by Norman Cohn, May 2019
One Day in the Life of Noah Piugattuk is based on an original story idea and discussions between Norman Cohn and Zacharias Kunuk. The script was written first in English for the purpose of getting it financed; once financed, an Inuktitut team of writers led by Zacharias Kunuk and Lucy Tulugarjuk created an Inuktitut dialogue script for the actors to learn before the film was made; then during the shooting the actors improvised most of their dialogue and a lot of scenes were changed, added or dropped on the set; then Lucy Tulugarjuk transcribed the “final” Inuktitut version of the script from the actual finished edited dialogue and film that appears on the screen.
By Lucy Tulugarjuk, May 2019
ᓄᐊ ᐱᐅᒑᑦᑑᑉ ᐅᓪᓗᕆᓚᐅᖅᑕᖓ
ᓯᕗᓪᓕᕐᐹᕆᓚᐅᕐᑕᕋ ᐃᒡᓗᓕᒃᒧᐊᕐᖢᖓ, ᐅᑭᐅᕐᑕᕐᑐᒧᓪᓗ, ᑕᑯᔭᕆᐅᓕᕐᖢᖓᓗ ᑕᑯᓚᐅᕐᓯᒪᖏᑕᓐᓂᒃ. ᑕᐃᓱᒪᓂᐅᑎᓪᓗᒍ ᓄᓇᖑᐊᖅ ᐅᔾᔨᕆᓪᓚᕆᓚᐅᕐᑕᕋ. ᐃᒧᓪᓗᖃᐅᕐᑐᖅ, ᑎᒃᑯᐊᕐᑕᐅᖃᑦᑕᕐᑐᖅ ᓂᐱᐅᓯᕐᓱᕐᓯᒪᓪᓗᓂᓗ, 12ᖑᓗᑎᒃ ᑲᑎᖓᐅᕐᑐᑦ ᕿᑐᑦᑐᒐᐅᔭᒃᑯᕕᒃᒧᑦ. ᐊᑐᕐᑕᐅᖃᑦᑕᕐᓯᒪᓪᓚᕆᒃᑐᖅ. ᓄᓇᖑᐊᒥ ᓴᖃᓕᐊᓯᐅᑉ ᐊᑖᑕᖓ, ᐃᓅᑭ ᑎᑎᕋᕐᑐᕕᓂᖅ ᓄᓇᖑᐊᒃᑯᑦ ᐃᓄᒃᑎᑐᑦ ᓄᓇᐃᑦ ᐊᑎᖏᓐᓂᒃ, ᐊᖑᓇᓱᒃᕕᐅᖃᑦᑕᕐᓯᒪᔪᓂᒃ, ᐊᓯᖏᓐᓂᓗ ᖃᐅᔨᒪᔭᕐᒥᓂᒃ ᐃᒡᓗᓕᐅᑉ ᖃᓂᒋᔭᖓᓃᑦᑐᓂᒃ. ᓄᓇᖑᐊᖅ ᑎᑎᕋᕐᕕᒋᓯᒪᐅᕐᖢᓂ ᐅᖃᓕᒫᕈᓐᓇᖏᑕᓐᓂᒃ ᑭᓯᐊᓂ ᑐᑭᓯᓇᕐᓂᕐᓴᐅᓪᓗᑎᒃ ᖃᓪᓗᓈᑎᑐᖓᔪᓂᒃ ᓇᕈᑎᐅᓚᐅᕐᑐᑦ, ᐊᖓᔪᖃᕐᔪᐊᓪᓗ ᑯᐃᓪᓗ ᐊᑎᖏᓐᓂᑦ. ᓴᓇᐅᒐᓕᕆᔨᐅᓪᓗᖓ ᓄᓇᖑᐊᓂᒃ ᐱᐅᒃᓴᐃᓐᓇᖃᑦᑕᕐᓯᒪᒐᒪ ᑕᑯᒃᓴᐅᔪᓂᒃ ᐊᒃᑐᐊᓂᖏᓐᓂᒃ ᓄᓇᒧᑦ, ᑕᕙᓃᓕᕐᐳᖓ ᐅᒃᑑᑎᑦᑎᐊᕙᐅᔪᒥᒃ − ᓄᓇᖑᐊᖅ ᖃᐅᔨᒪᔭᐅᔪᓂᒃ ᑎᑎᕋᕐᕕᒋᓯᒪᓪᓗᓂ ᐃᓅᑭᐅᑉ, ᓯᕗᓕᖏᑕ ᓄᓇᒋᕙᓚᐅᕐᑕᖏᓐᓂᒃ ᑕᐅᓴᓂᒃ ᐊᕐᕌᒍᓄᑦ. [...]
ᑯᕆᔅᑕ ᐅᓗᔪᒃ ᔭᕗᐊᑦᓯᑭ ᐊᒻᒪᓗ ᐃᔾᕋ ᐊᓐᑕᓐ ᒍᕇᓐ
ᐱᕈᕐᓴᓚᐅᕐᐳᖓ ᐃᒡᓗᓕᒑᕐᔪᖕᒥ, ᐊᑭᓐᓇᖓᓂ ᑕᓯᐅᔭᕐᔪᐊᑦ, ᓄᓇᓕᖕᓂ ᓈᓚᐅᑎᑦ ᐊᒻᒪᓗ ᐅᖄᓚᐅᑎᕋᓛᑦ ᓂᐱᒃᑯᑦ ᑐᓴᕐᓇᕈᑎᒋᓚᐅᕐᑕᕗᑦ ᐱᕈᕐᓴᓪᓗᖓ, ᓄᑕᕋᐅᓪᓗᖓ. ᓈᓚᐅᑎᒃᑯᑦ ᓄᓇᓕᖕᓂ, ᐃᒃᓄᒃᑎᑐᑦ ᐃᖏᕐᑐᑦ ᐊᓂᑕ ᐄᓴᓗᒃ, ᓵᓕ ᐸᓂᒍᓂᐊᖅ, ᓵᓕ ᐊᑎᒻᔅ ᐊᒻᒪᓗ ᓴᐃᒪᓐ ᓯᒃᔭᕆᐊᖅ ᓂᓪᓕᐊᑎᑕᐅᖃᑦᑕᓚᐅᕐᑐᑦ ᑐᓴᒐᒃᓴᐃᓪᓗ ᓄᓇᓕᒃᓂ. ᐊᑐᓂ ᐃᒃᓗᖃᕐᑎᐅᔪᑦ ᐅᖄᓚᐅᑎᕋᓚᖃᓚᐅᕐᒥᔪᑦ ᑐᓴᐅᒪᖃᑦᑕᐅᑎᔾᔪᑕᐅᓪᓗᑎᒃ ᐃᒃᓗᕋᓛᖃᐅᕐᑐᓪᓗ, ᐅᒥᐊᕐᑐᕐᑐᓪᓗ ᐃᒃᓗᓕᒑᔪᒃᒧᖓᐅᔪᓄᑦ ᐅᕙᓘᓐᓃᑦ ᓯᒃᔭᖓᒎᕐᑐᑦ ᑕᓯᐅᔭᕐᔪᐊᑉ ᐊᖑᓇᓱᒃᑐᓄᑦ. [...]
Image: An artist response to One Day in the Life of Noah Piugattuk
As an artist response to One Day in the Life of Noah Piugattuk, it was hard to wrap my head around how to approach these works. I wanted to make my best effort, and for me that usually means taking risks. My work is not focused on details, but rather I work quickly and try to feel my way into the subject matter, capturing emotion through gesture, mark making and areas of detail. After much deliberation I ended up jumping in, working from a still photograph of Noah Piugattuk, against a snowy horizon line, gazing into the distance towards some unknown point, as small figures behind him walk away.
Image: Kapuivik is my home
Tarralik is a multidisciplinary artist and writer who lives and works between Salliq (Coral Harbour), NU and Saskatoon, SK. From jewellery and apparel to graphic works, Duffy's creative output shares distinctly Inuit experiences, which are often infused with a dose of humour and pop culture.
by Isuma, May 2019
Isuma 1985 - 2019
People working together.
By Isuma, May 2019
In 1985 From Inuk Point of View, was the first work by an Inuit or Aboriginal artist deemed eligible to apply for a professional artist’s grant. Zacharias Kunuk was the video’s director; Norman Cohn cameraman; Paul Apak editor; and elder Pauloosie Qulitalik told the story. By 1990, the four partners had formed Igloolik Isuma Productions Inc. to produce independent video art from an Inuit point of view. Early Isuma videos, featuring actors recreating Inuit life in the 1930s and 1940s, were shown to Inuit at home and in museums and galleries around the world. In 2001, Isuma’s first feature-length drama, Atanarjuat The Fast Runner, won the Caméra d’or at the Cannes Film Festival; in 2002, both Atanarjuat and Nunavut (Our Land), a 13-part TV series, were shown at Documenta 11 in Kassel, Germany. Click on Isuma Videography to view the full history of productions to this date.
Thesis by Jenny Vestey
Research by Jim Taylor
Why did Canada force the Inuit into permanent settlement? What was their reasoning and who were the men who carried out this policy? What was the town like that awaited Noah Piugattuk and his band during the 1960s? Government reports, communications, and publications from decades ago give a broad, detailed, and alarming picture.
By Gabriela Gámez, May 2019
Lucy talks about how she started working with the Isuma collective since 1997. She started first as the manager of Nunavut Independent Television Network's (NITV) show called Tariajsuq. Soon after she would step into the role of host for the show when the host didn't show-up. She also talks about how it was to work on the role of Puja in Isuma's feature film, Atanarjuat the Fast Runner.
By Isuma, May 2019
Listen to the audio of the film. In April 1961, John Kennedy is America’s new President, the Cold War heats up in Berlin and nuclear bombers are deployed from bases in arctic Canada. In Kapuivik, north Baffin Island, Noah Piugattuk’s nomadic Inuit band live and hunt by dog team as his ancestors did when he was born in 1900. When the white man known as Boss arrives at Piugattuk’s hunting camp, what appears as a chance meeting soon opens up the prospect of momentous change. Boss is an agent of the government, assigned to get Piugattuk to move his band to settlement housing and send his children to school so they can get jobs and make money. But Kapuivik is Piugattuk’s homeland. He takes no part in the Canadian experience; and cannot imagine what his children would do with money.
By Isuma, May 2019
In the spirit of media democracy, Isuma's exhibition at the 58th Biennale di Venezia has a parallel exhibition accessible to anyone with an Internet connection through www.isuma.tv and The Isuma Book. These are the installation photos of Isuma's work at the Canada Pavilion.
The Isuma Book is an iterative online publication. New content is released each month from May to November during the period of the 58th Biennale di Venezia, including essays, interviews, podcasts, images and historical research.
The Isuma Book begins with the publishing of the script in Inuktitut and English for One Day in the life of Noah Piugattuk, Isuma’s most recent feature-length video. The script centers on an April 1961 encounter in the high Arctic, the day when Noah Piugattuk and his family were ordered to leave their homeland and relocate to the settlement of Igloolik. For Piugattuk, this encounter set the mechanics of colonialism in motion and the modern Inuit self-determination movement of which he was a part.
The Isuma Book also begins with the publishing of hundreds of images that offer a view into Isuma’s work since 1985. This growing archive documents a practice that privileges media, material and narrative invention. The images reveal how each production is made—from the sewing of costumes to the building of props to setting up a scene—and who was involved. Together they form a picture of Inuit self-representation.
In the spirit of working together for a common purpose, The Isuma Book includes multiple voices, media and topics. Commissioned essays and republished texts cover subjects such as the origins of Isuma Productions and Isuma TV; the media environment in Nunavut in the 1990s and 2000s; the impact of forced relocation of Inuit and its intersection with the Cold War; and the ways in which Isuma’s practice resonates with subsequent generations of Inuk filmmakers and scholars.
In the spirit of media democracy, the book is free and accessible to anyone with an Internet connection. At the close of the biennial the digital book will be released in print. The Isuma Book is the most comprehensive book on Isuma to date, spanning more than three decades of practice.
The Isuma Book Editorial Board was created to have many voices to include a wide selection of content for the digital and printed Isuma Book. Editorial Board is composed of Asinnajaq, Gabriela Gamez, Cecilia Greyson, Candice Hopkins, Gillian Robinson, Lucy Tulugarjuk who meet bi-weekly from November, 2018 to November 2019 to discuss content and engage new writings and artist's projects around content and new film.