Drum dancing and throat singing were originally gendered activities in Inuit society, as explained by Leanna Wilson at Nunavut Parks “Learn To” session in the Iqaluit Visitors Centre on Aug. 6.
“It looks like we have people from almost every community in Nunavut here,” says Wilson, originally from Pangirtung, looking at the group of 15 or so who assembled.
According to Wilson, throat singing was originally an activity performed by women as a way to pass the time in camp. The singing also aided their babies, carried in amautis, fall asleep by being soothed as a result of the vibrations through the women’s backs. Over time, it became the source of friendly competition, with the goal of winning by making your opponent laugh.
Of about 20 songs that mimic sounds of the environment and surroundings, like geese, saws, wind, and mosquitoes, the guttural sounds of throat singing are intended to describe everyday occurrences.
“There’s a lot of sounds I haven’t learned yet, and I’ve been singing for seven years,” says Wilson.
She also pointed out that the various dialects and stories, varying from region to region, have an impact on how throat singing is done.
To teach the group, Wilson divides them into two sections after having everyone repeat three basic patterns of a love song at length. One group, the “leaders,” then start, with the “followers” repeating the same sound a beat later.
Wilson, who is a substitute teacher in Iqaluit, says she practises by singing along to her own voice recorded on her phone.
“I find I really want to create my own throat sounds to recreate sounds you hear today. You can get really creative with it.”
Resolving conflicts, telling stories, and celebrating
For the second half of the session with Nunavut Parks' summer series, Wilson instructs the group on what was traditionally the male method of resolving conflicts: drum dancing.
The idea, she says, was to drum as long as possible until expelling all anger and resentment and tiring out an opponent first. The technique involved looking one’s opponent long and hard in the eyes.
“It was used as a justice system,” Wilson explains, “to let out anger and tell the truth. I wish this was our justice system today... now I find people have to live with their hardship till they go to court, which could take forever.”
Drum dancing was also a way to tell stories through song, using descriptive words and metaphors.
Wilson illustrates the various dancing techniques while demonstrating how to hit the drum on the rim, traditionally made out of driftwood or animal ribs, to get the desired sounds. Her movements mimic those of animals, such as rabbits, polar bears and caribou, in addition to demonstrating the “men’s position,” which is lowering one’s seat to the ground.
The tradition of drum dancing and throat singing remains very much alive in the Kivillaq region, she notes.
Nowadays, drum dancing and throat singing are often used in celebrations. As Wilson points out, Iqaluit is the only capital in North America that does not have its own performance arts centre.
