Placing Identity: Town, Land, and Authenticity in Nunavut, Canada

Recent demographic changes have made settlement patterns in the Canadian Arctic increasingly urban. Iqaluit, capital of Canada’s newest territory, Nunavut, is home to the largest concentration of Inuit and non-Inuit populations in the Canadian North. Despite these trends, Inuit cultural identity continues to rest heavily on the perception that to learn how to be authentically Inuit (or to be a better person), a person needs to spend time out on the land (and sea) hunting, fishing, trapping, and camping. Many Inuit also maintain a rather negative view of urban spaces in the Arctic, identifying them as places where Inuit values and practices have been eclipsed by Qallunaat (‘‘white people’’) ones. Some Inuit have even gone so far as to claim that a person is no longer able to be Inuit while living in towns like Iqaluit. This article examines those aspects of Canadian Inuit identity, culture, and tradition that disfavor the acceptance of an urban cultural identity. Based on ethnographic research conducted on Baffin Island in the mid 1990s and early 2000s, the many ways Iqaluit and outpost camp Inuit express the differences and similarities between living on the land and living in town are described. Then follows an examination of how the contrast of land and town is used in the rhetoric of Inuit politicians and leaders. Finally, a series of counterexamples are presented that favor the creation of an authentic urban Inuit identity in the Arctic, including recent attempts on the part of the Nunavut Territorial Government to make education and wage employment in the region more reliant on Inuit Qaujimajatuqangit, or Inuit traditional knowledge.1

Scott Joplin: Treemonisha

Scott Joplin’s (1867–1917) opera Treemonisha is the only opera in existence about the Reconstruction era African-American experience written by a black man who actually lived through it. This fact alone makes the opera a work of tremendous significance. Further, Joplin’s music is profoundly expressive and as stylistically unique as anything ever created in America. Through his score and libretto, Joplin vividly documented a culture that has left us few other artifacts: The echoes of the “field hollers,” spirituals, fiddle tunes, revival hymns, and ancient African dances of his rural childhood are all heard, along with the dialects of his people rising up from slavery. Yet for all of its obvious significance, Treemonisha has been a deeply misunderstood work. The opera was complex and virtually unprecedented, two reasons why 1910s America could not embrace it. And tragically, Joplin's original 1911 materials for the opera were almost entirely destroyed in the early 1960s. In the early 1970s several attempts were made to reconstruct it, but for the most part these were not concerned with the opera’s cultural origins or historic authenticity. But now, on the centennial of this extraordinary creation, comes this new recording of a completely authentic reconstruction of Treemonisha by Rick Benjamin, based on eighteen years of research.