Malaya Akulukjuk was an Inuk artist who drew works inspired by her life as an angakkuq (shaman) and Inuit spirituality 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, Northwest Territories, (now Nunavut) before moving to Pangnirtung on Baffin Island in 1962.
[2] 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.
Many 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.
Some of Akulukjuk's pieces such as Inuit Ways (1979) and Hunting Polar Bears with Harpoon (1982) are displayed in the National Gallery of Canada and various museums across the country.
[14] To aid in this process, the Canadian government funded art and crafts initiatives across the Arctic region and contracted companies to administer and run these programs.
[16] The women quickly learned hand-weaving techniques and moved on to loom weaving, creating linear patterns and items like sashes, hats and blankets.
[18] In celebration of the centennial year of the Northwest Territories, Queen Elizabeth II visited Iqualuit 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!
[15] The Pangnirtung Weave Shop was moved into the Uqqurmiut Inuit Artists Association Centre, leading to the central management of all arts and crafts.
[22] 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.
[27] In Akulukjuk's later artistic career, she started to depict complex themes with multiple characters, and those works continued to communicate her shamanistic beliefs.
[31] When she adopted her artistic career, she viewed drawing as a way to pass on her rich knowledge of the "true Inuit life" to the younger generation.
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.
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.
For instance, her drawing Children at Summer Camp (1980), was originally created with black and brown pen; while its rich and saturated colours were added by the tapestry artist, Kawtysee Kakee.
The tapestry artist focuses on mixing the soft colours of the wool with a lighter thread, which creates the glow of warm evening light.
[36] 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.
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.
[23] Two of Akulukjuk's works, Inuit Ways (1979) and Hunting Polar Bears with Harpoon (1982) are displayed in the National Gallery of Canada in Ottawa.