Centuries of our land’s stories come to life in both English and Nattilingmiutut
The Breathing Hole / Aglu ᐊᒡᓗ hits the stage at the NAC from November 30 to December 10, 2022. Written by Colleen Murphy with Siobhan Arnatsiaq-Murphy and directed by Reneltta Arluk, The Breathing Hole follows Angu'ruaq, a one-eared polar bear, on a 500-year journey through the Arctic, tracing the paths of colonialism into a 21st century ravaged by climate change.
Originally written and presented in English, The Breathing Hole has been fully translated and is now partly performed in Nattilingmiutut, an Inuit dialect of the eastern Kitikmeot. The play is the largest written text example of the Nattilingmiutut dialect - a significant achievement which plays an important role in the advancement of Inuit culture and language.
Nilaulaaq Miriam Aglukkaq, an elder from Gjoa Haven, is an advocate for the Inuit language and has worked extensively toward the development of a dictionary in the Nattilingmiutut dialect in order to help provide language resources for Inuit. Alongside Janet Tamalik McGrath, a language advocate and consultant for Nattilik communities, they are responsible for creating the translation of this monumental three-act play.
We had the pleasure of connecting with Tamalik and Nilaulaaq about the importance of the translation, the process, and their hopes for future teachings of Nattilingmiutut.
Why was it important to translate the production into what is now the largest existing written example of the Nattilingmiutut dialect?
For both of us, Nilaulaaq and I, it was always about language preservation and revitalization. Nothing is perfect, but if we believed that and didn't try or were not willing to take risks, there would be no movement forward. It was a huge challenge to translate an epic three-act English play within the genre of Greek tragedy. Nattilingmiutut is deeply an oral culture, and we barely had an adequate writing system, let alone any literary tradition as English and French theatre has had since the 10th and 12th centuries.
'ᒪᑦ ᓇᑦᕠᓕᐅᖕᒥᐅᑑᖅᑕᐅᒐᓗᐊᖅᐸ ᐅᓇ ᑕᑭᓛᖑᒋᖬᐅᓕᖅᖢᓂ ᑯᑕᐃᖮᖪᑎᓂᒃ ᐊᑐᖅᑐᓂᒃ?
ᑕᒪᓕᒃ ᒪᒍᕋ (ᖃᑉᓗᓈᓐᓄᐊᖅ): ᓂᓚᐅᓛᕐᓗ ᑕᒪᒻᓄᒃ ᐃᒪᓐᓇᖅᑐᒍᒃ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᕋᐊᕐᓗᒋᑦ ᑕᑯᖬᐅᑎ'ᓗᒋᓪᓗ ᐃᑲᔫᑎᖃᕈᖕᓇ'ᒪᑦ ᐅᖃᐅᓕᕆᓂᕐᒧᑦ. ᓇᑐᐃᓐᓇᐃᑦ ᑕᒻᒪᖅᒪᖪᖃᕈᖕᓇᖅᑑᒐᓗᐊᑦ, ᑭᐊᓂᒃ ᐆᒃᑐᕋᐊᙱᑦᑲᓗᐊᕈᑉᑕ ᐊᑦᖁᓇᕐᓇᕋᓗᐊᖅᑎ'ᓗᒍ, ᕗᓂᒃᓕᐅᕋᐊᖅᑑᖭᓇᙱ'ᒪᑦ. ᐅᕙᒻᓄᓪᓕ ᐊᑦᖁᓇᕐᓇᖅᒪᓕᖅᑑᒐᓗᐊᖅ ᑎᑎᖅᑲᓕᕆᒐᒪ ᖃᑉᓗᓈᑑᖅᒪᖪᒥᒃ ᐃᓄᒃᑑᓕᖅᑎᑦᕠ'ᓗᖓ ᖃᑉᓗᓈᑦ ᖁᓐᖏᐊᒐᒃᓕᕆᖪᑐᖃᐸᓇᓘᒐᓗᐊ'ᒪᑕ, ᓇᑦᕠᓕᖕᒥᐅᑐᓪᓗ ᐃᓄᒃᑐᑦ ᐃᑦᕦᕐᓂᒃᕠᕙ'ᒪᑕ ᐅᖃᐅᒃᑯᑐᐃᓐᓇᒻᒪᕆᒃ, ᑎᑎᕋᖅᒪᙱ'ᓗᑎᒃ ᑎᑎᕋᖅᒪᖪᒥ'ᖔᖅᑐᓂᒃ ᐊᑐᙱᒻᒪᕆ'ᒪᑕ. ᖃᑉᓗᓈᓪᓗ ᑕᐃᒪ ᑕᐃᑲ'ᖓᒻᒪᕆᒃ ᖁᓐᖏᐊᒐᒃᓕᕆᖪᑐᖃᐅ'ᒪᑕ ᐅᑭᐅᑦ 1200-ᖏ'ᓃᑎ'ᓗᒋ'ᓘᓐᓃᑦ ᑕ'ᓇᐃᑦᑐᓕᐅᖃᑦᑕᖅᒪ'ᒥᖪᑦ ᑕᐃᑲ'ᖓᑦ ᕗᓂᐊᓂᓪᓘᓐᓃᑦ.
How was the process of creating the translation?
Firstly, when Reneltta Arluk and Colleen Murphy asked me to work on a translation for a book form, I gave an overview of the play to Nilaulaaq verbally, similar to what Colleen did for me when she introduced her work and her intentions about the play and each act. Then I began drafting sections and reading them to Nilaulaaq over the phone. Just reading character lines back and forth wasn’t useful, so I reached out to Colleen numerous times and learned about the context of each scene and what each character was like at a given moment.
With that information, I spoke again with Nilaulaaq, painting the scene, the context, and the situation. As Nilaulaaq is a master storyteller in the Nattilingmiutut tradition, she began reciting in her own words what was going on. From that, there were words and phrases that I was writing down as she spoke, and I used them in the lines. Often, Nilaulaaq would share archaic words—words no longer commonly used—but ones she had either heard as a child or collected from many years of speaking widely with elders in the Nattilik area. These words, phrases or concepts are embedded in the first two acts.
Rather than working with everyday language, the translation process was an exercise in documenting and using the colourful and challenging combinations of consonants unique to the Nattilingmiutut dialect. This choice in translation was for the preservation of older forms. At the time, we didn't know what challenges that might pose for speakers of other dialects and had no sense as to whether the play would ever be run in Inuktut.
ᑕᒪᓕᒃ: ᐊᐱᕆᖬᐅᒐᓗᐊᕋᒪ ᐊᖅᐱᖕᒥᑦ (ᑐᑭᒧᐊᒃᑎᑦᑎᖨᐅᖪᖅ) ᑳᓖᓐᒥᓪᓗ (ᑎᑎᕋᖅᑎᐅᖪ) ᐅᖃᓕᒫᒐᒃᓕᐅᖅᑕᐅᖪᒥᒃ ᐃᓄᒃᑑᓕᖅᑎᑦᕠᔪᒪᔮᒃᒻᓂᒃ, ᑕᐃᒪᓗ ᓂᓚᐅᓛᕐᒥᒃ ᐊᐱᕆᖮᕌᖅᖢᖓ ᑐᖅᑎᖮᕌᖅᖢᒍ ᐅᓂᑉᑳᖑᖪᒥᒃ. ᑕᑭᖪᐊᓘ'ᒪᓪᓗ ᐱᖓᓕᖓ'ᓗᓂ, ᑐᑭᓕᐅᕋᐊᖅᖢᒋᑦ ᓂᓚᐅᓛᕐᒧᑦ. ᑕᐃᒪᓗ ᑎᑎᕋᖅᐸᓪᓕᐊᓕᖅᑎ'ᓗᖓ ᓂᓚᐅᓛᖅ ᕙᔭᖅᐸᒃᑲᓗᐊᖅᖢᒍ ᐅᖃᓕᒫᕐᕕᒋᕙᒃᖢᒍ ᑐᑭᓐᓇᕆᐊᒃᐃᑕ ᐅᖃᐅᑦ. ᑕᐃᒪᓗ ᑕᑉᑯᐊᑦ ᑎᑎᖅᑲᑦ ᐅᖃᒪᙳᐊᖅᑐᓂᒃ ᐱᖃᐅᖅᑐᐊᓘ'ᒪᑕ ᑕᐅᑐᖕᓇᙱ'ᓗᑎᒡᓗ, ᐃᓛ'ᓂᒃ ᐊᐱᕆᒋᐊᖅᐸᒃᑲᓗᐊᖅᖢᒍ ᑳᓖᓐ (ᑎᑎᕋᖅᑎ) ᑐᑭᓕᐅᖅᐹᓪᓕᖁ'ᓗᒍ ᐅᕙᑉᑎ'ᓄᑦ.
ᑕᐃᒪᓗ ᑕᐅᑐᙳᐊᖅᑕᒻᓂᒃ ᐊᑐᓕᖅᖢᖓ ᓂᓚᐅᓛᕐᒧᑦ ᑐᑭᓕᐅᖅᐹᓪᓕᕋᐊᖅᐸᒃᑲᓗᐊᕋᒪ. ᓂᓚᐅᓛᖅ ᑕᐃᒪ ᐃᑦᕦᕐᓂᑕᓂᒃ ᖃᐅᖨᒪᑦᕠᐊ'ᒪᑦ ᐃᑦᕦᕐᓂᑦᕠᕙ'ᒪᑦ ᑕᐅᑐᙳᐊᓕᖅᑖ'ᓂᒃ ᑕᐃᒪ ᐊᑐᓕᖅᖢᓂ ᑎᑎᕋᖅᐸᓪᓕᐊᒪᓕᖅᑐᖓ ᐅᖃᐅᕐᓂᒃ ᐊᑐᖅᑕᒃᓂᒃ. ᓂᓚᐅᓛᕐᓗ ᖃᐅᖨᒪᑦᕠᐊ'ᒪᑦ ᐅᖃᐅᑐᖅᑲᓂᒃ—ᐊᑐᖅᑕᐅᑦᕠᐊᕈᐃᖅᑐᓂᒃ —ᑐᐅᒪᖬᕋᓗᐊᒥᓂᒃ ᓄᑕᕋᐅᑎ'ᓗᒍ ᐊᒥᖮᕋᖅᑐᓂᒡᓗ ᐃᓄᑐᖃᕐᓂᒃ ᓂᐱᓕᐅᖃᑦᑕᖅᒪᖪᑐᖃᐅᒐᓗᐊ'ᒪᓪᓗ ᐅᖃᐅᓕᖪᕆᑐᖃᓇᓘ'ᓗᓂ. ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᕐᒥ ᑕᐃᒪ ᐅᖃᐅᑐᖅᑲᑦ ᐃᓚᐃᑦ ᐊᑐᖅᑕᐅᖃᑕᐅ'ᒥᖪᑦ.
ᑐᕐᓂᖅᑐᓕᐅᕋᐊᕋᓗᐊᖅᑐᒍᒃ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅᑦ ᐋ'ᖨᒋᖬᐅᙱᑦᕤᐸᓇᓘ'ᒪᑕ ᑯᑕᐃᖮᖪᑎᖃᐅᖅᖢᑎᒡᓗ. ᑕ'ᓇᐃᓕᐅᖅᑐᒍᒃ ᓇᐃᓈᖅᑎᓐᓇᐊᙱᑦᑲᓗᐊᖅᖢᒋᑦ ᐅᖃᐅᑦ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᖅᑕᐅᑦᕠᐊᖁ'ᓗᒋᑦ. ᑕ'ᓇᐃᓕᐅᕋᓗᐊᖅᑎ'ᓗᓄᒃ ᐃᒪᙱᑦᑲᓗᐊᖅᑐᒍᒃ ᐊᑐᖅᑕᐅᔪᒫᕐᓂᖓᓂᒃ ᐃᓄᒃᑐᑦ ᐅᖃᐅᖃᖃᑎᒋᙱᑕᑉᑎ'ᓄᑦ, ᐊᒃᐱᐅ'ᖬᐅᙱ'ᓇᒻᓄᒡᓗ ᐃᓄᒃᑐᑦ ᐊᑐᖅᑕᐅᔪᒫᕆᐊᒃ'ᓂᒃ ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᓇᓗᖕᒥ.
Working with cast members unfamiliar with Nattilingmiutut presents an opportunity to teach and share the significance of the dialect and accompanying culture. What are your hopes for future teachings of Nattilingmiutut, and what steps do you think need to be taken to reach those goals?
Nilaulaaq (through translation from Inuktut): It is important to me that our language has continuity into the future. The language has less transmission, and when the younger speakers get mixed up, they become discouraged. I want them to see that other speakers of different dialects can try to speak our dialect. It's okay to make mistakes. That is how we all learn.
I am so glad to see Nattilik syllabics showcased in the production. The actors are learning a lot, and as they work with the dialect slowly and consistently, they are making progress. I wanted the rich and complicated forms of our dialect to be in the script, so it was a challenge for them to learn in a short time, but we have worked hard together, and I'm really proud of each and every one of them. There may be extra challenges to learning the lines without being speakers of the dialect, but we tried to create an environment where they felt safe to try.
To reach the goal of preservation and continuing Nattilingmiutut, the steps are to encourage the young people in our communities to become strong in the dialect. The play really shows Inuit from other regions valuing our dialect—this will no doubt inspire the Nattilik youth to take courage and not be afraid to try.
Tamalik: My hope and vision are that work forward is rooted directly in community needs. This production is for a national stage and attracts international interest. It carries a vital message that is universal in quality and timeliness. Yet, I’ve had high-school youth from Nattilik tell me they laughed and cried through parts of the book. They said the reason for their strong connection to it is they saw themselves, even in the 1500s characters, and that the humour was so spot on throughout that it amazed them that a book could have so much life.
My work on this play was all for the youth. To spark joy in literacy, to eventually see their regional culture acted out on a big stage, rooted in some details that only insiders appreciate, yet faithfully carrying the spirit of the Nattilik region for a broad audience and reaching them too. I'd like to be clear that since the book publication, we've moved far beyond the original syllabics script with new input from other sources.
The first steps are to encourage and inspire the youth, in order to promote the future teaching of Nattilingmiutut, and the book and play have done that. I believe community theatre can support Nattilingmiutut oral language revitalization while also using the writing system and promoting dialect literacy. The main thing is that the initiative comes from young people. We are here to support their efforts and interests. The youth will carry the language and culture forward, while this production has created space, dialogue, and opportunity to inspire their work with elders and language keepers.
ᓇᖃᑎᖃᖅᖢ ᓕᕆᙳᐊᖅᑎᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᕆᐅᖅᕋᐊᓕᖅᑐᓂᒃ ᑐᑭᕚᓪᓕᖅᖢᑎᒡᓗ ᐱᒻᒪᕆᐅᓂᖓᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑦ ᐅᖃᐅᑦ ᐃᓕᑦᖁᓪᓗ. ᖃᓄᖅ ᐃᒪᕕ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅᖅ ᑲᔪᑎᑕᐅᑦᕠᐊᕐᓂᒃᒍᑦ ᖃᓄᕆᓕᐅᖅᑐᖃᕐᓗᓂ ᕗᓂᒃᒧᑦ?
ᓂᓚᐅᓛᖅ: ᐅᖃᐅᖅᑯᑦ ᑲᔪᔮᖃᒻᒪᕆᒃᑐᖅ ᕗᓂᒃᒧᑦ. ᐅᑉᓗᒥᐅᖪᖅ ᐃᓚᐃᑦ ᐅᖃᕆᐅᖅᙱ'ᒪᑕ, ᑕᒻᒪᓕᕌᖓᒥᒡᓗ ᐱᓕᖃᑦᑕ'ᒪᑕ ᐊᔪᕋᒋᓐᓇᖅᐸ'ᒪᑕ. ᑕᐅᑐᖁᒐᓗᐊᖅᐸᑦᑲᑦ ᐅᖃᐅᖃᖃᑎᒋᙱᑕᑉᑎ'ᓂᒃ ᐃᓄᖕᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑦᕠᓇᐊᖅᑐᓂᒃ. ᑕᒻᒪᕋᓗᐊᕐᓗᓂ ᖃᓄᕆᙱᒻᒪᕆ'ᒪᑦ. ᑕᐃᒪ'ᓇ ᑕᒪᑉᑕ ᐃᓕᖅᐹᓪᓕᖅᐸᒃᑐᒍᑦ ᐆᒃᑐᕋᕋᐊᑦᕠᐊᕐᓂᒃᑯᑦ.
ᖁᔭᓕᑦᕠᐊᖅᑐᖓ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᖁᑕᐃᖮᖪᑎᑦ ᑎᑎᕋᐅᑦ ᐊᑐᖅᑕᐅ'ᒪᑕ ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᕐᒥ. ᓕᕆᙳᐊᖅᑎᑦ ᐃᓕᑦᕠᐊᖅᑐᓇᓘ'ᒪᑕ, ᐆᒃᑐᕋᕋᐊᙱᓐᓇᖅᖢᑎᒃ ᐃᓕᑉᐸᓪᓕᐊᖪᐊᓘ'ᒪᑕ ᐊᔪᕈᐃᖅᐸᓪᓕᐊᖪᐊᓗᐃᑦ. ᐅᖃᐅᒃᐃᑦ ᓇᐃᒡᓕᒋᐊᖅᑕᐅᕙᓪᓛᖁᙱᑕᕋᓗᐊᑦᑲᑦ, ᑕᐃᑦᕠᐊᕈᖕᓇᖅᕙᓪᓕᐊ'ᓗᓂᒋᑦ, ᓇᖃᑎᒌᑦᕠᐊᖅᖢᑕ, ᑖᑉᑯᐊᑦ ᑕᒪᐃᑕ ᐅᐱᒋᕙᑦᑲᑦ ᓇᑦᕠᐊᕋᐊᖅᐸᒃᑲᓗᐊᖅᖢᑎᒃ. ᐊᑦᖁᓇᕐᓇᖅᑐᒃᐅᒐᓗᐊᖅ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᖅᑎᐅᙱ'ᓇᒥᒃ, ᑭᐊᓂᒃ ᑲᓐᖑᖁᙱ'ᓗᒋᑦ ᓇᖃᑎᒋᑦᕠᐊᖅᑕᕋᓗᐊᕗᑦ.
ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅᖃᕐᓂᖅ ᑲᔪᓐᓇᖁ'ᓗᒍ ᐳᐃᒍᖅᑕᐅᖁᙱ'ᓗᒍ ᐃᓅᒃᑐᑦ ᓄᓇᑉᑎ'ᓂ ᒪᑭᒪᑦᕠᐊᖅᑎᑕᐅᓇᐊᕆᐊᖃᖅᑐᑦ ᐅᖃᕆᐅᖅᖅᑎᑕᐅᓗᑎᒃ ᑲᓐᖑᙱᓪᓗᑎᒃ. ᑕᐃᒪᓗ ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᒥ ᐃᓄᐃᑦ ᓄᓇᖅᑲᑎᒋᙱᑕᕗᑦ ᐅᖃᐅᖃᖃᑎᒋᙱᑕᕗᑦ ᑦᕿᑎᕆᓇᐊᖃᑕᐅᖪᑦ—ᑕᑯᖬᐅᑎ'ᓗᒋᑦ ᖁᕕᐊᒋᖬᐅᓂᐊᖅᑐᒃᐅᕗᑦ ᑲᓐᖑᓇᙱ'ᒪᑦ ᐆᒃᑐᕋᐊᖅᓐᓇᖅᖢᓂ
ᑕᒪᓕᒃ: ᐃᒪᕙᒃᑲᓗᐊᖅᑐᖓ ᐅᖃᐅᓕᕆᓂᒃᑯᑦ ᕗᓂᒃᖃᑦᕠᐊᕈᖕᓇᖅᑐᒍᑦ ᐱᓇᐊᖃᑎᒌᑦᕠᐊᕈᑉᑕ ᐊᑐᕐᓗᒋᑦ ᓄᓇᓕᖕᓃᑦᑐᑦ ᐱᔪᒪᖬᐃᑦ ᐊᑐᖅᑕᐅᖁᖬᐃᓪᓗ ᐅᖃᐅᓕᕆᓂᒃᑯᑦ. ᐅᓇ ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᖅ ᑲᓇᑕᒧᑦ ᑕᒫᓄᑦ ᐊᑐ'ᒪᑦ ᓚᕐᖪᐊᕐᒥᐅᑕᐃᓪᓗ ᐊᑦᖁᓇᐅᑎᖃᖃᖅᑕᐅ'ᓗᑎᒃ ᓚᑉ ᐋ'ᓚᖑᖅᐸᓪᓕᐊᓂᐊᓂᒃ. ᑕ'ᓇᐃᑦᑲᓗᐊᖅᑎ'ᓗᒍ ᐃᓕᖅᑎᓂᑦ ᐃᔅᑰᖅᑐᓂᑦ (ᐃᓕᕐᕕᖕᒥ ᐊᖓᔪᒃᖠᕐᓂᑦ) ᐊᒃᐱᐅ'ᖬᐅᒐᓗᐊᕋᒪ ᐅᖃᓕᒫᖅᖢᖮᖪᒎᖅ ᐃᒡᓚᖅᖢᑎᒃ ᕿᐊ'ᓗᑎᒡᓗ ᐱ'ᒪᑕ ᐃᒃᐱᖕᓇᕐᓗᐊ'ᒪᓐᖒᖅ ᐅᓂᑉᑳᖅᑕᐅᖪᖅ ᑖᒻᓇ ᐅᖃᓕᒫᖅᖢᖮᖪᒃ. ᑕ'ᓇᐃᓕᐅᖅᑐᑦ ᐃᓐᒥᓂᓐᖒᖅ ᑕᑯᖮᕉᕋᒥᒃ ᐅᖃᓕᒫᖅᖢᒋᑦ 1500-ᒦᑦᑐᙳᐊᑦ ᐃᓄᐃᑦ ᐋ'ᖨᒋᒐᒥᒋᑦ ᐃᓅᒐᒥᒃ, ᑎᑉᓇᖅᑐᕌᓘ'ᓗᓂᓗᒎᖅ ᖁᕕᐊᒋᖬᐃᑦ, ᐃᒪᙱᑦᑲᓗᐊ'ᒪᑕᓘᓐᓃᓐᖒᖅ ᐅᖃᒪᓕᒫᒐᑦ ᑕ'ᓇᑐᑦ ᐃᒃᐱᖕᓇᖅᑎᒋᔪᖕᓇᕆᐊᕐᐃᑕ ᐅᖃᓕᒫᖅᓐᓇᖅᖢᒋᑦ.
ᓇ'ᓗᖓ ᓇᖃᑕᐅ'ᓗᖓ ᐃᓅᒃᑐᑦ ᐃᒪᒌᓐᓇᖅᑕᕋᓗᐊᑦᑲᑦ. ᖁᕕᐊᒋᖬᖃᖁ'ᓗᒋᑦ ᐅᖃᓕᒫᒐᕐᒥᒃ, ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᕐᒥᒡᓗ ᑕᑯᔪᒫᖅᖢᑎᒡᓗ ᐃᓕᑦᑯᕐᒥ'ᓂᒃ ᑦᕿᑕᐅᑎ'ᓗᒍ ᐃᓕᑕᖅᓗᑎᒃ ᓇᑦᕠᓕᖕᒥᐅᑦ ᐃᓕᑦᖁ'ᓂᒃ, ᑕᐅᑐᒃᑕᐅᑎ'ᓗᒍᓗ ᐊᒥᖮᕋᖅᑐᐸᓇᓗᖕᓂᑦ ᖁᓐᖏᐊᕆᐊᖅᑐᖅᑐᓂᑦ. ᑕᐃᒪᓗ ᐅᖃᓕᒫᒐᓕᐅᖅᑕᐅᖪᕕᓂᕐᒥᑦ ᐊᐊᒎᓐᓄᐊᕋᓗᐊᖅᑐᒍᑦ ᐃᓪᓗᐊᖅᖅᑕᐅᒐᓐᓂᕈᒫ'ᒥᖫᒐᓗᐊᖅ.
ᕗᓪᓖᑦᕤᒻᒪᕆᖕᒥᒃ ᐃᒪᒋᔮᖃᖅᑕᖅᑯᑦ ᐃᓅᒃᑐᑦ, ᕗᓂᒃᒥ'ᓂᒃ ᑕᐅᑐᙳᐊᖁ'ᓗᒋᑦ ᐅᖃᐅᖅᑎᒡᓗ ᐃᓄᒃᑐᑦ ᐊᑐᕋᐊᕐᓗᓂᖮᖪᒃ, ᑕᐃᒪᓗ ᑕᑯᒍᑎᒃ ᐅᖃᓕᒫᒐᒃᒥᒃ ᖁᓐᖏᐊᒐᒃᒥᒡᓗ ᐃᓐᒥᓂᒃ ᓇᔪᖕᓇᖅᑕᐃ'ᓂᒃ ᐃᒪᒃᓴᖅᐅᕈᑎᖃᕈᖕᓇᖅᖢᑎᒃ. ᖁᓐᖏᐊᒐᓕᐅᕈᖕᓇ'ᒪᑕᓗ ᓄᓇᖕᒥᓂ ᐅᖃᐅᓕᕆᓇᐊᕐᓗᑎᒡᓗ ᖁᕕᐊᒋᔪᖕᓇ'ᒪᒋᑦ, ᑎᑎᕋᐅᓰᓪᓗ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᕈᖕᓇ'ᒪᒋᑦ ᐃᓕᑦᕤᖕᓇ'ᒪᒋᓪᓗ. ᓇᑐᐃᓐᓇᐃᑦ ᐃᓅᒃᑐᓂ'ᖔᕆᐊᖃᖅᑑᒐᓗᐊᑦ ᕗᓂᒃᒥ'ᓄᑦ ᐊᑐᕐᓂᐊᕋᒥᒋᑦ. ᐃᑲᔪᖅᑎᒋᖬᐅᓇᐊᖅᓯᓐᓇᖅᑐᒍᑦ ᑕᖮᕙᐅᖪᒍᑦ. ᕗᓂᒃᓕᐅᕐᓂᐊᓕᖅᑯᑦ ᓇ'ᒥᓂᖅ ᑕᐃᒪ, ᐅᖃᐅᓕᕆᓂᒃᑯᑦ ᐃᓕᑦᖁᖃᕐᓂᒃᑯᓪᓗ. ᑖᒻᓇ ᖁᓐᖏᐊᒐᒃᕕᒡᖪᐊᖅ ᐱ'ᓗᒍ ᓇᖬᐅᔪᖕᓇᖅᑐᓂᒃ ᑕᐅᑐᙳᐊᕈᖕᓇᓕᖅᑯᑦ ᓇᓇᐊᕐᓗᑎᒃ ᐱᔪᒪᖬᒥ'ᓂᒃ ᐃᑲᔪᖅᑕᐅᔪᖕᓇᖅᖢᑎᒃ ᐃᓄᑐᖃᕐᓂᑦ ᐅᖃᐅᓕᕆᖨᓂᓪᓗ.
Tickets to The Breathing Hole are on sale now. With this production’s grand theatricality, centuries of stories come to life in ways that will last long after you leave your seat.