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THREE NEW EXHIBITIONS HIGHLIGHT THE GREAT CANADIAN NORTH

Hull, Quebec, March 30, 1999 — This spring, the Canadian Museum of Civilization (CMC) is looking North with the opening of three new exhibitions examining the art, history, culture and people of Nunavut. On April 1, 1999 — the day the new Canadian territory is officially proclaimed — the Museum will open a major exhibition of contemporary Inuit art. Iqqaipaa: Celebrating Inuit Art, 1948–1970, presented by Cancom, features 150 sculptures and prints by artists who defined Inuit art during the last fifty years. Starting the same day, visitors can learn about the little-known adventures of sixteenth-century English explorers with Inuit and Englishmen: The Nunavut Voyages of Martin Frobisher. Finally, as a complement to these, the Museum presents Nunavut: Jewel of the Arctic, an impressive display of landscapes and portraits by the celebrated photographer Eugene Fisher.

"The creation of Nunavut represents a culmination of Canadian and Inuit values," said Joe Geurts, Acting President and CEO of the Canadian Museum of Civilization Corporation. "Our Museum can enhance this historic moment by displaying these powerful works of art and unique historical artifacts in the context of thoroughly researched exhibitions that are stimulating and enjoyable."

"We are confident that this program of special events, public activities and dynamic exhibitions will be a successful and popular way to help Canadians know and welcome Nunavut," he added.

With Iqqaipaa: Celebrating Inuit Art, 1948–1970, curator Maria von Finckenstein worked with special advisor James Houston to choose key pieces of Inuit art from the Museum's rare and extensive collection that would show how a distinct, contemporary art movement arose out of an economic and cultural crisis. At a time when the Inuit's traditional nomadic way of life was dying, the remarkable creativity and resilience that had underpinned Inuit life for centuries in an extremely difficult climate found new expression in art. This was the art that would develop an enthusiastic following around the world.

Cancom, Canada's leading provider of business satellite services, is the presenting sponsor of this major Inuit art exhibition, the centrepiece of the Museum's timely celebration of the Great Canadian North.

Four centuries earlier in Inuit history, the expeditions of the pirate and explorer Martin Frobisher led to a dramatic meeting of the Elizabethan English and the Inuit of Baffin Island. CMC Archaeologist and Arctic historian Robert McGhee has curated Inuit and Englishmen: The Nunavut Voyages of Martin Frobisher to tell the remarkable story of this sixteenth-century meeting whose ramifications are still felt today. Rare maps, paintings and artifacts, along with reconstructions and video presentations, will bring history to life and tell an historic adventure story, complete with intrigue, abduction, precious metals and human drama.

Today, the landscape and people of Nunavut still inspire awe in those who experience them. Award-winning American photographer Eugene Fisher has spent a great deal of time in the Arctic striving to understand and document the link between the lifestyles of Aboriginal peoples and their land. The sixty photographs on display in Nunavut: Jewel of the Arctic will show visitors why the Canadian North exerts such a magnetic pull.

Special Events and Activities

As the official southern site for events surrounding the creation of Nunavut, the Museum invites the public to visit on Nunavut Day – April 1 – to see the new exhibitions on the Great Canadian North, to enjoy Inuit performers and to watch a live broadcast of the official ceremonies in Iqaluit, capital of the new territory. Events at the Museum will be broadcast live via satellite uplink to communities in Nunavut. The festivities will continue through the Easter weekend, when visitors can see carving and printmaking demonstrations (April 1 through 5) and, on April 1 and 4, participate in Inuit games and enjoy cultural performances such as throat singing, drum dancing and ayaya singing. These events will be featured in a Webcast viewable on the Internet. In conjunction with Iqqaipaa, a knowledgeable Inuit interpreter will be on hand to give guided tours, demonstrations and first-hand insights for the duration of the exhibition. The Museum is grateful to Air Canada, performance sponsor of Iqqaipaa.

Starting April 1, head to the Canadian Museum of Civilization for a celebration of the Great Canadian North that runs until January 2000.

Iqqaipaa: Celebrating Inuit Art, 1948–1970

Exhibition Highlights

Concept
Presented by Cancom, Iqqaipaa: Celebrating Inuit Art, 1948–1970 is an exhibition of more than 150 works, designed not only to pay tribute to Inuit art but also to explore its origins. The exhibition tells the fascinating story of a culture in turmoil and transition out of which a distinctive and important artistic movement was born. Iqqaipaa: Celebrating Inuit Art, 1948–1970 will demonstrate how art making not only provided a welcome income to individuals and communities after the traditional economy had collapsed, but also eased the transition from camp to settlement life by providing a sense of pride and cultural identity in the face of overwhelming acculturation.

Collection
All but twenty of the works of art in the exhibition come from the unparalleled collection of the Canadian Museum of Civilization (CMC); many have never before been publicly displayed. Forty-six of the art works were once part of the significant Department of Indian and Northern Affairs collection that was divided in 1989. The twenty pieces not belonging to the Museum are on loan from James Houston's personal collection. Houston, who worked as special advisor to the exhibition team, acquired part of his collection as early as fifty years ago when he travelled and lived in the North. The prolific designer, author and filmmaker is perhaps best known as a promoter of Inuit art, having encouraged art making in several Inuit communities and having made the world aware of this exciting artistic movement.

Houston Donation
In the course of working on this project, James Houston decided to make a very generous gift to the Museum by donating four pieces from his own collection. Two large sculptures — Tonrak Chief, made in 1964 by Pangnirtung artist Josephee Kakee, and Woman Fishing, 1967, by Margaret Aniksak Uyauperk of Arviat — are included in Iqqaipaa. Houston also donated two untitled drawings by the well-known Cape Dorset artist Kenojuak Ashevak. One drawing inspired a limited edition stone-cut print, Reminiscence '62, produced and coloured in Cape Dorset by the artist and on sale only at the Museum and through the Inuit Art Foundation. The other drawing has been reproduced in the design of an exclusive tie available at the Boutique Inuit at the exhibition exit.

Culture, Art and Artist
Iqqaipaa, meaning "I remember" in Inuktitut, not only shows key sculptures and prints of the contemporary period, but also gives voice to the artists themselves through short quotations about the role of art in their lives and the creative process. The exhibition aims also to reveal the links between traditional Inuit culture, history and lifestyle and the art that springs from them. Several ethnographic artifacts will be displayed alongside works of art that refer to them. An important goal of the exhibition is to contextualize the art in the culture it reflects and supports.

Geography
The exhibition demonstrates the particular styles of four main regions of the vast territory peopled by the Inuit: Nunavik, Baffin, Keewatin and the Central and Western Arctic. Specific places too are represented, with the works of these one hundred artists organized by their communities of origin. Major art-producing communities such as Cape Dorset, Arviat and Inukjuak will be highlighted with works by key artists, portraits and discussion of the community's development.

Design
The exhibition has been designed to evoke the atmosphere of the Arctic. Colours ranging from blue through grey to beige mimic the rocky landscape from which many carvers get stone for their sculptures, and the austere simplicity of the layout suggests the purity and directness of the artists' link to their subject.

A soundscape created exclusively for Iqqaipaa lends to the Arctic ambience: out of the sound of the blowing wind emerge dogs barking, footsteps approaching on snow, and then the haunting strains of an Inuk's personal ayaya song. Recorded in 1958, Fabian Oogaaq of Pelly Bay sings the important moments of his life, and his daughter has allowed the Canadian Museum of Civilization to use the recording to enhance an exhibition that is also devoted to remembering and preserving.

Accessibility
The exhibition is designed to maximize the enjoyment of visitors with disabilities. Two large sculptures are displayed uncovered, and visitors, especially those who are visually impaired, are encouraged to touch the carving and experience it in the way the artist did. In addition, tactile tours, carving demonstrations, high-legibility labels and wide pathways among amply spaced installations make for an exhibition that is convenient and open to people in wheelchairs or visitors with other special needs.

Resource Centre
The exhibition will also feature a multimedia resource centre where viewers can browse for information on individual artists, their works of art, and their quotes and remembrances about this time of transition in their lives. This user-friendly resource centre aims to encourage visitors to expand their knowledge of the roots and development of Inuit art and to lead them to deepen their appreciation of the art itself.

Iqqaipaa: Celebrating Inuit Art, 1948–1970, opens at the Canadian Museum of Civilization on April 1, 1999 — the day Nunavut is officially proclaimed — and runs until January 30, 2000 as the centrepiece of the Museum's theme celebration of the Great Canadian North. The presenting sponsor of Iqqaipaa is Cancom, Canada's leading provider of satellite services to business.

The Dawn of Contemporary Inuit Art

Until the late 1940s, Canada's Inuit lived in about 800 small family groups scattered across the Eastern and Western Arctic, moving among seasonal camps in pursuit of game and sea animals. Contact with Canada's south consisted of occasional trips to the Hudson's Bay fur trading posts which had been established in the early 1900s.

The Inuit experienced great turmoil and cultural upheaval during the two decades between 1950 and 1970. Their nomadic lifestyle of trapping, hunting and fishing had collapsed and many groups suffered deprivation and periods of starvation. The Canadian government intervened by encouraging Inuit families to abandon their nomadic lifestyle and settle into the fledgling communities that had developed around a trading post, a missionary church and an RCMP station.

By slowly joining the cash economy, these accomplished hunters, trappers and seamstresses found themselves in a situation where none of the skills that had enabled them to survive in an extremely inhospitable environment were of any use. They did not speak English, read or wrote only in syllabics, and rarely could do arithmetic or drive a motorized vehicle. It was difficult to maintain a sense of pride and cultural identity when confronted with another culture that seemed to possess a more powerful and advanced technology.

It soon became clear to a few key people that these nomadic hunters and gatherers possessed at least one skill of great value that could generate cash — an innate talent to fashion artifacts out of bone, ivory and local stone. In order to survive they had to develop an acute power of observation, an amazing visual memory and a spontaneous creativity born out of having to create daily tools with existing natural materials. These skills served them well as artists.

In 1948, James Houston, a young artist from Toronto, visited one of the camps near Inukjuak and was impressed by the small carvings people offered him as gifts. He collected a few and showed them to the Canadian Handicrafts Guild (now the Canadian Guild of Crafts) in Montreal. That was the dawn of contemporary Inuit art.

Soon after, Houston returned to encourage art production in various regions, and with the help of the crafts guild and the Hudson's Bay Company, the barter of small carvings for tobacco, flour and pots blossomed into a large-scale enterprise. The handicrafts developed into full-scale sculptures which enchanted the world by their charm, their freshness and their innocence. Houston eventually settled in Cape Dorset, where he introduced printmaking and lived for 12 years.

Ultimately it was the arts, especially sculpture, which gave back to many Inuit a sense of efficacy and of cultural pride. The hunter who had provided for his family by killing a caribou could now carve a caribou out of stone or bone and sell it to buy food. Pride in the culture came from the fact that it was scenes and figures from Inuit life — the animals and people and their way of doing things — that people wanted to buy.

James Houston, Special Advisor

JAMES HOUSTON, O.C., D.Litt., D.H.L., D.F.A., L.L.D., F.R.S.A., F.R.C.G.S.
James Houston, author, designer and filmmaker, was born in 1921. He studied in Canada, Europe and Japan, and throughout the Second World War he served with the Toronto Scottish Regiment. In 1948, he went to the Eastern Arctic to paint and remained there for twelve years, nine of them as a Northern Service Officer and the remainder as Civil Administrator of west Baffin Island, a territory of 65,000 square miles. Houston was a prime force in the recognition of Inuit art, and while living at Cape Dorset he introduced printmaking to the Inuit. He is past Chairman of both the Canadian Eskimo Arts Council and the American Indian Art Center, and he is presently on the Inuit Art Selection Committee of the Canadian Museum of Civilization.

Mr. Houston divides his time between his home in Stonington, Connecticut, a writing and fishing retreat on the Queen Charlotte Islands, British Columbia, and New York City, where he is Master Designer for Steuben Glass. His sculptures, drawings and paintings are in museums and private collections throughout the world. He has produced and directed numerous award-winning documentary films that have been televised around the world.

James Houston most often writes about Northern Indians and Inuit. He is the author and illustrator of 17 books for children, many of which have won international book awards. His novels, The White Dawn, Ghost Fox, Spirit Wrestler, Eagle Song and Running West have been selections of major book clubs and have been published in numerous foreign-language editions. His most recent novel is The Ice Master. His published memoirs are entitled Confessions of an Igloo Dweller and Zigzag: A Life on the Move. Mr. Houston wrote the screenplay for Paramount Pictures' film production of The White Dawn, of which he was Associate Producer.

James Houston is an Officer of the Order of Canada and a Fellow of both the Royal Society of Arts and the Royal Canadian Geographical Society and has received numerous other awards and distinctions.

Maria von Finckenstein, Exhibition Curator

Maria von Finckenstein, Curator of Contemporary Inuit Art, Canadian Museum of Civilization
Maria von Finckenstein has been associated with Inuit art for more than twenty years. After studying art history in Bonn, Vienna and Berlin, she graduated from McGill University. During a fourteen-year tenure at the Department of Indian and Northern Affairs (DIAND), she was curator of the Department's Inuit art collection of 5,000 pieces and later head of the Inuit Art Section.

As curator, Ms. von Finckenstein produced, co-produced, and collaborated on a series of travelling exhibitions, including Arctic Vision, Chisel and Brush and In the Shadow of the Sun. As section head, she was instrumental in setting up the Inuit Art Foundation, an arm's-length agency directed by an all-Inuit board, with the mandate of providing professional development for artists from the Northwest Territories, Nunavik (Northern Quebec) and Labrador. Ms. von Finckenstein's writing has appeared in numerous publications on Inuit art and she is a regular contributor to the magazine Inuit Art Quarterly.

Inuit and Englishmen: The Nunavut Voyages of Martin Frobisher

About the Nunavut Voyages of Martin Frobisher

From 1576 to 1578, Queen Elizabeth I sent the pirate and adventurer Martin Frobisher on three voyages in search of a suspected northwestern route to Asia. The discovery of such a route would bring England wealth through trade in precious metals, jewels and spices. It would allow London merchants to develop the resources of newly discovered Arctic regions as well as to open new markets for English wool.

Although Frobisher did not discover a Northwest Passage to Asia, nor succeed in his attempt to found the first English settlement in Arctic America, his discoveries initiated the long-term political interests which eventually led to English and subsequent Canadian sovereignty over northern North America.

About Martin Frobisher

Martin Frobisher was an Elizabethan mariner, pirate and explorer. He was born in Yorkshire, England circa 1539.

Biography
Age 14 Shipped on expedition to West Africa and was one of very few survivors.
Age 23 Imprisoned as a hostage at Portuguese fortress of Mina in West Africa.
Age 26 The Spanish ambassador complained to Queen Elizabeth that Frobisher had plundered a rich cargo from the Andalusian ship Flying Spirit.
Age 27 Charged with attempted piracy, the first of several similar charges.
Age 33 Served the Queen of Ireland and met Sir Humphrey Gilbert.
Age 34 Considered switching allegiance to Spain in discussions with Spanish ambassador.
Ages 37–39 Involved in Northwest Passage exploration.
Age 49 Distinguished himself in defence against the Spanish Armada.
Age 55 Killed while leading an assault on a Spanish fortress in Britanny.

About the Exhibition

The Frobisher venture comprised the first official European expedition in search of a Northwest Passage, and it marked the first attempted settlement by the English in the New World. The 1578 expedition, comprising 15 ships and over 400 men, was the largest European venture to the Arctic regions until the twentieth century, and it precipitated the first large-scale mining fraud in Canadian history.

The Frobisher voyages involved trading and fighting with the Inuit inhabitants of Baffin Island. These events have been preserved in Inuit oral historical traditions until this century.

Located in the Museum's Special Exhibitions Hall, the exhibition places artifacts strategically and creatively in seven chronological areas:

Martin Frobisher

Nunavut

1576 – A Meeting of Two Worlds

1577 – Ice, Hostages and Gold

1578 – Frobisher's Gold Mines

Aftermath

The Meta Incognita Project

Visitors will see and learn about the Bodleian Library's portrait of Martin Frobisher, a narwhal tusk, an astrolabe and other early navigational instruments, and a selection of Inuit artifacts such as ivory combs, needle cases, hunting gear, kayak, paddle, bow, arrow, bird spear and throwing board. A selection of sixteenth-century English artifacts such as a bosun's whistle, jew's harp, knives, spoons and tableware are also included, representing objects that would have been seen by the Inuit who were taken captive to England four centuries ago.

The exhibition space will include a large model of Kodlunarn Island in the final days of its occupation as well as a breathtaking reproduction of a stone cottage, built on the island, which was the first known dwelling constructed by the English in North America.

The exhibition features videos evoking the fantastic landscapes of the Arctic, presenting traditional Inuit historical accounts of the Frobisher voyages and explaining what the new territory of Nunavut means to young Inuit today.

About the Curator

Robert McGhee is Curator of Arctic Archaeology with the Canadian Museum of Civilization. He has undertaken fieldwork across Northern Canada, as well as in Svalbard and Siberia. His work has addressed problems such as the first peopling of the North American Arctic; the origins of Inuit culture; the art and symbolism of prehistoric Arctic peoples; and the relations between Aboriginal peoples and early European visitors to Arctic Canada. The latter topic has led to a series of studies on the nature of medieval Norse exploration and enterprise in North America and on the general character of early European contacts with its Aboriginal peoples. During the summers of 1991 and 1992, he investigated the Baffin Island archaeological remains left by the sixteenth-century Northwest Passage expedition led by Sir Martin Frobisher.

McGhee's research has been reported in over one hundred books and articles, including both academic publications and those designed for a general audience. Prominent among these are two books, Ancient Canada (1989), which describes the Aboriginal history of northern North America, and Canada Rediscovered (1991), dealing with early European explorations of the continent between A.D. 1000 and 1600. The latter earned the Outstanding Achievement Award of the Canadian Museums Association in 1992. His most recent book is Ancient People of the Arctic (UBC Press, 1996). He has lectured widely, including invited lectures to the Archaeological Institute of America, the Danish Royal Geographical Society and the Explorers Club.

McGhee is a Fellow of the Royal Society of Canada and of the Arctic Institute of North America and past president of the Canadian Archaeological Association.

About the Meta Incognita Project

The Canadian Museum of Civilization initiated and has played a leading role in the international and interdisciplinary Meta Incognita Project, which was formed in 1990 to investigate the Frobisher expeditions and the archaeological remains of those expeditions. The exhibition presents some of the results of this research to the public.

A two-volume Canadian Museum of Civilization Mercury Series Publication entitled Meta Incognita: A Discourse of Discovery — Martin Frobisher's Arctic Expeditions, 1576-1578 will also be available for sale in the Museum's Boutique. It presents the latest historical research, sponsored by the Canadian Museum of Civilization over the last seven years, by a team based in the U.K.

Nunavut: Jewel of the Arctic

Eugene Fisher

Eugene Fisher, 42, is an eminent American photographer and writer who specializes in documenting the lifestyles of Aboriginal peoples and their relationship to the land. This body of work was twelve years in the making and portrays the vast new territory of Nunavut.

Fisher's work has been featured in many prestigious publications such as Atlantic Monthly, Equinox, Geo, Paris Match, Stern, Figaro, National Geographic World and nine National Geographic Society books. His prints have been exhibited in major museums and galleries across North America, including the Smithsonian Institution, the California Academy of Sciences, the Los Angeles County Museum of Natural History and over a dozen other major metropolitan museums. His work has taken him to the North Pole, Borneo, the Amazon, Patagonia and other remote regions of the world. This exhibition about Nunavut is particularly close to his heart due to his profound appreciation of the land and the people it celebrates.

The Exhibition

This beautiful exhibition features approximately sixty breathtaking photographs of the Inuit people and landscapes of Nunavut, as seen through the eyes of the award-winning photographer and writer. Some of the senior Inuit artists whose works are displayed in Iqqaipaa: Celebrating Inuit Art, 1948–1970 are pictured here. Mr. Malak Karsh, the distinguished photographer who has previously exhibited in this space, was consulted for the exhibition's installation.

The state-of-the-art prints were digitally created using PhotoShop software and the Cymbolic Sciences Inc. LightJet 5000 printer. These prints, on Fuji Crystal Archive enlarging paper, are the product of the most advanced colour printing system available in the world today.

Exhibition Theme

The exhibition focuses on three elements of Nunavut: the land, the animals and the Inuit. In the opening section called The Web of Life, Fisher evokes a place where these elements are interconnected in a way now very rare in the modern world. The distinguished photographer and writer says: "The longer I worked in Nunavut, the more the separation between humans, animals and the land seemed to blur. Everything was interrelated, often in ways so subtle it took me years to fully understand it all. In fact I don't understand it all — but I occasionally get a glimpse of the whole picture."

Working in all seasons, Fisher journeyed by dog sled in –40º C weather and lived for weeks at a time with travelling groups of Inuit hunters. In order to be a welcome guest rather than a nuisance, he had to adjust to a way of life often removed from the twentieth century. Commenting on this adjustment, Fisher says: "It's a good thing I'm a Californian and have been eating sushi my whole life. This made adjusting to — and actually deeply enjoying — traditional Inuit food much easier."

Fisher's work in Nunavut is part of a much larger global project attempting to document the last remnants of hunter-gatherer cultures around the world. Fisher comments: "As much as 90 per cent of our existence as a distinct species has been as hunter-gatherers. In my opinion, it is plausible that much of the 'hard-wired' aspects of our brains have been built around this mode of living." Pursuing this idea, Fisher has lived among the Penan of central Borneo and plans to visit Aboriginal groups in the Amazon and the Congo.

Acknowledgements

Mr. Fisher travels frequently throughout the Canadian North and would like to underline the key sponsorship of those who made this exhibition possible, among them First Air, the Government of the Northwest Territories, Air Canada, the National Geographic Society and Malden Mills (makers of Polartech fabrics).

Key organizations and individuals who made this work possible include Ambassador Mary Simon, the Inuit Circumpolar Conference, Chief Commissioner John Amagoalik of the Nunavut Implementation Commission, the Smithsonian Institution's Arctic Studies Center and Indigenous Development International (a joint venture project between the United Nations and the University of Cambridge, England).

Fisher also wishes to thank individual Inuit, including Osuitok Ipeelie, Lukta Qiatsuq, the Illauq family, Jimmy Manning and the late Daniel Qitsualuq.

Nunavut

After many years of peaceful negotiation among the Inuit, the Canadian Government and the Government of the Northwest Territories, a landmark agreement was signed by all parties in 1993. It was the largest Aboriginal land claim agreement in Canadian history. At the same time the government passed legislation that led to the creation of a new territory of Nunavut, taking effect on April 1, 1999.

Official ceremonies will take place that day in Iqaluit, the territory's capital. The Canadian Museum of Civilization in Hull, Quebec will be the official southern site and host to a number of Nunavut-related activities.

Nunavut, meaning "our land," becomes the first territory to join the federation of Canada since Newfoundland in 1949, and it will literally change the map of Canada. The territory consists of some 350,000 square kilometres covering the former eastern part of the Northwest Territories. Nunavut will be subject to the Canadian Constitution and Charter of Rights and Freedoms and will be led by a public government that intends to govern by consensus among its 22,000 citizens – approximately 85 per cent Inuit. Of the 19 legislators elected to lead the new government, Paul Okalik, a 34-year-old Inuk lawyer, was chosen by his peers on March 5, 1999 to become Nunavut's first premier and the youngest premier in Canada.

The Nunavut Land Claims Agreement is seen as one of the best treaties negotiated in modern Canadian history. The Agreement provides rights to ownership and use of land and resources, while involving Inuit in the decision-making process concerning the management and use of land, water and resources, as well as wildlife harvesting.

For more detailed background on Nunavut, here are some key Web sites:

Nunavut
www.nunavut.com
Among the most comprehensive sites on Nunavut, this is a one-stop site for finding out almost everything you need to know about the new territory (in English and Inuktitut). Also has excellent links to other sites.

Nunavut Tunngavik Inc. (NTI)
www.tunngavik.com
NTI represents the interests of some 21,000 Inuit living in the territory of Nunavut, for whom the land claim was negotiated. Provides detailed information on the Agreement signed in 1993.

Nunavut Planning Commission (NPC)
www.npc.nunavut.ca
The NPC is responsible for land planning in Nunavut. This site provides an extensive environmental database, an expert's database and interactive mapping.

Inuit Tapirisat of Canada (ITC)
www.magi.com/~itc/itc.html
The ITC's aim is to preserve Aboriginal language, culture and identity.

Inuit Circumpolar Conference (ICC)
www.inusiatt.com
An international non-governmental agency, the ICC represents the 125,000 Inuit living in Russia, Alaska, Canada and Greenland and promotes social and environmental initiatives.

Le toit du monde
pooka.nunanet.com/~mensuel/
A virtual magazine of northern news.

Nunatsiaq News
www.nunatsiaq.com
The largest and most widely read newspaper in Nunavut. Published in Inuktitut and English.

Information (media):
Media Relations Officer: (819) 776-7169
Senior Media Relations Officer: (819) 776-7167
Fax: (819) 776-7187