In the heart of Utqiaġvik, Alaska, the biannual Kivġiq festival recently concluded, bringing together Iñupiaq communities to celebrate their heritage and a successful harvest. Among the vibrant traditions showcased, including age-old rituals and communal feasts, a highlight emerged in the form of Brand New Dances, demonstrating the dynamic evolution of Iñupiaq culture. One such performance, by 19-year-old Susan Patkotak, captivated the audience and earned a standing ovation, embodying the spirit of reconnection and personal storytelling through dance.
Kivġiq, also known as the “messenger feast,” is a significant event for the Iñupiaq people, drawing participants from eleven dance groups, including the Barrow Dancers, Patkotak’s group. This year, approximately 700 attendees gathered in person, with thousands more joining virtually, according to North Slope Borough spokeswoman Angela Cox. For performers like David Elavgaq of the Tagiugmiut Dancers, Kivġiq is more than just a festival; it’s a vital opportunity to strengthen community bonds and rejuvenate spirits after the long Arctic winter. “It’s like healing part of us coming out of the long, dark winter days,” Elavgaq explained. “It brings us joy, so that for the rest of the year we can carry it on into all the things that we do culturally. It really brings us closer.”
The North Slope Borough Mayor’s Office performs a song during Kivġiq, showcasing community leadership and participation in the cultural event.
Elder Sollie Hugo from Anaktuvuk Pass emphasized the importance of Kivġiq as a time for collective healing and remembrance. “We’ve been in sorrow and disdain for quite some time, and we needed to lift ourselves up, so this Kivġiq was good timing,” Hugo stated, highlighting the festival’s role in communal well-being and emotional upliftment.
Kivġiq’s roots run deep, tracing back to a time when coastal and inland Iñupiaq tribes engaged in trade and messengers raced between villages to announce the celebration. Although suppressed in the early 20th century due to religious views against Iñupiaq dance, the tradition was revived in 1988, demonstrating the resilience of Iñupiaq culture. Elavgaq emphasized the enduring importance of Kivġiq, stating, “It’s something we’ve been doing for thousands and thousands of years, and we would not want it to stop because it’s so strong.”
The festival commences with the Messenger Race, a symbolic sprint that determines the opening dance group. This year, Wainwright’s runner triumphed, granting their dance group the honor of initiating the performances. Beyond the dances, Kivġiq is a feast for the senses, featuring traditional foods like maktak, caribou, and goose soup. Gift-giving is also integral, with items such as whaling bombs and ulus exchanged, reinforcing community ties. A modern addition this year was a fireworks display by the city of Utqiagvik, adding a contemporary flair to the ancestral celebration.
Members of the Wainright Dance Group perform during Kivġiq, demonstrating the energy and artistry of traditional Iñupiaq dance.
This year’s Kivġiq theme, “Community strength through individual action!” or “Iñulaam savaaģikpuaŋ Nunaaqqim suaŋŋatigigaa!” as Pearl Brower, president of the Ukpeagvik Inupiat Corporation, explained, encourages proactive community engagement. “If you see something that needs to happen, just make it happen, be that catalyst,” Brower elaborated, emphasizing individual initiative in strengthening the community.
The dance performances, the heart of Kivġiq, spanned hours daily, encompassing both traditional ceremonial dances and brand new dances. Among the former were the box drum dances by Wainwright and Utqiaġvik, rooted in the legend of Mother Eagle teaching the Iñupiaq people to drum and celebrate. However, it was the brand new dances that highlighted the evolving nature of Iñupiaq cultural expression.
Elder Sollie Hugo’s brand new dance paid homage to the raven, a significant moiety in the Nunamuit culture of Anaktuvuk Pass. Hugo, an employee at the Simon Paneak Memorial Museum, depicted the raven not as a deity, but as a practical hunting partner who guides people to caribou. Describing his creation, Hugo humorously named it “Raven the lousy dancer,” emphasizing the raven’s unpredictable movements in his performance.
Doe Doe Edwardsen, Fredrika Leavitt, and Frances Leavitt engaged in food preparation at Kivġiq, illustrating the communal effort and sharing of traditional Iñupiaq cuisine.
However, it was Susan Patkotak’s brand new dance that truly resonated, earning a standing ovation. Growing up, Patkotak was restricted from dancing due to her parents’ religious beliefs until the age of 17. Despite this, she harbors no resentment towards her parents or the church. Two years ago, she began exploring Iñupiaq song and dance tradition, and her own song spontaneously emerged. With the assistance of her former teacher, Bernice Kaigelak, she translated it into Iñupiaq. The lyrics capture the joy of embracing her cultural heritage through dance. “We create songs and dances to express ourselves and to express our stories,” Patkotak explained, highlighting the deeply personal nature of Iñupiaq dance creation.
Barrow Dancers member Susan Patkotak performing her brand new dance at Kivġiq, showcasing a powerful moment of cultural reclamation and artistic achievement.
Patkotak dedicated her brand new dance to the elders and all individuals seeking to reconnect with their cultural roots. Her performance, alongside Sollie Hugo’s raven dance and other brand new dances at Kivġiq, underscores the festival’s vital role in preserving tradition while fostering contemporary expressions of Iñupiaq identity. These brand new dances are not just performances; they are living testaments to the enduring spirit and evolving culture of the Iñupiaq people, ensuring that tradition remains vibrant and relevant for generations to come.
