative. 23 July 2012
731:
Inuit Women: Their Powerful Spirit in a Century of Change
510:
Inuit Women: Their Powerful Spirit in a Century of Change
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http://www.heffel.com/links/Sales_E.aspx?ID=585A5658
953:Deborah, Hickman. "Tapestry: A Northern Legacy" In
733:. Lanham, Md: Rowman & Littlefield. p. 70.
512:. Lanham, Md: Rowman & Littlefield. p. 65.
36:
28:
21:
432:"Malaya Akulukjuk and Agah Etooangat Sale Results"
57:artist who drew works inspired by her life as an
1134:20th-century indigenous artists of the Americas
729:Billson, Janet Mancini; Mancini, Kyra (2007).
493:Billson, Janet Mancini; Mancini, Kyra (2007).
1139:20th-century indigenous women of the Americas
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98:and various museums across the country. The
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1055:Cathleen, Knotsch, "Views of the Past." In
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593:"Malaya Akulukjuk - A Tribute (Obituary)"
335:"Malaya Akulukjuk - A Tribute (Obituary)"
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805:"Uqqurmiut Centre for Arts & Crafts"
497:. Lanham, Md: Rowman & Littlefield.
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261:Cooperation between artists and weavers
129:Work at the Pangnirtung Tapestry Studio
863:(Jefferson, N.C: McFarland, 2005), 40.
375:"Artists, Weavers, Movers and Shakers"
1144:20th-century Canadian textile artists
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536:
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1119:Inuit from the Northwest Territories
1025:Nuvisavik: The Place Where We Weave,
1012:Nuvisavik: The Place Where We Weave,
994:Nuvisavik: The Place Where We Weave,
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903:Nuvisavik: The Place Where We Weave,
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1109:20th-century Canadian women artists
1057:Nuvisavik: The Place Where We Weave
955:Nuvisavik: The Place Where We Weave
929:Nuvisavik: The Place Where We Weave
418:Nuvisavik: The Place Where We Weave
320:Nuvisavik: The Place Where We Weave
1124:20th-century women textile artists
14:
508:Mancini, Janet and kyra (2007).
295:Hunting Polar Bears with Harpoon
180:in the Pangnirtung community.
1:
1039:Canadian Parliamentary Review
458:Canadian Parliamentary Review
436:Heffel Fine Art Auction House
188:In 1972, Akulukjuk's drawing
968:Tapestry: A Northern Legacy,
297:(1982) are displayed in the
1160:
373:Goldfarb, Beverly (1989).
299:National Gallery of Canada
269:For instance, her drawing
96:National Gallery of Canada
1072:(accessed March 26, 2018)
591:Deborah, Hickman (1996).
523:Hickman, Deborah (2002).
478:Hickman, Deborah (2002).
416:Deborah, Hickman (2002).
333:Hickman, Deborah (1996).
318:Deborah, Hickman (2002).
195:Two Bears with Skin Frame
944:(accessed March 6, 2018)
876:(accessed March 6, 2018)
542:""Nutaralaq Akulukjuk.""
571:Spirit Wrestler Gallery
348:: 53–58. Archived from
271:Children at Summer Camp
232:Children at Summer Camp
106:Early and personal life
1129:Inuit drawing artists
1114:Inuit textile artists
287:University of Alberta
145:Northwest Territories
69:Northwest Territories
1104:Canadian Inuit women
983:5, no. 2 (1990): 16.
696:Cross, L.D. (2003).
388:: 14. Archived from
981:Inuit Art Quarterly
784:Inuit Art Quarterly
765:Inuit Art Quarterly
746:Inuit Art Quarterly
679:Inuit Art Quarterly
655:Inuit Art Quarterly
617:Cross, L.D (2003).
600:Inuit Art Quarterly
382:Inuit Art Quarterly
342:Inuit Art Quarterly
172:Works and shamanism
826:cwahi.concordia.ca
715:10.14430/arctic627
636:10.14430/arctic627
149:Queen Elizabeth II
65:Inuit spirituality
255:Playful Narwhales
251:Galloping Caribou
75:before moving to
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42:(1995-00-00)
16:Inuit artist
1094:1995 deaths
1089:1915 births
293:(1979) and
281:Exhibitions
253:(1994) and
245:(1995) and
77:Pangnirtung
1083:Categories
708:(3): 312.
629:(3): 310.
399:2018-03-26
359:2018-03-26
305:References
291:Inuit Ways
1023:Hickman,
1010:Hickman,
992:Hickman,
966:Hickman,
914:Hickman,
901:Hickman,
888:Hickman,
832:April 21,
546:MutualArt
441:March 26,
243:Camp Site
190:Oalopalik
1045:(1): 12.
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752:(2): 15.
685:(3): 60.
661:(3): 59.
576:March 6,
551:March 6,
241:(1995),
153:Iqualuit
151:visited
60:angakkuq
464:(1): 7.
221:In the
73:Nunavut
53:was an
702:Arctic
623:Arctic
178:shaman
136:Arctic
92:Canada
71:, now
606:: 53.
596:(PDF)
393:(PDF)
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834:2019
578:2018
553:2018
443:2018
55:Inuk
40:1995
37:Died
32:1915
29:Born
1027:68.
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710:doi
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