Nuvisavik: The Place Where We Weave (review)

The overall purpose of Nuvisavik: The Place Where We Weave is to present the history and evolution of weaving in Pangnirtung on Baffin Island in the Nunavut Territory. An exciting combination of essays and tapestries tells the story of the introduction and evolution of tapestry weaving to Inuit women interested in participating in this innovative economic development. Donald Stuart, the initial project manager, introduces the reader to the early days leading up to the creation of what is now the largest hand-weaving studio in Canada! The story is further developed with an innovative collection of four essays written by the general manager who as a weaver and artistic advisor is seen as the leading expert on Pangnirtung weaving (Deborah Hickman); a researcher interested in community economic development (Cathleen Knotsch); an Inuit artist and art curator (July Papatsie); and the contemporary Inuit art curator at the Canadian Museum of Civilization (Maria Von Finckenstein). These four unique perspectives provide the reader with an interesting collage of voices explaining sources for design inspirations; stories about traditional life shared by Inuit artists; influences from early whalers, traders, nurses, police officers, missionaries, and government officials; and the technical aspects of introducing European-style tapestry weaving to Pangnirtung. Just as medieval, gothic, and Peruvian tapestries developed a 'language of tapestries,' this publication illustrates how Pangnirtung tapestries have done the same. The importance of this process is clearly stated by Anna Etoangat: 'Weaving is important to me because, through weaving these stories and pictures, we keep our culture strong' (193).

These essays are followed by a beautifully illustrated inventory of tapestry weavers and their works of art. Each weaver's photograph, biography, and series of personal statements are followed by photographs of the tapestries they wove. Other artists who drew or made prints related to the designs are included, and direct quotes on the meaning and importance of the designs further enrich the story. The tapestry photographs express the colour, life, and vitality of the stories unveiled as each set of yarns builds towards the completion of another story told. In addition, readers are introduced to different types of tapestries produced by the Pangnirtung Tapestry Studio, including the mini-tapestries produced in unlimited editions and the large, limited-edition tapestries.

A list of tapestry artists and their biographies, current bibliography of books and journal articles, as well as the index, contribute to the usefulness of this publication as a reference book on Inuit art, tapestry weaving, art history, Inuit artists, and community-based economic development in northern Canada. This celebration of tapestry weaving in Canada is highly recommended for individuals interested in Inuit art.