INUIT THROAT AND HARP SONGS Eskimo Womens Music of Povungnituk

CHANTS INUIT-GORGE ET GUIMBARDE Musique des Esquimaudes de Povungnituk

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Alasi Alasuak Lucy Amarualik Alaci Tulaugak Nellie Nungak Mary Sivuarapik

L~ di lt- Hltle

Marvin Green Paul Hodge

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This recording presents the katadjait or throat songs of the women of Povungnituk a village on the eastern shore of Hudson Bay in the Canadian Arctic Katadjait are duets performed by women who stand close together to produce gutteral vocal sounds through voice manipulation and breathing techniques

In some communities katadjait have texts with intelligible meanings elsewhere meaningless syllables are used The women perform standing face to face normally in pairs (although occasionally a group of four women perform together) The Povungnituk katadjait do not have meaningful texts but the unintelligible syllables known as vocables

Enclosed is a booklet with photographs and commentary on each song and a history of Throat Singing and Inuit Jews Harp in English Inuktitut and French

Lenregistrement que voici presente les katadjait ou chants de gorge des femmes de Povungnituk village situe sur Ie littoral est de la baie dHudson dans lArctique canadien Les katadjait sont des duos que les femmes executent en se tenant tout pres les unes des autres pour produire des sons gutturaux par la maitrise de leur voix et de leur respiration

Dans certaines collectivites les katadjait recourent ades paroles possedant un sens tandis quailleurs on utilise des syllabes sans signification Les femmes se tiennent face a face dhabitude par deux -- parfois pourtant Ie chant peut etre execute par un groupe de quatre femmes Les katadjait de Povungnituk ne presentent pas de textes intelligibles mais des syllabes incomprehensibles connues sous Ie nom de vocables

Vous trouverez ci-joint un livret contenant des photographies et un commentaire de chaque chant ainsi quun historiqueen anglais en fransais et en inuktitut des chants de gorge et de la guimbarde inuit

CANADIAN MUSIC HERITAGE COl

QQ~dC A SIDE A FACE A (throat songs) (chants de gorge)bCC7gtC

1 ltpr JltlN 1 Introduction and Little Dog 1 Introduction et Petit chien 2 ltlonlgt7~ 2 Sound of wind 2 Son duvent

ltJC 0-tgt7~3 3 Song of Northern Lights 3 Chant des aurores boreales

4 4 Song of sea shore 4 Chant de la greve be r~lt Cb

5 tc-tgtc Jflb 5 Throat singing contest 5 Concours du chant de gorge

6 db ~b 6 Sound of a river 6 Son dune riviere

7 0-lt c-tgt7~ gtb 7 Sound of a goose 7 Son dune oie

8 nlt fl~L -Iltdc-tgtlt ~lt 8 Sound of cooking seal flipper 8 Son dune nageoire de phoque en train de cuire9 lt~gt~b 9 Planing the runners of a kamutik

9 Rabotage des patins dun kamutlk10 0-lt C tgto- bgtlt1 1 0 Story of a goose 10 Histoire dune oie11 Mother singing a baby to sleep

on her back 11 Mere chantant une berceuse a Ienfant quelle porte sur Ie dos

11 -Iegt tgtflb

aaLldC B SIDE B1 bJc 7Jc oQbfl rfJC

ltlL~lt )C pte 1 People from different places FACE B 2 singing 1 Chant de personnes provenant de

3 ltlJL ltlJL 2 Sound of panting dogs divers endroits

4 ltgtetgtcr 3 Song of sea weed 2 Son de chiens haletants

ltlc-etgtlt L C ltledgt L c 5 4 Song of a name (for a boy) 3 Chant de Ialgue 6 -Ie ~ltI bLlltgtltlJb

5 Song of a little girl 4 Chant du nom (pour un gar(on) ba-~ ltgtJ

6 Song about the world 5 Chant dune petite fille 7 I b~ 1ftgtftgt be 6 Chant sur Ie monde(mouth harp songs8 C7bCd~

7 Song about a thumb (Chants II 18 guimbarde) 9 nltlc ~Jgtc gt

8 Song of a three stringed fiddle 7 Chant sur un pouce 10 Cdltlgtr c lt11gt )gtlt]-gtb

9 Are you shiveringr 8 Chant dun violon atrois cordes 11 ltJb L b 10 Look where somebody slept 9 Avez-vous des frissons

12 ltItgtddC be L 11 My hands are cold 10 Regardez ou quelquun a dormi

ltcr)~nltb 12 Song for a little baby 11 Jai les mains froides13 13 She thinks she is the only daughter 12 Chant pour un petit bebe

14 ltlJil eo- LrltJgtno- L 14 Contest between men 13 Elle simagine etre la seule fille ltloOlgt7

A second challenge Song of wind 14 Concours entre hommes 15 )o~ JoLl egt1gtltC 15 Song game of a blindfolded person Deuxieme defi Chant du vent

16 LlQltd(lb 16 Song for a baby 15 Jeu chante dune personne aqui

on a bande les yeux

16 Chant pour un bebe

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ProducerIRealisateur Marvin Green Recording engineer IPreneur de son Paul Hodge Cover artillustration de couverture Tumassie Echaluk CommentaryCommentaire Ellen Moses DesignConception Marvin Green

Thanks toRemerciements a Lucassie Dora and Lisa Koperqualuk La federation des cooperatives du Nouveau-Quebec The Inuit Gallery of Eskimo Art - Toronto Austin Clarkson Nicole Beaudry Beverley Cavanaugh Canada CouncilConseil des arts du Canada Inuit Culturallnstitutellnstitut culturel inuit Labrador Inuit AssociationlAssociation des Inuit du Labrador Department of Indian and Northern Affairs CanadaministElre desAffaires indiennes et du Nord du Canada Nortext

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The Canadian Music Heritage Collection is an ongoing project documenting the Native Anglo French and Ethnic traditional musics of Canada It is produced by Music Gallery Editions a record company speCializing in creative Canadian music Please write for full catalogue and ordering information

Le projet de Collection du patrimoine musical canadien (Canadian Music Heritage Collection) vise a illustrer les musiques traditionnelles du Canada

(

additional thanks to George Graves Lacquer Channel ltd lawrence Adams lama Labs World Records Yorkhill Farms

-quelles soient autochtones anglaises francaises ou ethniques On Ie doit aux Music Gallery Editions compagnie de disques qui se specialise dans la musique MH001creative du Canada Veuillez nous ecrire pour recevoir Ie catalogue complet et les renseignements sur Ie mode de commande -WRC1middot1349

LLECTIDN Box 292 StnAToronto Onto Canada M5W1B2

The village of Povungnituk is situated on Povungnituk Bay on the eastern shore of Hudson Bay in the Canadian Arctic Many of the approximately 700 inhabitants still trap hunt and fish for their livelihood its artists carvers and printermakers have brought international renown to the village Traditionally the people of Povungnituk were semi-nomadic and sought seal walrus whale and other fish game and fowl on qamotik of sleighs ~ on foot and in the ll1TIiag or womens boats They 1 ived seasonal1y in snow houses or sealskin tents like Inuit across the north they participated in a social life rich in song legend and game lore

Among the recreational activities enjoyed by the people of Povungnituk are the katadjait or throat songs duets performed by women who stand facing each other at close proximity to produce vocal sounds through voice manipushylation and breathing techniques At one time these songs were performed in many communities in the north particushylarly in the Eastern and Central Arctic but their manner of performance varied somewhat from community to community (see Side A Band 5) On the west coast of Hudson Bay for example external resonators including bread pans kettles the hoods of parkas and so forth were used to alter the sound (A resonator is a hollow chamber used in conjunction with a sound-producing object to amplify the sounds prodUced) In Povungnituk no external resonators were observed although it was reported that at one time such resonators were used In most regions katadjait are performed by two women although there are occasional references in the literature to solo or group participation On this recording for example Side B Bands 4 through 6 are performed in quartet

During the 1930s the sound of katadjait almost disappeared from the Poyungnituk soundscape Although intermittent contact with Whites had taken place in the Quebec Arctic since the mid-eighteenth century prolonged exposure to White traders did not occur until the first decade of the twentieth century In the 1930s the most dramatic changes to the traditional lifestyle took place as the Department of Transportation entered the region and radio communicashytions with the outside world began

In the early 1960s Isa Koperqua1uk a community and Anglican church leader born in 1916 decided to reverse the trend He regretted the gradual disappearance of the sound of katadjait and began to encourage the village women who had learned the songs as children to perform them once again The five Singers on this recording Alasi Alasuak Lucy Amarualik Nellie Nungak Mary Sivuarapik and Alaci Tulaugak are the nucleus of the Povungnituk singers and Povungnituk has become a center for the resurgence of throat singing in the Eastern Arctic Since the early 1970s representatives of the group have travelled south frequently to perform at special concerts powwows and folk festivals

Scholars studying this tradition mention various times of the year that performances of katadjait once took place While Bernard Saladin d Angl ure has suggested that pershyformances might have occurred at the spring equinox summer solstice and winter solstice as with other calendric cereshymonial and recreational activities it is consistentlyfound that katadjait were performed in the winter during the collective feasts and also while the men were away at the hunt Alasi Alasuak one of the Singers on this recording described how the women would sometimes perform katadjait while awaiting the return of hunters The women sing while theyre waiting Thats when a little family used to wait when the head of the family went out hunting They would wait all day all day until even late So they would put a fire on top of a little hill so that the hunter would see it Then while they were waiting they used to sing this song Sometimes they would go out to listen if they could hear the harpoon hitti ng the snow

A throat song has three layers of expression a textual (or morphemic) layer a melodic (or intonative) layer and a third consisting of vocal quality or timbre such as the use of breath (It is said that in Povungnituk at one time participants also gestured as they sang possibly mimicking the sounds they were making with their actions) Melodicshyrhythmic or morphemic sequences are motivic and during performance individual motifs can be mixed and matched in themanner of the story-teller who weaves story fragments into a logical saga The musical aspects of katadjait inshycludes elements of intonation (only occaSionally melodic in the European sense of changing diatonic pitches) rhythshymic or temporal organization and timbre or the reproducshytion of desired vocal effects A good throat singer is one who can perform with endurance and strength remember the repertoire be creative in the choice of motifs and excell in the production of special timbres and rhythmic effects

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QQ~dC A SIDE A FACE A (throat songs) (chants de gorge)bCC7gtC

1 ltpr JltlN 1 Introduction and Little Dog 1 Introduction et Petit chien 2 ltlonlgt7~ 2 Sound of wind 2 Son duvent

ltJC 0-tgt7~3 3 Song of Northern Lights 3 Chant des aurores boreales

4 4 Song of sea shore 4 Chant de la greve be r~lt Cb

5 tc-tgtc Jflb 5 Throat singing contest 5 Concours du chant de gorge

6 db ~b 6 Sound of a river 6 Son dune riviere

7 0-lt c-tgt7~ gtb 7 Sound of a goose 7 Son dune oie

8 nlt fl~L -Iltdc-tgtlt ~lt 8 Sound of cooking seal flipper 8 Son dune nageoire de phoque en train de cuire9 lt~gt~b 9 Planing the runners of a kamutik

9 Rabotage des patins dun kamutlk10 0-lt C tgto- bgtlt1 1 0 Story of a goose 10 Histoire dune oie11 Mother singing a baby to sleep

on her back 11 Mere chantant une berceuse a Ienfant quelle porte sur Ie dos

11 -Iegt tgtflb

aaLldC B SIDE B1 bJc 7Jc oQbfl rfJC

ltlL~lt )C pte 1 People from different places FACE B 2 singing 1 Chant de personnes provenant de

3 ltlJL ltlJL 2 Sound of panting dogs divers endroits

4 ltgtetgtcr 3 Song of sea weed 2 Son de chiens haletants

ltlc-etgtlt L C ltledgt L c 5 4 Song of a name (for a boy) 3 Chant de Ialgue 6 -Ie ~ltI bLlltgtltlJb

5 Song of a little girl 4 Chant du nom (pour un gar(on) ba-~ ltgtJ

6 Song about the world 5 Chant dune petite fille 7 I b~ 1ftgtftgt be 6 Chant sur Ie monde(mouth harp songs8 C7bCd~

7 Song about a thumb (Chants II 18 guimbarde) 9 nltlc ~Jgtc gt

8 Song of a three stringed fiddle 7 Chant sur un pouce 10 Cdltlgtr c lt11gt )gtlt]-gtb

9 Are you shiveringr 8 Chant dun violon atrois cordes 11 ltJb L b 10 Look where somebody slept 9 Avez-vous des frissons

12 ltItgtddC be L 11 My hands are cold 10 Regardez ou quelquun a dormi

ltcr)~nltb 12 Song for a little baby 11 Jai les mains froides13 13 She thinks she is the only daughter 12 Chant pour un petit bebe

14 ltlJil eo- LrltJgtno- L 14 Contest between men 13 Elle simagine etre la seule fille ltloOlgt7

A second challenge Song of wind 14 Concours entre hommes 15 )o~ JoLl egt1gtltC 15 Song game of a blindfolded person Deuxieme defi Chant du vent

16 LlQltd(lb 16 Song for a baby 15 Jeu chante dune personne aqui

on a bande les yeux

16 Chant pour un bebe

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ProducerIRealisateur Marvin Green Recording engineer IPreneur de son Paul Hodge Cover artillustration de couverture Tumassie Echaluk CommentaryCommentaire Ellen Moses DesignConception Marvin Green

Thanks toRemerciements a Lucassie Dora and Lisa Koperqualuk La federation des cooperatives du Nouveau-Quebec The Inuit Gallery of Eskimo Art - Toronto Austin Clarkson Nicole Beaudry Beverley Cavanaugh Canada CouncilConseil des arts du Canada Inuit Culturallnstitutellnstitut culturel inuit Labrador Inuit AssociationlAssociation des Inuit du Labrador Department of Indian and Northern Affairs CanadaministElre desAffaires indiennes et du Nord du Canada Nortext

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The Canadian Music Heritage Collection is an ongoing project documenting the Native Anglo French and Ethnic traditional musics of Canada It is produced by Music Gallery Editions a record company speCializing in creative Canadian music Please write for full catalogue and ordering information

Le projet de Collection du patrimoine musical canadien (Canadian Music Heritage Collection) vise a illustrer les musiques traditionnelles du Canada

(

additional thanks to George Graves Lacquer Channel ltd lawrence Adams lama Labs World Records Yorkhill Farms

-quelles soient autochtones anglaises francaises ou ethniques On Ie doit aux Music Gallery Editions compagnie de disques qui se specialise dans la musique MH001creative du Canada Veuillez nous ecrire pour recevoir Ie catalogue complet et les renseignements sur Ie mode de commande -WRC1middot1349

LLECTIDN Box 292 StnAToronto Onto Canada M5W1B2

The village of Povungnituk is situated on Povungnituk Bay on the eastern shore of Hudson Bay in the Canadian Arctic Many of the approximately 700 inhabitants still trap hunt and fish for their livelihood its artists carvers and printermakers have brought international renown to the village Traditionally the people of Povungnituk were semi-nomadic and sought seal walrus whale and other fish game and fowl on qamotik of sleighs ~ on foot and in the ll1TIiag or womens boats They 1 ived seasonal1y in snow houses or sealskin tents like Inuit across the north they participated in a social life rich in song legend and game lore

Among the recreational activities enjoyed by the people of Povungnituk are the katadjait or throat songs duets performed by women who stand facing each other at close proximity to produce vocal sounds through voice manipushylation and breathing techniques At one time these songs were performed in many communities in the north particushylarly in the Eastern and Central Arctic but their manner of performance varied somewhat from community to community (see Side A Band 5) On the west coast of Hudson Bay for example external resonators including bread pans kettles the hoods of parkas and so forth were used to alter the sound (A resonator is a hollow chamber used in conjunction with a sound-producing object to amplify the sounds prodUced) In Povungnituk no external resonators were observed although it was reported that at one time such resonators were used In most regions katadjait are performed by two women although there are occasional references in the literature to solo or group participation On this recording for example Side B Bands 4 through 6 are performed in quartet

During the 1930s the sound of katadjait almost disappeared from the Poyungnituk soundscape Although intermittent contact with Whites had taken place in the Quebec Arctic since the mid-eighteenth century prolonged exposure to White traders did not occur until the first decade of the twentieth century In the 1930s the most dramatic changes to the traditional lifestyle took place as the Department of Transportation entered the region and radio communicashytions with the outside world began

In the early 1960s Isa Koperqua1uk a community and Anglican church leader born in 1916 decided to reverse the trend He regretted the gradual disappearance of the sound of katadjait and began to encourage the village women who had learned the songs as children to perform them once again The five Singers on this recording Alasi Alasuak Lucy Amarualik Nellie Nungak Mary Sivuarapik and Alaci Tulaugak are the nucleus of the Povungnituk singers and Povungnituk has become a center for the resurgence of throat singing in the Eastern Arctic Since the early 1970s representatives of the group have travelled south frequently to perform at special concerts powwows and folk festivals

Scholars studying this tradition mention various times of the year that performances of katadjait once took place While Bernard Saladin d Angl ure has suggested that pershyformances might have occurred at the spring equinox summer solstice and winter solstice as with other calendric cereshymonial and recreational activities it is consistentlyfound that katadjait were performed in the winter during the collective feasts and also while the men were away at the hunt Alasi Alasuak one of the Singers on this recording described how the women would sometimes perform katadjait while awaiting the return of hunters The women sing while theyre waiting Thats when a little family used to wait when the head of the family went out hunting They would wait all day all day until even late So they would put a fire on top of a little hill so that the hunter would see it Then while they were waiting they used to sing this song Sometimes they would go out to listen if they could hear the harpoon hitti ng the snow

A throat song has three layers of expression a textual (or morphemic) layer a melodic (or intonative) layer and a third consisting of vocal quality or timbre such as the use of breath (It is said that in Povungnituk at one time participants also gestured as they sang possibly mimicking the sounds they were making with their actions) Melodicshyrhythmic or morphemic sequences are motivic and during performance individual motifs can be mixed and matched in themanner of the story-teller who weaves story fragments into a logical saga The musical aspects of katadjait inshycludes elements of intonation (only occaSionally melodic in the European sense of changing diatonic pitches) rhythshymic or temporal organization and timbre or the reproducshytion of desired vocal effects A good throat singer is one who can perform with endurance and strength remember the repertoire be creative in the choice of motifs and excell in the production of special timbres and rhythmic effects

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The village of Povungnituk is situated on Povungnituk Bay on the eastern shore of Hudson Bay in the Canadian Arctic Many of the approximately 700 inhabitants still trap hunt and fish for their livelihood its artists carvers and printermakers have brought international renown to the village Traditionally the people of Povungnituk were semi-nomadic and sought seal walrus whale and other fish game and fowl on qamotik of sleighs ~ on foot and in the ll1TIiag or womens boats They 1 ived seasonal1y in snow houses or sealskin tents like Inuit across the north they participated in a social life rich in song legend and game lore

Among the recreational activities enjoyed by the people of Povungnituk are the katadjait or throat songs duets performed by women who stand facing each other at close proximity to produce vocal sounds through voice manipushylation and breathing techniques At one time these songs were performed in many communities in the north particushylarly in the Eastern and Central Arctic but their manner of performance varied somewhat from community to community (see Side A Band 5) On the west coast of Hudson Bay for example external resonators including bread pans kettles the hoods of parkas and so forth were used to alter the sound (A resonator is a hollow chamber used in conjunction with a sound-producing object to amplify the sounds prodUced) In Povungnituk no external resonators were observed although it was reported that at one time such resonators were used In most regions katadjait are performed by two women although there are occasional references in the literature to solo or group participation On this recording for example Side B Bands 4 through 6 are performed in quartet

During the 1930s the sound of katadjait almost disappeared from the Poyungnituk soundscape Although intermittent contact with Whites had taken place in the Quebec Arctic since the mid-eighteenth century prolonged exposure to White traders did not occur until the first decade of the twentieth century In the 1930s the most dramatic changes to the traditional lifestyle took place as the Department of Transportation entered the region and radio communicashytions with the outside world began

In the early 1960s Isa Koperqua1uk a community and Anglican church leader born in 1916 decided to reverse the trend He regretted the gradual disappearance of the sound of katadjait and began to encourage the village women who had learned the songs as children to perform them once again The five Singers on this recording Alasi Alasuak Lucy Amarualik Nellie Nungak Mary Sivuarapik and Alaci Tulaugak are the nucleus of the Povungnituk singers and Povungnituk has become a center for the resurgence of throat singing in the Eastern Arctic Since the early 1970s representatives of the group have travelled south frequently to perform at special concerts powwows and folk festivals

Scholars studying this tradition mention various times of the year that performances of katadjait once took place While Bernard Saladin d Angl ure has suggested that pershyformances might have occurred at the spring equinox summer solstice and winter solstice as with other calendric cereshymonial and recreational activities it is consistentlyfound that katadjait were performed in the winter during the collective feasts and also while the men were away at the hunt Alasi Alasuak one of the Singers on this recording described how the women would sometimes perform katadjait while awaiting the return of hunters The women sing while theyre waiting Thats when a little family used to wait when the head of the family went out hunting They would wait all day all day until even late So they would put a fire on top of a little hill so that the hunter would see it Then while they were waiting they used to sing this song Sometimes they would go out to listen if they could hear the harpoon hitti ng the snow

A throat song has three layers of expression a textual (or morphemic) layer a melodic (or intonative) layer and a third consisting of vocal quality or timbre such as the use of breath (It is said that in Povungnituk at one time participants also gestured as they sang possibly mimicking the sounds they were making with their actions) Melodicshyrhythmic or morphemic sequences are motivic and during performance individual motifs can be mixed and matched in themanner of the story-teller who weaves story fragments into a logical saga The musical aspects of katadjait inshycludes elements of intonation (only occaSionally melodic in the European sense of changing diatonic pitches) rhythshymic or temporal organization and timbre or the reproducshytion of desired vocal effects A good throat singer is one who can perform with endurance and strength remember the repertoire be creative in the choice of motifs and excell in the production of special timbres and rhythmic effects

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Nicole Beaudry of the University of Montreal has noted that traditionalJy the end of a song came when one of the players signalled physical psychological creative or musical exhaustion (if she was for example choking out of breath laughing or unable to follow a tempo or initiate a new motif)2 Today in Povungnituk song length seems to become more formalized as the katadjait repertoire becomes increasingly standardized

Katadjait texts are of several types (i) texts with comshyprehensible and meaningful words (ii) texts made up of comprehensible words whose meaning is obscure or enigmatic (iii) texts with words that might once have had meaning but which are no longer understood and (iv) texts composed entirely of meaningless syllables (or vocables) like ama ama The Povungnituk katadjait are of the last type

The exact meaning of the term katadjait is unclear but it has been translated in a variety of ways including throat songs throat music and throat games Where katadjait are called throat games they are included as part of an extensive Inuit game repertoire and not identi shyfied as a musical genre In Gjoa Haven in the Central Arctic for example katadjait are collectively referred to as games when you make noi ses with your throat Many Inuit games like the string games juggling games and katadjait might have been used to develop the imagination and reasoning powers of children as their texts were often enigmatic or riddle-like (The enigmatic nature of some katadjait texts in further reinforces their game function) In some regions are enshyjoyed primarily on an esthetic or While a competitive component exists in Povungnituk where the katadjait are perceived as games there is little imporshytance attached to winning and losing There are almost as many explanations and theories regarding the origins and meaning of throat songs as there are throat singing communities According to the well known Povungnituk artist the late Davidialuk the songs were learned from little people called Tunnituarruit (meani ng 1 iterally 1 ittle beings who only have tattooed faces) magical half-bird and half-human creatures whose language of communication was === In Povungnituk it is said that the throat composed by the ancestors and passed down from community to community of throat singers in the village

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The subjects of the Povungnituk katadjait are imitative in character and describe the environmental soundscape of the village The women reproduce in katadjait the indoor sounds (such as the sound of babies young puppies and boiling water) and the outdoor sounds (the sounds of water waves wind geese the Northern Lights and so forth) of their environment Anthropologist Edmund Carpenter has commented on the auditory rather than visual orientation of the traditional Aivilik Inuit In Realities he commented that

With them the binding power of the oral tradition is so strong as to make the eye subservient to the ear They define space more by sound than sight Where we might say Lets see what we can hear they would say Lets hear wha t we can see 3

When Marvin Green and Paul Hodge recorded these songs they noted a similar phenomenon the women demonstrated a natural ability to best exploit acoustical aspects of the recording situation

The songs on this disk were taped in Povungnituk (Qu~bec) in July 1979 The recording begins with a brief talk (in lnuktitut) by Alasi Alasuak ano is followed by

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seventeen throat songs The first fourteen are duets and occupy Side A and the first three bands of Side B Side B band 4 is the first of three throat song quartetsThe balance of the record is of Inuit jews harp Below is a translation of A1asi Alasuaks talk and a descriptionof each song also by Alasi

Side A

1 Introduction by Alas Alasuak liThe following throat singing is a very old way of entertainment The songs represent sounds they (the Inuit people) hear outdoors and things they see around them These include songs or sounds from rivers and dogs They also make songs for their babies The women are singing songs from their ancestors and thei r mothers

Little DogIn the old days they used to have dogs as transportashytion There was a little puppy tied up on the porch and inside the igloo he would always make howlingsounds This little dog used to howl or bark and whine because he must have thought they were howlingwhile they were throat singing So he joined in They sang a song to the puppy which was tied upinside an igloo(Singers Nellie Nungak anfi A1aci Tulaugak)

2 Sound of Wind When listening to the sound of wind going through the cracks of an igloo and also blowing on the harpoon or through the rope of the tent It should be listened to because it sounds like the tune makes sense the wind is talking or making music (Singers Alasi A1asuak and Nellie Nungak)

3 Song of the Northern Lights The women used to throat sing just beside the igloo in the doorway since the Northern Lights liked that sound They were trying to imitate the sound (of the Northern Lights) while they came closer because in winter theres lots So they would throat sing to that sound They would come And since they know that (the Northern Lights) used to play around with the head of a man like football and since they have heard about it before theyre singing theyd like to get closer So when they get scared theyre running to the igloo It is believed that when the wind blows from the north the Northern Lights come to hear the whistling sound (A1asi explained that the women become frightenedwhen the Northern Lights come too close since it is said-that they like to play football with a human head ) (Singers Lucy Amarualik and Alaei Tulaugak)

4 Song of a Sea Shore Big waves and when they make a big splash into the water Then they believe that the weather will be good for a few days Thats how the song goesBeen windy for a couple of days and they hear the big splashes They even have different splashes in the different sounds and they know the weather will be nice When its really windy you cant hear the waves but they dont make sense When the wind dies down you can hear the waVes more (Lucassie Koperqualuk our translator said in a concert that he feels that this is one of the nicest sounds you can get in your head) (Singers Lucy Amarualik and Alaei Tulaugak)

5 Contest of Throat Singin~ They used to do throat slnging when they were having contests They even had the same song to sing but

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they would never have the same sound (Each community had its own manner of performanceand repertoire of katadjait which they performed for each other but did not share Therefore when people from different communities gathered and tried to throat sing together they would never sound the same The results could be hilarious) (Singers lucy Amarualik and Mary Sivuarapik)

6 Song Sound of a River When we listen to the sound of a river it has a beauti shyful sound and also it seems as if it is making some sort of tune This song here imitates the sound of a river -- it falls and slows The weather and also the wind can change it So they imitate the sound here imitate the river sound (Singers Nellie Nungak and Mary Sivuarapik)

7 Sound of Geese Theyve heard so many sounds of birds like for example a duck a seagull or a goose When you listen to the geese you know they are the only ones that can make sounds all the time So here theyre throat singing the goose sound (Singers Alasi Alasuak and Nellie Nungak)

8 Song of Cooking Seal Fliepers Lets go back to the beg nni ng After theyve heard so many things so many sounds or calls sound of water or waves wind animals After theyve heard so much they try to imitate everything So over here they try to imitate the boiling water They used to cook with a soapstone stove which has no sound and the only thing you can hear is the boiling sound in the cooking pot (Singers Lucy Amarualik and Mary Sivuarapik)

9 Planing the Runners of a Qamotik About smoothing the runners of gamotik -- sleds Its the runners made of mud You melt the mud and put it in the runner of the sled Make a round shape and you freeze it They do that during the winter and when its all frozen they would smooth the runner They used to be different sizes some would be short and some would be long All the people in this family do it cut the mud up (The father shapes the runners the others cut the mUd) They would dig it up in the winter They first axed the frozen mud then they would squirt it on the bottom so that it comes up in one big piece Take it home and add hot water They wouldnt mud thats full of sand After they smooth it its frozen they would get water Dip a wet cloth or skin of a duck or caribou and wet the runner Wait till it freezes and then youre ready to go 100 miles an hour They always had to be careful not to let the runner hit a rock or it would turn sideways Today the sleds they go over the rocks The guy on the sled is just sitting there bouncing up and down over the rocks We dont see anybody these days (making runners in the old way) They had those before she (A1asi) was even born Some of them used to use ivory tusks she remembers They used to listen to a man planing with a wooden planeand the sound of it is used to make the exact sound of the song (Singers Nellie Nungak and Mary Sivuarapik)

10 Song Story of a Goose It was wlnter time when a goose came and went on top of the igloo and peaked through the nose of the igloo and said HONK are they ever bright in there HONK (Singers Alas Alasuak and Nellie Nungak)

11 Mother Singing a Baby to Sleep on Her Back The women used to Sing this song when they sang their babies to sleep with the baby on their back They sing like this (ama ama) to put the baby to sleep (Singers Nellie Nungak and Mary Sivuarapikl

y -gtlt1 n n~lt cC- Igt~dgtnrb bull ( bgtc 75 01 ltlLltIc- ltlLo i ltJ- -gtltlCA )

9 b6ltgt Co gtC 7Jb llc- C nLrltIgt blllt-gti b_If ltlor CQ ltlCIshybJilgt I - r ltllgtnr J bJn N CI-CIgt Co ltlL-gtshyPCIgtc- rJ CllL dltl nClgtcrltlc- LC 1gt11gt r CLa ltI) CIgt dltlgtltILC LcrCIgt-rJ ltlCi-rltc-IgtfiltC llLfC QllgtnfC llc-fC cp~nfC llc-rc-Lc llb~ Ji obnCIgtc-gtshyltILc (4CCl- LcrCIgt-llnoJ AC ltlLgt llcLfC abnl1fbfC ) IgtplgtJnoJ gtlt1 ll7l1lt1b ltlt1gt ) Jgtc-ltI IgtL LrJ Co JltlJnJ Jrb CllL ll) CIgtltTltlc- L ltlCJ e

llgtllblgtngtJ ACIgtJoC7L ltlaClgtn71gtrcr IgtQ) llIClgtcrltl L e I IC ltcIgtr) JIgtC Cl LcrcIgt-rDltlCrlgt dltlJe- L c llL I ltIll JltgtI~e ltlcnJC blgtJJe IgtltgtltT gtgtClcrcr ltlf~f) nJJrn CCrrl- -11 ltlPJL) ASI ltIllJltgtIc IgtCPgtJ CllL ltIgtllolgtdno

llfCflltlmiddot CllLl- llAJrrltlb Igtgt-Co ltIgt CllfltI (gtIe -ltI L Co llf) lle Jlt)lla)b un 1gtgt1 CdrJe 7alldJ - II ltDgtcr) bJnDe CllLllltlt-Igt LC AIgtJ)6 r ) CllLll)b ltlt1gtgt lloe-C(fa ngtJ lt1lt- llc ~IIgtlt )Ll-cr lt1gtltlt1gtgt lt1lt- ltl1gtlt~~ gt~gtI~e ltIJn LCIgtll~cr P~ rn Cc rLIgtlt Al- ltI ~JltlJgt bgt I bull ( bgt ltIe oL ltlLgt Iltli- -gtltlCN )

10 1gt0- b)ltlltb (Tlt c-b

IgtPIgtJltIgt -Lgt cr co npngtJ ltlLgt ll ( LIgtlt doe e rcr ltlLgt llrltlrcr crl-Jc llLgtILIgtlt crc-gtIcr~ crc-Igtgt-r bIgtLbd a- -1gt7 bcr ro- ( bgt 75 lt1lt- ltlc-rltI ltlL crltle- oL)

11 Ia -Igtn ltIo6c CrIl- llfJbltcrd -alle-)ltlC AltIcr ltlL rnc bull llC llf~gtI (ltILLltI ltlLLltI) -a-llernb AltlClcr ( bgtc 75 crltle- 0L ltlLgt I ltIi JgtltlCN )

F

4

5

6

Side B F

1 People From Different Places Singing 1 ltl ltlr-JltlJ JCL bDbe This one is about the different people in different ltl i- i) DuCa- IJL lIrJe

small settlements families of ten or six families C- tgtlt1 ltle f- r(J(T tJ)CY J)oc-cy ArL J dC When the people from different places finally get tgtltgto- ALrltIl t- -oeo- ltl f- prJ ArLtogether they used to play some game and also would do bn CC LC AJltlltctgtd e ltlL bCCrn 6-gt --Lnb -ac some throat singing all the settlements A family o~ nrltctgtd lt)ltLc-cr ltlrLltr fI-L C6ltL be bnb ltcshywould come from another settlement They would throat tgtd lt1 ltlrLa- -Clb fI-LltI btgtr-Lltlt-tgt sing with this woman They used to know how to throat bC 6cLa- btgtf-Lltctgt ltIe aa- blogtr ltyb bull

sing too Sometimes they would know their different ( 6J 0-lt1c- ol ltlLgt lt1r- rgtltlCb ) own ways of singing (Singers Nellie Nungak and Mary Sivuarapik) 2 pte lo-lt1l

CL~c PIC lt1)C 610-lt1 ltotgt l 6 Iltr ltlgtltIJlt1lt )ampIe2 So llT1d of Panti n9 Dogs IgtfI t 6D6 ltllgtec- LC Pr bb nCIgtltctgt)e Jd

Since the dogs were always useful they would pant ltlgtrtba 6)ltl L bull They would especially pant when it was spring time (bJn gtJ ltlLltlc- ltlLgt ltlcJ )eIgtL)when people go camping They also used to use seal skin boots for their feet when the ice had no snow bull 3 bull ltlJ at all ltlJ LLJLI1ltlraquob CI11gt61gt)ltlC(Singers Lucy Amarualik and Alaci Tulaugak) (bJe~ gtJ ltlLltlc- ltlL-gt ltlcJ leIgtL)

3 Song of Sea Weed The sea weed tastes very good when it has a salty taste (Singers Lucy Amarualik and Alaci Tulaugak)

Qua rtets

4 Song of a Name (for a bay) This song was a song for a boy trying to make the boy like his name (Singers Alasi Alasuak Nellie Nungak Mary Sivuarapik and Alaci Tulaugak)

5 Song of a Little Girl This song was for a girl which was sung by the mother and the little girl then started laughing(Singers Alasi Alasuak Nellie Nungak MarySivuarapik and Alaei Tulaugak)

6 jong About the World n the old days the people used to think the world

was flat but when they learned the world was turning they made a throat singing song about it (This song is sometimes described as the song of Southern Radio) (Singers Alasi Alasuak Nellie Nungak MarySivuarapik and Alaei Tulaugak)

Figure 4 L e

While the Inuit musical tradition is essentially vocal b4 6Ce n ltJ(1 Jsome instruments in the European sense exist Special

drJJe JCgtb ltIno- fltgtnCIgtLrlt1rltrdrums accompany some song and dance forms The so-call ed ltkr ltle rltl (T lt1c- 0L ltlr- r~ltlCfI ltk r t

Eskimo fiddle a zither with three gut strings was once 1 popular throughout the Eastern Arctic (see Side B Band 8)

L5 bce ogtr ltdeThe last 11 items on Side B of this recording are performed dCo bCogtJ ltJ JC)b ltl(L(Lamp Co ltbby Alasi Alasuak on the jews harp 6lt111rlt)amp1 bull (bJJe ltloJ ltkrltl o-ltle- ob lt1f- r~lt1Ct ltlL-gt C lt1er JcIgt L ) bThis instrument was introduced into the area by White

mtraders and was enthusiastically incorporated into the 6 bce r re lt1lt De

indigenous musical soundscape Unlike the katadjait these c Ce rcltI(jtgt PrltJ btgtf-Lb 1songs are presented in solo performance In their strucshyre bClrJL bC~~middot~~gt~~~ 1ture and content however the jews harp songs are reminishy(Co bCogt-gt clD JPb nCIgt~ 6rJltlr b-gt tscent of katadjait Like the katadjait of Povungnituk actgtnt- flrL lt0 ) 1they are imitative in character they describe a particular (b)ogtl ltlcr (Tltlc- ol lt1f- J~ltlCfI ksound or event or make aural reference to an anecdotal ltlL- ltlcr JcIgtL dsituation Like the katadjait the jews harp songs are 6D6 fllgtrJblltY J a- Prltlo- 6 iltl flrLLgtltl ngtJ composed of short repeated motivic phrases Sometimes a p e1 II NJltln II ltlPltlo- IVL rc- ltll CIgt~goose feather is substituted in performance for the jews ltle clgtn lt[) C~c c la- LIrJltlr ltr ltlLr Co-rro- 0 Coharp Alasi describes the jews harp songs she performed ltJ(1b nCIgt I LIoLlc cnC flJltln b fIlra- ltl ro b r Fas follows ltD CIgtLrt~cIgtlb tgtPIgt C~lt NLIgto (Cd r c

B rCUgtlLa- 70Side B (Jews Harp Songs Performed by Alasi Alasuak) ltletgtr o-Actgt CtgtrLe o--LldCc-r B ltlcr ltlerltl J x- lt-c r

87 Song About a Thumb The person was making fun of another ones thumb

Co AJltlnb -J~c-~ nplgt tgta-d b-~-e ltlLgt CLCL- Llc r7lgtc ro- Dac-)b bce ogtrltY ltl IgtLcr Cd) flJltlCIgt LIoJC8 Song of a 3-Stringed Fiddle

This song was about a fiddle with three strings which ltlCIgtr J ltlPrLJL ltlL- AJltlClgto-L Cc rL x- ltgtngtlt rLlJ-JLgt bC 0gt0- c bCtro- ltlr-Igtro- gtCI 9they used to play The fiddles strings were made of ltli-rb~IgtS )lgtb6~ eTA 1gtlt- ~JCIgt~ltrcaribou muscles rarltlcb tgtltoo- ) lgtbLl r ltlpltIrJr- )lltlL JgtJ6X bCC p ~b ra- x- ltro- CLILC LI-b -Jgtc ltlLgt Igtn Cl

9 Are You Shiveri ng o-Nbrer LleLa- cr c-gtlt ~Clo-LC ltllrJ~ Co 6er ltgtn 10 The person was making fun of the other person who 0 CIgtJalltl L ltlcr lgtbbCd x- lt-c r(1 flJltlCCla- was shivering from cold LLlc-ltrcer

Fi gure 5

10 Look Where Somebody SleptThe mat is made of branches which were sticking up because the snow was partly melted

11 1YHands Are Co1 d Please dont cry yet because my hands are still cold

12 Song for a Little Baby This song was for the baby who was named after his parents when the mother carried the baby on her back

13 She Thinks Shes the Only Daughter ihe mother was telling her daughter that she was not the only daughter in the settlement because she thought she was the only daughter for a long time

14 Two Harping Contests The men were having a contest in harping They had or were using the same harp Quananack was the first to try and Amarualik came in second They played the same song (i) A contest between men (ii) A song of wind another challenge in a contest

15 Song G(jme of a Bl i nded Person The person was blindfolded and was asked what he touched His answer was I touched your rear end

16 ~ong for~ 1 see a very cute eyes and cute nose Thi s was sa i d to a daughter In those days the people never had problems

Footnotes

1 Saladin dAng1ure p 89 2 Beaud ry p 41 3 Carpenter p 33

BibliographyDiscography

Beaudry Nicole Le katajjaq un jeu inuit traditionnel Inuit Studies 2 (1978) 35-53

Carpenter Edmund Eskimo Realities New York Holt Rinehart and Winston 1973

Cavanagh Beverley Some Throat Games of Netsilik Eskimo Women Canadi an Fo 1k__ Musi c Journa 1 4 (1976) 43-47

Hofmann Charles Drum Dance Legends Ceremonies Dances and Songs of the_ Eskliilos Toronto Gage 1974

Saladin dAnglure Bernard Entre cri et chant les katashyjjait un genre musical feminin Inuit Studies 2 (1978) 85-94-~

UNESCO Collection (MUSICAL SOURCES) Inuit Games and Songs (Chantsmet Jeux des Inuit Canada) Phil ips 6586 036

7 db~ ltlrl d-Olo- cltJnc-6cr

8 C7bJd~ Cltl bcr ltJr Ctgtni 6c-c rLrltJ Jtcr CdltJ Ctgtrilt ltlC rrc JSlt 1Iltgtl AcltlJ-6c

9 oJcolC ltlrl Clt6 1Ii oJr Ptgtc r

10 ltJtgtJcrltl_rb ltlltc-PltlJ C roy ltl lt 6 ltlltc-Pqc ltJgtn b 60L ltItgtL6poundgtLC

11 ltJgt Lb Pltlcofctgtdr c ltJgt Lb rc- dltJLC

12 ltItgt~~) AltlGi C- bcr lt-OJr AltJG JC -tgtf1tgt-Jc ltlL-bLo (Tc-gti-Jn6 ltlL )Jc

13 ltcrJ-rl- ltla- L lterier tgtbtgtn ltltrJ c 7fLC DaCor C1I ltor ltJ-rlltLc ltldcrltlgtb

14 6cr ltgtrue Ac-tgtC i--C ltIJn Ac-tgtC i--C bcr lt-gtnJc co riLC -11ltgt- 6- ltni ltJJ rn d lt1 rgtclttgtc rcr Af ltlJ ltlLltIc-i JLc-b ro- cc riLe oLlcc bcr ltoni ltlJ rn b

15 )06 Jo6 Q~tgtltG

(1IeL 6ob Ifgt r L)rLC rn b ltJArt-tgtblo- reLi ltl)ILl Ptgt-A )~6 Jo6 eLctgtltG

16 rQ-tgtn AltlC r QcQJr Cd rltl )IL CeL tgt6 Ctgt-t ltf7gtJ C6c 606 Ir6~nlt~gtdC

- AL Cd ltl ltlc-JL C ltlC- Jc

+ Indian and Northern Affaires indiennes Affairs Canada et du Nord Canada

copyPublished under the authority of the Hon John C Munro PC HP Hinister of Indian Affairs and

Northern Development Ottawa 1980 QS-8272-DOO-HB-Al

Copyright Ellen Karp Moses 1980 No portion of these notes may be reproduced in any form without t