Makivik Magazine Issue 112

had made a film about traditional tattoos and watching it, thinking about
it, Weetaluktuk realized it was something she had to do.
“I believe very much in Inuit identity and having as much as we can
that we can sustain in this time,” she says. That made her realize, “I’m
going to do that because I believe in that.”
The reaction, Weetaluktuk says, has been mostly positive. A few people
have high-fived her in stores and a bus driver even told her, “Wow, I love
seeing people who are so into their cultures, who dedicate themselves.”
Diving into her culture is part of what Weetaluktuk enjoys about
working on “3,000.” That, she admits with a laugh, and being able to do
research in the North and spend time with her nieces there.
“To get to do something that could also be good for them,” she says,
trailing off. “I love them.”
There have been so many stages to her documentary project already,
says Weetaluktuk. She started with research and writing, then she began
filming and finding the right soundtrack and the right images. It’s a whole,
lengthy process, but she says, “I love every single part of it.”
Documentaries are, Weetaluktuk believes, one of the best ways to
communicate with people.
“I’ve always been thinking about what are good ways to communicate
with people, what are good ways to communicate ideas,” she says, “and
I think film is especially good for me, because it starts with research
and writing.”
To communicate well you have to really know what you’re talking
about, a process that requires an abundance of research to figure out the
source material to draw from and then plenty of writing to ensure that
what you actually put in front of an audience is the right combination
of words and clips and images to tell an effective story.
A documentary gives you that time, Weetaluktuk says.
“You have the time to be able to learn and make sure you know as
much as you can before you communicate,” she says. “Not every artist’s
practice or everything you do in life gives you the time to have enough
time to be able to really know what you’re talking about.”
It’s especially important for her, Weetaluktuk says, because she didn’t
grow up learning about Inuit tradition and culture in school. Much of
her knowledge is self-taught. But the archival discovery, she says, has
been incredible.
“I got to see so many beautiful things,” Weetaluktuk says. “One of
my favourite shots is a man icing the bottom of his [qamutik/sled] and
that’s so beautiful.”
That magic of seeing a shot so beautiful that is so representative of
your culture and tradition is something she wants other Inuit youth to
experience.
“Everything” is Weetaluktuk’s inspiration.
“The world is so beautiful and there are so many amazing and beautiful
things and [we], Inuit, are not always shown that,” she says, starting to
cry. “It’s inspirational to try to make a little light for us.”
ᐅᐃᑖᓗᑦᑑᑉ ᑕᕐᕋᓕᔮᒐᓕᐊᖓᑕ ᐃᓱᓕᓂᖓᓂ: ᐊᑖᑕᖓ ᔫᐱ ᐅᐃᑖᓗᑦᑐᖅ ᐃᓴᐸᓛ-ᕉᔅ ᐅᐃᑖᓗᑦᑐᓗ ᐃᓄᑦᔪᐊᒧᑦ ᓵᖕᖓᓱᑎᒃ 3,00 ᐊᕐᕌᒍᖓᓂ.
During the end of Weetaluktuk’s film: her father, Jobie Weetaluktuk and Isabella-Rose Weetaluktuk overlooking Inukjuak in the year 3,000.
© JONATHAN NG AND PATRICK DEFASTEN
MAKIVIK mag a zine
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