The
Fast Runner
Passing of stores
regarding the lifestyle of Canadian aboriginal tribes would not have been
possible were it not for proper conservation through oral tradition. Today,
there is conservation of tribal culture through modern means including films,
books, and museums. Digitizing the oral tradition is a painstaking work that
demands determination and passion for cultural conservation. In Canada North America . The films capture the indigenous
lifestyles entangled in strong beliefs in supernatural activities and deep
religious views of native societies. The paper aims to offer an in-depth
analysis of Atanarjuat-The Fast Runner movie with regards to
their hunting and gathering activities and political organization. In addition,
the paper will reveal the relationship between oral tradition and Atanarjuat-The Fast Runner Movie.
The website aims at
promoting the viewership of movies revolving around the traditional livelihood
of the aboriginal communities. Isuma Distribution International Incorporation
launched the website in the year 2008 with the help of nonprofit organizations
including Igloolik Isuma Productions and Nunavut Independent Television
Network. Interested individual viewers can stream the movies online for free.
However, television networks wishing to air the films can apply for licensing
that involves paying a fee for website upkeep.
The Fast Runner is a
classic example of a movie of well conserved Inuktitut oral traditions. The
film is set in the ancient past and is written and directed in Inuktitut
language, with basis on an ancient legend. Inuit natives pass the legendary
story from one century to another (Raheja, 1166). The setting of the film is in
Igloolik—an Eastern Arctic wilderness also
referred to as The Place of Houses. The
movie reflects the deadly struggles of the ancient people. The struggles--triggered
by jealousy and love—results into murders and revenge among relatives and other
tribal members. A curse brought evil to the formerly peaceful community.
However, the film ends with a hope of a new life as the evil is defeated,
though after much damage inflicted on the tribe.
Hunting
and Gathering
As the film starts,
there is a man that herds away stray dogs. There is a shrill voice of an old
man and he sings a childish song. Tungajuag (a shaman from the north) sings
playfully inside a stone house to entertain Kumaglak (a camp leader) and a
gathered community. The gathering in the presence of a tribal leader shows an
orderly society with knowledge on the role of a leader in a political society.
In a flashback, there is an indication that the camp leader is actually a
visitor and a revered spiritual leader. He is stoned to his death, indicating
power struggles in society. It is notable that power struggles are common in a
political setting albeit in modern times. In a flash forward Qulitalik -- the
son of a slain leader--if forced to leave the community due to the fear of his
life. Politically, the son is poised to take over from the father society’s
spiritual leader. As such, Qulitalik feels that his father’s murderer would
kill him as well to create a tribal power void. However, he hopes to make a
comeback in the future when he will be ready to take up the power mantle.
Tribal
Politics
The movie flashes
forward to decades later when Tulimaq’s sons (Amaqjuag and Atanarjuat) are
young and excellent hunters. Tribal
politic tears the brothers apart, with one favoring the leadership of Sauri
(the current camp leader) and Oki (Sauri’s son). It is clear that by strong
religious views and the ability to control supernatural powers drives tribal politics.
As such, an individual with an ability to perform rituals offering solutions o
tribal problems--including sickness and love triangles—has an automatic
qualification as clan leadership contender.
Family
Ties
The families in the
film are closely knit; every family member knows his/her role in the society.
Men are hunters while women are gatherers. In addition, the parents and
grandparents play a critical role in determination of wives to of young male
adults. For instance, Oki’s grandmother (Panipak) does not want Oki to marry
Atuat because of perceived cruelty of his family. The grandmother is fearful of
the consequences of a marriage with a son of a cruel political leader. The
controversial leader earned his power via a bloody and malicious struggle.
The
elimination of Shamans’ Evil
Towards the end of the
film, the community gathers in the evening. With their leaders help, the
community intends to eliminate the evil that has led to multiple deaths of
innocent people since Shaman’s evil visit. As a young and vibrant potential
community leader, Quatalik is knowledgeable of ways to source for spiritual
help. His know-how on how to summon evil spirits earn him trust from the
community that is vital in consolidating a political leadership. In fact, he demonstrated
his courage when he confronted Tungajuag.
His triumph over evil, as a community leader, is evident when a
supernatural evil shaman screams and disappears into the thin air. Later on, Panikpak, the wife of a slain
leader, delivers a sensational speech to the gathered community members at the
stone house. She is aware of her political role as a wife to a former community
leader. Thus, she utilizes the opportunity to reassure and strengthens the ties
weakened by the evil shaman. Besides his death, the voice of Kumaglak (the old
leader) is heard posthumously. He reassures the society regarding the regain of
the lost pride, especially that the shaman evil is gone. This phenomenon
demonstrates that the community’s leadership was eternal.
Context
A cultural context is
evident in the community’s gathering and songs. Their culture dictates that a
communal gathering should be a bonding moment where songs and dance unite the
family members that form the community.
A kinship and descent context reveals when the brothers are split
between the leadership of Sauri and Oki.
They are aware of their rightful position in the community as leaders
their upper-class family descent. There is a representation of a family and marriage
context in the strong family bonds, where each family member has a role to play
that ensures the strong future ties.
There is amplification of Gender and evolution context towards the end
of the film when Panikpak, a wife to a slain leader, addresses a gathering. Her
role as a mother and a wife reflects in her need for unification and
strengthening of communal ties for the betterment of future generations.
Oral
Traditions and the Film
Oral traditions refer
to the passage of societal morals in the ancient times from one generation to
the other through a word of mouth. The film captures a native story that
teaches the society the need for righteousness, as good triumphs over evil. The
defeat of evil spirit shows that mutual respect should exist in any society so
that ties can be strengthened to avert disasters. If the evil succeeded in the
story, it would not stand the test of time hardly making it to the film
scripts.
Works
Cited
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