Reviving Inuit Throat Singing
The Resilient Art of Katajjaq and Its Global Impact
The Arctic is alive with sound: the wind across the tundra, the cry of migrating birds, and the resonant voice of Inuit throat singing, or Katajjaq. For generations, Inuit women have engaged in this practice, exchanging breath and sound in a playful yet demanding competition. Their voices interweave like the northern lights, mimicking ice, water, and the heartbeat of the land. Katajjaq is not just music; it is a conversation, a game, and a bond that ties the Inuit community together, often performed with laughter during long winter nights while men hunted.
For much of the 20th century, the sound of Katajjaq was nearly silenced. Colonial suppression and missionary bans pushed the tradition to the brink of extinction. But like embers beneath snow, traditions are hard to snuff out. In recent years, Inuit artists have revived throat singing, reclaiming it for new generations. Singers like Tanya Tagaq and PIQSIQ have brought Katajjaq to global stages, demonstrating its power as both a cultural marker and a dynamic art form.
Today, throat singing thrives in community gatherings, where voices rise in harmony alongside the scent of bannock, the richness of seal meat, and the taste of Arctic char. It nourishes the soul and deepens connections between music, storytelling, and sustenance.
The Arctic echoes with boots crunching on snow, sled dogs howling, and voices murmuring in a qaggiq. Amid these sounds, for centuries, was the rhythmic call and response of Katajjaq, perfected by Inuit women across Nunavut, Nunavik, and other Arctic regions. It was more than music—it was a competition of breath control and creativity, a way to bond and celebrate life in a harsh land where community meant survival.
Colonial forces and missionaries sought to erase such expressions. By the early 20th century, throat singing was deemed sinful, its guttural tones at odds with Christian teachings. Banned in many communities, Katajjaq faded, replaced by hymns and a push toward assimilation. Those who continued the practice in secret risked punishment. By the time residential schools took Inuit children from their homes, many had never heard their own cultural songs.
Despite these efforts, Katajjaq was never fully extinguished. The memory of past generations lingered, waiting to be revived. Elders passed down the tradition, and artists breathed new life into it. Today, throat singing is not a relic but a vibrant expression of Inuit resilience.
Inuit throat singing is built on a cycle of breath, with singers standing face to face, their voices intertwining in an intricate dance of rhythm and sound. One leads, the other follows a beat behind, creating a layered, guttural, percussive effect. The sounds mimic the Arctic: a raven’s wings, a sled dog’s chuff, the wind over ice. It tests stamina and skill, with the goal to outlast or outmatch an opponent by maintaining the rhythm until one falters—whether by laughing, breaking the pattern, or running out of breath. This playful challenge fosters both rivalry and camaraderie.
The essence of throat singing remains unchanged: an intimate exchange, a connection to the land, and a shared heartbeat between two voices. As the tradition thrives, passed from elder to youth, from stage to social media, Katajjaq endures—vibrant, unbroken, and alive.
Once confined to Arctic regions, Inuit throat singing now thrives in contemporary music. Artists like Tanya Tagaq have led the way, blending throat singing with modern sounds. Her collaborations with experimental musicians and rock bands have pushed the boundaries of the art, while staying rooted in Inuit culture. Groups like The Jerry Cans and PIQSIQ continue this exploration, incorporating throat singing into folk, rock, and electronic music, ensuring its survival and keeping the tradition alive.
The revival of throat singing owes much to platforms like social media and music festivals, which have allowed Inuit artists to reach global audiences. Through sites like Instagram and YouTube, Inuit throat singers share their craft, connecting with people far beyond their often remote communities. Music festivals like the Arctic Arts Festival and Folk on the Rocks provide spaces for sharing Indigenous culture, offering performances and workshops that educate and empower younger generations of Inuit.
The revival of Katajjaq is part of a broader decolonization movement. It stands as an act of cultural resistance, challenging colonial legacies and affirming the vibrancy of Indigenous cultures. Through throat singing, Inuit people reclaim their history, their voices, and their stories, asserting their power and pushing back against centuries of marginalization. This cultural renaissance is a reminder that the traditions of the Arctic are as relevant today as they were centuries ago.
As Inuit throat singing gains global recognition, it brings the responsibility of preserving its cultural significance. While it has found a place in genres like electronic, folk, and experimental music, artists must approach it with respect. The line between appreciation and appropriation is delicate, and non-Inuit artists must honor the art’s cultural context, collaborating with Inuit artists when possible.
The balance between innovation and respect is key to the ongoing evolution of Katajjaq in contemporary music. Through thoughtful collaborations and careful preservation of its cultural integrity, Inuit throat singing continues to shape the global music landscape, offering listeners new ways to connect with Indigenous cultures while reminding us that tradition and modernity can coexist powerfully.
For those curious about Inuit throat singing, many resources are available, both online and in person. YouTube offers instructional videos with Indigenous-led tutorials that preserve the authenticity of the art form. To experience it more deeply, consider attending an Inuit music workshop hosted by cultural centers and community organizations. These workshops provide hands-on instruction from experienced throat singers, offering insight into both the technical and cultural aspects of Katajjaq.
Social media is another invaluable tool for connecting with contemporary Inuit music. Following platforms like Nunavut Music and the official channels of artists like Tanya Tagaq offers a window into Inuit throat singing, showcasing performances, collaborations, and creative processes. Supporting Indigenous-run initiatives, whether by attending performances or donating to projects, ensures the continued vitality of Inuit music and culture.
Engaging with these resources helps preserve and flourish Inuit traditions. Whether through online platforms, workshops, or community involvement, we contribute to the survival of Inuit culture in the modern world.
Katajjaq is more than a musical form—it is a living expression of Inuit culture, history, and resilience. As we explore Inuit music, we honour the spirit of the Arctic and the people who have preserved this tradition. Let us listen, learn, and share in the vibrant revival of Katajjaq, ensuring its significance for generations to come.
Resource
Nunavut Music – https://www.nunavutmusic.com
Tanya Tagaq’s Official Website – https://tanyatagaq.com
PIQSIQ (Throat Singing Duo) – https://piqsiq.com
National Indigenous Organizations – https://www.itk.ca (Inuit Tapiriit Kanatami)
Throat Singing Archives (CBC Indigenous) – https://www.cbc.ca/indigenous
Shina Nova —@shinanova
The Arctic is alive with sound: the wind across the tundra, the cry of migrating birds, and the resonant voice of Inuit throat singing, or Katajjaq. For generations, Inuit women have engaged in this practice, exchanging breath and sound in a playful yet demanding competition.