ᐊᓄᕌᖅᑐᒻᒪᕆᐊᓘᑉᓗᓂ ᐊᒻᒪᓗ ᓂᒡᓕᓇᖅᖢᓂ ᐅᑭᐅᖑᖕᒪᑦ ᓱᓕ, ᑭᓯᐊᓂ ᑕᕐᕆᔭᐅᓯᐅᖅᑏᑦ ᔪᐊᑕᓐ ᑐᑑᑉ ᒥᒃᓵᓄᑦ ᑕᕐᕆᔭᐅᓯᐅᖅᑐᑦ ᖁᕕᐊᒋᔭᖃᑦᑎᐊᖅᑐᑦ ᑕᕐᕆᔭᐅᓯᐊᒥᓂᒃ ᑲᖏᖅᖠᓂᓕᐊᖅᓯᒪᓚᐅᖅᖢᑎᒃ ᒪᐃᒥ.
“ᑕᕐᕆᔭᖅᑕᐅᔪᒪᔪᓂᒃ ᓴᖅᑭᑎᑦᑎᔪᓐᓇᙱᓐᓇᑉᑕ ᑕᕐᕆᔭᐅᓯᐊᖑᔪᒪᔪᖅ ᐅᖃᐅᓯᖃᕈᒪᙱᑉᐸᑦ ᐱᕙᓪᓕᐊᑎᑦᑎᔪᒪᙱᑉᐸᑦ,” ᑕᐃᒪᓐᓇ ᐅᖃᖅᖢᓂ ᐊᑕᒻ ᓯᑯᐊᔾᔨ. “ᔪᐊᑕᓐ ᐅᖃᓪᓚᒍᒪᑦᑎᐊᖅᑐᖅ. ᐃᓕᑦᑎᔪᒪᔪᖅ ᐃᖕᒥᓂᒃ, ᒪᒥᓴᕈᒪᔪᖅ, ᐃᓅᓯᕆᓚᐅᖅᑕᒥᓂᒃ ᑐᓴᖅᑎᑦᑎᔪᒪᔪᖅ, ᑕᐃᒪᐃᒻᒪᑦ ᒫᓐᓇ ᐱᕕᒃᓴᑐᐊᖅ.”
ᑕᕐᕆᔭᐅᓯᐅᖅᑏᑦ − ᓂᐱᓂᒃ ᑲᒪᔩᑦ, ᑕᕐᕆᔭᐅᓯᐊᓂᒃ ᑲᒪᔩᑦ, ᓯᕗᓕᖅᑎᒋᔭᐅᔪᑦ ᐊᒻᒪᓗ ᐊᒥᓱᒃᑲᓐᓃᑦ − ᒪᓕᑲᑕᓚᐅᖅᑐᑦ ᑐᑐᒥᒃ ᓄᓇᒥ ᑲᖏᖅᖠᓂᐅᑉ ᓯᓚᑖᓂ, ᓄᓇᒥᓗ ᓯᓂᒃᑕᖅᖢᑎᒃ, ᐃᖃᓗᒐᓱᒃᖢᑎᒃ ᐊᒻᒪᓗ ᑐᒃᑐᓕᐊᖅᓯᒪᑉᓗᑎᒃ.
“ᓄᓇᒦᒻᒪᑦ, ᑕᕐᕆᔭᒐᒃᓴᓂᒃ ᑲᒪᔨᐅᑎᓪᓗᑕ, ᑕᐃᒪᐃᑦᑐᓕᕆᔪᒪᕙᒃᑐᒍᑦ, ᑕᐃᒪᐃᑦᑐᓂᒃ ᖃᐅᔨᔪᒪᕙᒃᑐᒍᑦ,” ᑕᐃᒪᓐᓇ ᓯᑯᐊᔾᔨ ᐅᖃᖅᖢᓂ. “ᑲᔪᓯᓂᖓ ᐱᐅᓂᖅᓴᐅᔪᓐᓇᙱᑦᑐᖅ.”
ᓯᕗᓪᓕᖅᐹᒥ, ᐃᓱᒪᓚᐅᖅᑐᑦ ᖃᓄᖅ ᐱᐊᓂᒍᑎᓇᔭᕐᒪᖔᕐᒥᒃ ᓄᓇᒥ, ᐃᓱᒪᑉᓗᑎᒃ ᖃᓄᖅ ᓂᒡᓕᓇᖅᑎᒋᓚᐅᕐᒪᖔᑦ ᓄᓇᓕᐅᔪᖅ ᐊᓄᕆᓂᖓᓄᑦ. ᑭᓯᐊᓂ ᐱᓕᕆᖃᑎᒌᒃᑐᑦ ᖃᐅᔨᑲᐅᑎᒋᓚᐅᖅᑐᑦ ᖃᓄᖅ ᐃᓄᐃᑦ ᐱᓕᕆᖃᑎᒌᒃᑳᓘᖕᒪᖔᑕ ᑕᐃᒪᐃᒻᒪᑦ ᑲᔪᓯᓂᖃᑦᑎᐊᓚᐅᖅᑐᖅ, ᑐᐱᕐᓗ 15-ᒥᓂᑦᑐᐃᓐᓇᓂᒃ ᓇᑉᐸᖅᑎᖅᑕᐅᓚᐅᖅᖢᓂ. ᓯᑯᐊᔾᔨ ᕿᐅᓚᐅᙲᓐᓇᖅᑐᒡᒎᖅ, ᐊᒻᒪᓗ ᓴᓚᐅᓱᐃᓐᓇᖅᖢᑎᒃ.
ᑐᒃᑐᓕᐊᖅᓯᒪᑉᓗᑎᒃ ᓄᓇᕐᔪᐊᑉ ᑭᒡᓕᖓᓃᑦᑑᔭᕐᓇᓚᐅᖅᑐᖅ ᑕᕐᕆᔭᐅᓯᐅᖅᑎᓄᑦ.
ᐃᒃᐱᖕᓇᓚᐅᖅᑐᖅ ᓄᓇᕐᔪᐊᑉ ᖄᖓᓃᑦᑑᔭᕐᓇᖅᖢᓂ,” ᑕᐃᒪᓐᓇ ᐅᖃᖅᖢᓂ ᓯᑯᐊᔾᔨ. “ᑕᐅᕙᓃᓕᖅᑎᓪᓗᑕ ᐊᓄᕌᓗᐊᕈᓐᓃᓚᐅᖅᑐᖅ. ᑲᔾᔮᕐᓇᖅᑐᐊᓘᓚᐅᖅᑐᖅ ᑕᑯᑉᓗᓂ ᔪᐊᑕᓐ ᑐᑐᒥᒃ ᑐᒃᑐᑎᓪᓗᒍ ᐊᒻᒪᓗ ᐋᒃᑐᖅᖢᓂᐅᒃ ᐅᕙᑉᑎᓐᓂᒡᓗ ᑕᑯᑎᑦᑎᑉᓗᓂ ᖃᓄᖅ ᑲᒪᒋᔭᐅᖃᑦᑕᕐᓂᖏᓐᓄᑦ.”
ᑕᐃᒪᐃᑦᑐᒃᑰᖅᖢᓂ, ᓯᑯᐊᔾᔨ ᐅᖃᖅᖢᓂ ᑕᕐᕆᔭᐅᓯᐅᖅᑏᑦ ᐃᒃᐱᒍᓱᓕᓚᐅᕐᒪᑕ ᖃᓄᖅ ᐃᓄᐃᑦ ᐱᓕᕆᖃᑎᒌᖃᑦᑕᕐᒪᖔᑕ ᐅᑭᐅᖅᑕᖅᑐᒥ ᐃᓅᕌᓂᒍᓐᓇᕐᓂᕐᒧᑦ ᐊᓯᔾᔨᑲᑕᒃᐸᒃᑐᒥ ᓄᓇᒥ.
ᐃᓗᐊᓂᑦᑕᐅᖅ ᑕᕐᕆᔭᐅᓯᐅᖃᑦᑕᓚᐅᕐᒥᔪᑦ, ᐃᓕᖅᑯᓯᑐᖃᑎᒍᑦ ᕿᓚᐅᔾᔭᖅᑎᑦᑎᑉᓗᑎᒃ ᐊᒻᒪᓗ ᕿᐊᕐᕚᖅᑎᑦᑎᑉᓗᑎᒃ ᐱᙳᐊᕐᕕᑐᖃᕐᒥ.
“ᐃᒃᐱᒍᓱᒍᒪᑦᑎᐊᓚᐅᕋᑉᑕ ᔪᐊᑕᓐ ᐃᓕᖅᑯᓯᑐᖃᖓᓂᒃ,” ᑕᐃᒪᓐᓇ ᐅᖃᖅᖢᓂ ᓯᑯᐊᔾᔨ ᐃᓚᐅᖃᑕᐅᑎᑦᑎᔪᒪᓂᕐᒧᑦ ᐃᓕᖅᑯᓯᑐᖃᕆᔭᐅᔪᓂᒃ ᐱᔪᓐᓇᕐᓂᓗᒃᑖᒃᑯᑦ, ᐅᖃᖅᖢᓂᓗ ᓂᐱᓕᐊᖑᓚᐅᖅᑐᑦ ᐃᓕᔭᐅᖃᑕᐅᔪᒫᕐᓂᖏᓐᓄᑦ ᑕᕐᕆᔭᐅᓯᐊᖑᔪᒧᑦ.
“ᑕᑯᔪᒥᓇᓪᓚᕆᓚᐅᖅᑐᖅ ᑕᑯᓐᓇᕐᒪᑦ ᐊᒥᓲᓂᖅᓴᑦ ᑲᙳᑦᑕᐅᓂᖏᓐᓄᑦ ᐊᔾᔨᓕᐅᖅᑕᐅᑉᓗᑎᒃ ᑭᓯᐊᓂ ᐊᔪᙱᑦᑐᒻᒪᕆᐊᓗᐃᑦ ᖃᓄᐃᓕᐅᕈᑎᒋᔭᒃᑯᑦ.”
ᑲᖏᖅᖠᓂᕐᒥᐅᑕᑦ ᑕᑯᖃᑦᑕᓚᐅᖅᑐᒃᓴᐅᔪᑦ ᑕᕐᕆᔭᒐᒃᓴᓕᐅᖅᑐᓂᒃ ᐃᖣᕋᕐᓂᒃ ᐆᒃᑐᕋᖅᑎᓪᓗᒋᑦ ᑐᒡᓕᐊᓂ, ᒪᐃ 24-ᒥ, ᑕᐃᑲᓃᓕᖅᑎᓪᓗᑕ ᑕᕐᕆᔭᒐᒃᓴᒥᒃ ᓴᓇᔪᑦ 3.5 terabytes -ᓂᒃ ᑕᑯᓂᓕᖕᒥᒃ ᑕᕐᕆᔭᒐᒃᓴᓕᐅᕌᓂᓚᐅᕐᒪᑕ. ᓯᑯᐊᔾᔨ ᑐᑭᓯᑎᑦᑎᒋᐊᖅᖢᓂ ᑕᕐᕆᔭᒐᒃᓴᒥᒃ ᐃᓅᑉ ᒥᒃᓵᓄᑦ ᑐᕌᖓᔪᒥᒃ ᑕᕐᕆᔭᒐᒃᓴᓕᐅᖅᖢᓂ ᑕᑭᓂᖅᓴᐅᖃᑦᑕᕐᒪᑦ ᐊᓯᖏᓐᓂᒃ TSN-ᑯᓪᓘᓐᓃᑦ ᓴᓇᔭᐅᓯᒪᔪᓂᒃ.
“ᐊᔾᔨᐅᙱᑦᑑᖕᒪᑦ ᑕᐃᑉᓱᒪᓂᑐᖃᕐᒥᒃ ᖃᖓᓪᓚᑦᑖᖅ ᖃᓄᐃᓕᐅᕈᑕᐅᓚᐅᖅᑐᒥᒃ ᑕᕐᕆᔭᒐᒃᓴᓕᐅᕋᓱᒃᖢᓂ, ᑕᓪᓕᒪᓂᒃ, ᖁᓕᓂᒃ ᐅᑭᐅᓂᒃ ᖃᐃᔪᓂᒃ ᐊᒃᑐᐊᓂᖃᖅᑐᓂᒃ ᓱᓕ,” ᑕᐃᒪᓐᓇ ᐅᖃᖅᖢᓂ. “ᑕᕐᕆᔭᒐᒃᓴᓂᒃ ᓴᓇᖃᑦᑕᕋᑉᑕ ᐱᓇᓱᐊᕈᓯᐅᑉ ᐃᓗᐊᓃᓐᓇᖅ ᐱᓕᕆᓇᓱᒃᑐᓂᒃ. ᑕᒪᕐᒥᒃ ᑕᕐᕆᔭᐅᑎᓕᐊᕆᓯᒪᔭᖅᐳᑦ ᑲᒪᒋᖃᑦᑕᖅᓯᒪᔭᖅᐳᑦ 60-ᓂᒃ 100-ᓄᑦ ᐃᑲᕐᕋᓄᑦ, ᐊᒻᒪᓗ ᐋᖅᑭᒃᓱᖅᖢᒍ 90 ᒥᓂᑦᑐᓄᑦ ᐱᐅᓂᖅᐹᒃᑯᑦ ᐱᓕᕆᐊᕆᓕᖅᐸᒃᖢᒍ.”
ᑕᕐᕆᔭᒐᒃᓴᓕᐅᖅᑏᑦ ᐸᕐᓇᒃᓯᒪᔪᑦ ᐅᑎᕈᒪᑉᓗᑎᒃ ᓯᑎᐱᕆᒥ ᕿᓇᓗᒐᕋᓱᒃᑐᓂᒃ ᐃᓚᐅᖃᑕᐅᔪᒪᓂᕐᒧᑦ. ᒫᓐᓇᐅᔪᒥ ᑕᐃᑯᖓ ᑕᖅᑭᐅᔪᒧᑦ, ᑕᕐᕆᔭᐅᓯᐅᒃᑲᓐᓂᕆᐊᓖᑦ ᐅᖃᖃᑎᒋᕙᒡᓗᒋᑦ ᔪᐊᑕᓐ ᐃᑭᙳᑎᖏᑦ ᑲᓘᓇᒥ ᐊᒻᒪᓗ ᓈᔅᕕᐅᒥ. ᓄᕙᒡᔪᐊᕐᓂᐅᔪᖅ ᐊᒃᑐᖅᓯᓂᖃᙱᑐᐊᖅᐸᑦ ᐸᕐᓇᐅᑕᐅᔪᓂᒃ, ᑕᑯᔪᒪᓂᐊᖅᑐᑦ ᑕᒪᓐᓇ ᐱᐊᓂᒃᓯᒪᓕᕈᒪᑉᓗᒍ ᑎᐅᕆᓐᔅ ᑐᑐ ᐃᖅᑲᐅᒪᔭᐅᓗᓂ Hᐊᑭᕕᒡᔪᐊᕈᒫᖅᑐᓂᒃ ᐅᑭᐅᖅ.
Winds were ferocious and the bite of winter was still in the air, but the production team for a documentary on Jordin Tootoo couldn’t have been more pleased with their first filming trip to Rankin Inlet this May.
“We can only make so much magic if the participant doesn’t want to share and go there,” explained producer Adam Scorgie. “Jordin wants to share. He wants to learn about himself, he wants to heal, he wants to tell his story, so it’s a perfect time.”
His team – including sound, cinematography, director and more – followed Tootoo along on the land outside of Rankin Inlet, including camping overnight, fishing and hunting caribou.
“Being out on the land, as filmmakers, that’s what we live for, to be able to do experiences like that,” said Scorgie. “It couldn’t have gone any better.”
At first, they were wondering how they would even survive on the land, considering how cold just the town was in the winds. But his team soon saw how closely Inuit worked together to make sure everything went well, including setting up the tent in 15 minutes flat. Scorgie said they were never cold, and always comfortable.
The caribou hunt felt like being on the edge of the world for the team.
“It felt like you were on top of the world,” said Scorgie. “The wind took a nice break there. There was a really beautiful moment when we’d seen Jordin had shot the caribou and they carved it up and showed us how they did it all.”
Through those experiences, Scorgie said the team got a sense for how people work together in the North to survive the rapidly changing elements.
There were also some indoor shoots for the documentary, including traditional drumming and throatsinging at the old community hall.
“We really wanted to honour the tradition of where Jordin came from,” said Scorgie about including as much culture as possible, adding that the recorded content would be incorporated in and influence the original score for the documentary.
“It was interesting because you see how a lot of them were shy for the cameras but really talented at what they do.”
Rankinmiut may have seen the team filming at the trout measurement Tuesday, May 24, as well. By that time, the team had already amassed 3.5 terabytes of footage. Scorgie explained that a documentary takes far more filming than a normal piece one might see on TSN.
“It’s different when you’re trying to make a timeless feature, that five, 10 years down the road is still relevant,” he said. “We shoot so much more than those TSN pieces that come up for a week and get their stuff. Every doc we’ve done probably shoots anywhere between 60 and 100 hours, and then you edit that down to the best 90 minutes.”
The team plans to be back in September to join on a whale hunt. In between, they have more filming to do with former hockey peers of Tootoo in Kelowna and Nashville. So long as Covid doesn’t impact plans again, they hope to get the final piece for the film at the Terence Tootoo Memorial hockey tournament this winter.
