The Mythic Self in the Art of Kenojuak Ashevak and Inuit Drum Dancing

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The Mythic Self in the Art of Kenojuak Ashevak and Inuit Drum Dancing
This postcolonial study will analyze the marginalized voices of native peoples that define a modern mythic self in the art provided by Kenojuak Ashevak in Cape Dorset via “Transformation” (1989) and in the dominant models of Inuit drum dancing that rebel against western colonial discourse. In the art produced by Kenojuak, the idea of a mythic self being transformed into a variety of differing animals portrays the declining modernism of art that unifies her own mythic self as an Inuit. This is also apparent in the way that Inuit drum dancing emulates a mythic self that reinforces a mythological spirituality in the movements of the art form. In essence, the postcolonial...

..... of a mythic self in the spirituality of the art represented in this study.
Works Cited:
Ashcroft, Bill. The Post-Colonial Studies Reader. New York: Routledge, 1995.
“Ashevak Kenojuak: Biography.” 2009. Canadian Council for the Arts. March 7, 2009. <http://www.canadacouncil.ca/prizes/ggavma/2008/sl128499931667076280.htm>
“Inuit Drum Dancing - Gjoa Haven Drum Dance Festival.” 2009. Youtube.com. March 7, 2009. <http://www.youtube.com/watch?v=RW0Q6d8MrqI>
“Inuit Drum Dancing Of The Arctic.” 2009. Freespiritgallery.ca. March 7, 2009. <http://www.freespiritgallery.ca/inuitdrumdancing.htm>
Kenojuak, Ashevak. “Transformation (1989).” Willockandsaxgallery.com. March 7, 2009. < http://www.willockandsaxgallery.com/ashevak.htm>