Exploring Inuit Artistic Voice about Arctic Sea Ice Change
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Exploring Inuit Artistic Voice about Arctic Sea Ice Change

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This morning I presented to a class @ Laurier University in Canada. I talked about the changes occuring in the Canadian Arctic with Sea ice and how Inuit Artists are expressing these changes. I also ...

This morning I presented to a class @ Laurier University in Canada. I talked about the changes occuring in the Canadian Arctic with Sea ice and how Inuit Artists are expressing these changes. I also discussed how, in the era of Post-Normal transdisciplinary science, I am being changed by my research and shring that change in Music

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  • Stroeve 2007
  • INITIAL INSIGHTS: 1) Direct commentary e.g. Tim, Jaco 2) indirect commentary 3) materials 4) human-environment 5) connection 6) adaptive (perspective, wise, embracing change and uncertainty) e.g. Carvings -
  • Helped by professional artists in Pangnirtung
  • Participatory art workshops –process based. Storytelling, sketching, games prizes
  • Extended process over 4 months different aspects of multi-form mural- here we are @ elders home for help with framing as a seal skin stretch.
  • INITIAL INSIGHTS: 1) Losing expectations (outcome, process) for cross-cultural art making 2) perspectives about human-environment connection and change naturally emerge 3) opportunity for bridging knowledge systems (Inuit, western; elder, youth) 4) lessons in youth engagement 5) community project- mobile mural, many people contributed their capacities up now for community to witness.
  • Respected elder and professional artist. Works in National Art Gallery. Trust and personal connection. Playing music, singing and dancing and sewing together.
  • Sea ice Past- ‘it’s a beautiful day, a wonderful day’ ElisapeeIshulutaq, 2013 pencil, paint on paper- way of life, materials, attitude, connection to nature, type of tent. Autumn camp preparations. Yet, No sea ice!!!! As her stories continued I realized that sea ice did not need to feature in this painting because it was omnipresent, the family is happy because they know the sea ice is forming.
  • Melting from underneith. Not such a bad day (perspective outlook). No future drawing.
  • Embodied knowledge of sea ice change. Watching the sea ice form with ShuvinaiAshoona. Contemporary Inuit artist and friend. Drawing, Transformation, connection, ‘Vapor of the universe’ Woman is fishing and falling into the water
  • Drawing, Transformation, connection, ‘Vapor of the universe’ Woman is fishing and falling into the water. Still in progress. “She has to concentrate more and more” – explanation for why her tongue is out. Shuvinai and I spent a lot of time walking along the water edge watching the ice form. How can art communicate embodied knowledge of experience?
  • Sharing as an artist (revealing emotion and perspective – see blog)Connecting via musicProcessing with the help of music and collaborative compositionPerforming where music is hyper object or boundary object to connect knowledge systems
  • I like this definition and rest on the provocative aspect of art

Exploring Inuit Artistic Voice about Arctic Sea Ice Change Exploring Inuit Artistic Voice about Arctic Sea Ice Change Presentation Transcript

  • Exploring Inuit artistic voice about Arctic sea ice change: How does art and artistic process contribute to bridging knowledge systems? Kaitlyn J Rathwell PhD Candidate University of Waterloo, Canada @kjrathwell January 8, 2014
  • Arctic Environmental Change Photos: ACIA 2004
  • Arctic Sea Ice Loss Unprecedented Rapid Non-Linear Photos: ACIA 2004
  • Arctic Sea Ice Loss Light = Heat reflecting Dark = Heat absorbing Unprecedented Rapid Non-Linear Photos: ACIA 2004
  • Initial Insights… • Sea ice change and climate change is noted and expressed by Inuit artists • Art and artistic process can help with bridging knowledge systems (scientific, Inuit) • Art and artistic processes for processing and sharing embodied knowledge of Arctic environmental change • I am changed - allowing/ expressing/sharing that change via art performance
  • 1. Interviews with professional artists in Cape Dorset and Pangnirtung (n = 30) Tim Pitsiulak, Climate Change, 2011, Pencil crayon, 64.8 x 49.5 cm, Courtesy of Feheley Fine Arts “That drawing is a picture of an elder on one side the half of the face and the other half of the face is the ice breaking up. Saying that the elders notice the ice breaks up much earlier and the ice does not form as it use too in the past…..If I made the face looking downward that may mean the end is near, but you are always told to keep your head up” Tim Pitsiulak
  • 2. Painting Change 2013: Collaborative mural about Arctic social- environmental change
  • Participatory Art Workshops
  • Bridging Elder and Youth knowledge systems
  • 3. Sea Ice Project with Elisapee Ishulutaq
  • 4. Sea Ice Project with Shuvinai Ashoona
  • Sea Ice Project with Shuvinai Ashoona
  • Music making as integral to my research process “Our stories and legends, they can be written into songs so that everyone would hear it and understand.” Jaco Ishulutaq
  • Initial Insights… • Sea ice change and climate change is noted and expressed by Inuit artists • Art and artistic process can help with bridging knowledge systems (scientific, Inuit) • Art and artistic processes for processing and sharing embodied knowledge of Arctic environmental change • I am changed - allowing/ expressing/sharing that change via art performance
  • Thank You Kaitlyn J Rathwell Environmental Change Governance Group (ECGG), University of Waterloo, Canada Kaitlyn.rathwell@uwaterloo.ca (519) 222-7146 @kjrathwell
  • Linked Social-ecological systems Berkes Colding & Folke 2003
  • Photos: AMAP 2011
  • Memories: An Ancient Past, by Abraham Anghik Ruben, Whale skull, Brazilian soapstone, and cedar. (Kipling Gallery/American Indian Museum)
  • Art “ the radical qualities of art, that is to say, its indictment of the established reality and its invocation of the beautiful image (schooner Schein) of liberation are grounded precisely in the dimensions where art transcends its social determination and emancipates itself from the given universe of discourse and behavior while preserving its overwhelming presence” (Marcuse 1979, pp. 6).