The Breathing Hole: Experience a polar bear’s 500-year journey through unforgettable storytelling and puppetry

Tbh story
Else Charlem Danielsen. Set and Puppet Designer Daniela Masellis; Costume Designer Samantha McCue; Original Costume Designer Joanna Yu; Lighting Designer Leigh Ann Vardy. © Photo: Fred Cattroll

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?

Tamalik McGrath:

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.

𑪲'ᒪᑦ ᓇᑦᕠᓕᐅᖕᒥᐅᑑᖅᑕᐅᒐᓗᐊᖅᐸ ᐅᓇ ᑕᑭᓛᖑᒋᖬᐅᓕᖅᖢᓂ ᑯᑕᐃᖮᖪᑎᓂᒃ ᐊᑐᖅᑐᓂᒃ?

ᑕᒪᓕᒃ ᒪᒍᕋ (ᖃᑉᓗᓈᓐᓄᐊᖅ): ᓂᓚᐅᓛᕐᓗ ᑕᒪᒻᓄᒃ ᐃ𑪲ᒪ𑪰ᓐᓇᖅᑐᒍᒃ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᕋ𑪲ᐊᕐᓗᒋᑦ ᑕᑯᖬᐅᑎ'ᓗᒋᓪᓗ ᐃᑲᔫᑎᖃᕈᖕᓇ'ᒪᑦ ᐅᖃᐅ𑪰ᓕᕆᓂᕐᒧᑦ. 𑪲ᓇᑐᐃᓐᓇᐃᑦ ᑕᒻᒪᖅ𑪰ᒪᖪᖃᕈᖕᓇᖅᑑᒐᓗᐊᑦ, ᑭ𑪰ᐊᓂᒃ ᐆᒃᑐᕋ𑪲ᐊᙱᑦᑲᓗᐊᕈᑉᑕ ᐊᑦᖁᓇᕐᓇᕋᓗᐊᖅᑎ'ᓗᒍ, 𑪰ᕗᓂᒃ𑪺ᓕᐅᕋ𑪲ᐊᖅᑑᖭᓇᙱ'ᒪᑦ. ᐅᕙᒻᓄᓪᓕ ᐊᑦᖁᓇᕐᓇᖅ𑪰ᒪᓕᖅᑑᒐᓗᐊᖅ ᑎᑎᖅᑲᓕᕆᒐᒪ ᖃᑉᓗᓈᑑᖅ𑪰ᒪᖪᒥᒃ ᐃᓄᒃᑑᓕᖅᑎᑦᕠ'ᓗᖓ ᖃᑉᓗᓈᑦ ᖁᓐᖏᐊᒐᒃ𑪺ᓕᕆᖪᑐᖃᐸᓇᓘᒐᓗᐊ'ᒪᑕ, ᓇᑦᕠᓕᖕᒥᐅᑐᓪᓗ ᐃᓄᒃᑐᑦ ᐃᑦᕦᕐᓂᒃᕠᕙ'ᒪᑕ ᐅᖃᐅ𑪰ᒃᑯᑐᐃᓐᓇᒻᒪᕆᒃ, ᑎᑎᕋᖅ𑪰ᒪᙱ'ᓗᑎᒃ ᑎᑎᕋᖅ𑪰ᒪᖪᒥ'ᖔᖅᑐᓂᒃ ᐊᑐᙱᒻᒪᕆ'ᒪᑕ. ᖃᑉᓗᓈᓪᓗ ᑕᐃᒪ ᑕᐃᑲ'ᖓᒻᒪᕆᒃ ᖁᓐᖏᐊᒐᒃ𑪺ᓕᕆᖪᑐᖃᐅ'ᒪᑕ ᐅᑭᐅᑦ 1200-ᖏ'ᓃᑎ'ᓗᒋ'ᓘᓐᓃᑦ ᑕ'ᓇᐃᑦᑐᓕᐅᖃᑦᑕᖅ𑪰ᒪ'ᒥᖪᑦ ᑕᐃᑲ'ᖓᑦ 𑪰ᕗᓂᐊᓂᓪᓘᓐᓃᑦ.

How was the process of creating the translation?

Tamalik McGrath:

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.

ᖃᓄᕆᓕᐅᖅᖢᑎᑦ ᐃᓄᒃᑑᓕᖅᐱᐅᒃ?

ᑕᒪᓕᒃ: ᐊᐱᕆᖬᐅᒐᓗᐊᕋᒪ ᐊᖅᐱᖕᒥᑦ (ᑐᑭᒧᐊᒃᑎᑦᑎᖨᐅᖪᖅ) ᑳᓖᓐᒥᓪᓗ (ᑎᑎᕋᖅᑎᐅᖪ) ᐅᖃᓕᒫᒐᒃ𑪺ᓕᐅᖅᑕᐅᖪᒥᒃ ᐃᓄᒃᑑᓕᖅᑎᑦᕠᔪᒪᔮᒃ𑪺ᒻᓂᒃ, ᑕᐃᒪᓗ ᓂᓚᐅᓛᕐᒥᒃ ᐊᐱᕆᖮᕌᖅᖢᖓ ᑐ𑪴ᖅᑎᖮᕌᖅᖢᒍ ᐅᓂᑉᑳᖑᖪᒥᒃ. ᑕᑭᖪᐊᓘ'ᒪᓪᓗ ᐱᖓ𑪳ᓕᖓ'ᓗᓂ, ᑐᑭᓕᐅᕋ𑪲ᐊᖅᖢᒋᑦ ᓂᓚᐅᓛᕐᒧᑦ. ᑕᐃᒪᓗ ᑎᑎᕋᖅᐸᓪᓕᐊᓕᖅᑎ'ᓗᖓ ᓂᓚᐅᓛᖅ 𑪰ᕙᔭᖅᐸᒃᑲᓗᐊᖅᖢᒍ ᐅᖃᓕᒫᕐᕕᒋᕙᒃᖢᒍ ᑐᑭ𑪰ᓐᓇᕆᐊᒃ𑪺ᐃᑕ ᐅᖃᐅ𑪰ᑦ. ᑕᐃᒪᓗ ᑕ𑪴ᑉᑯᐊᑦ ᑎᑎᖅᑲᑦ ᐅᖃᒪᙳᐊᖅᑐᓂᒃ ᐱᖃᐅᖅᑐᐊᓘ'ᒪᑕ ᑕᐅᑐᖕᓇᙱ'ᓗᑎᒡᓗ, ᐃᓛ'ᓂᒃ ᐊᐱᕆᒋᐊᖅᐸᒃᑲᓗᐊᖅᖢᒍ ᑳᓖᓐ (ᑎᑎᕋᖅᑎ) ᑐᑭᓕᐅᖅᐹᓪᓕᖁ'ᓗᒍ ᐅᕙᑉᑎ'ᓄᑦ.

ᑕᐃᒪᓗ ᑕᐅᑐᙳᐊᖅᑕᒻᓂᒃ ᐊᑐᓕᖅᖢᖓ ᓂᓚᐅᓛᕐᒧᑦ ᑐᑭᓕᐅᖅᐹᓪᓕᕋ𑪲ᐊᖅᐸᒃᑲᓗᐊᕋᒪ. ᓂᓚᐅᓛᖅ ᑕᐃᒪ ᐃᑦᕦᕐᓂᑕᓂᒃ ᖃᐅᖨᒪᑦᕠᐊ'ᒪᑦ ᐃᑦᕦᕐᓂᑦᕠᕙ'ᒪᑦ ᑕᐅᑐᙳᐊᓕᖅᑖ'ᓂᒃ ᑕᐃᒪ ᐊᑐᓕᖅᖢᓂ ᑎᑎᕋᖅᐸᓪᓕᐊ𑪰ᒪᓕᖅᑐᖓ ᐅᖃᐅ𑪰ᕐᓂᒃ ᐊᑐᖅᑕᒃ𑪺ᓂᒃ. ᓂᓚᐅᓛᕐᓗ ᖃᐅᖨᒪᑦᕠᐊ'ᒪᑦ ᐅᖃᐅ𑪰ᑐᖅᑲᓂᒃ—ᐊᑐᖅᑕᐅᑦᕠᐊᕈᐃᖅᑐᓂᒃ —ᑐ𑪴ᐅᒪᖬᕋᓗᐊᒥᓂᒃ ᓄᑕᕋᐅᑎ'ᓗᒍ ᐊᒥᖮᕋᖅᑐᓂᒡᓗ ᐃᓄᑐᖃᕐᓂᒃ ᓂᐱᓕᐅᖃᑦᑕᖅ𑪰ᒪᖪᑐᖃᐅᒐᓗᐊ'ᒪᓪᓗ ᐅᖃᐅ𑪰ᓕᖪᕆᑐᖃᓇᓘ'ᓗᓂ. ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᕐᒥ ᑕᐃᒪ ᐅᖃᐅ𑪰ᑐᖅᑲᑦ ᐃᓚᐃᑦ ᐊᑐᖅᑕᐅᖃᑕᐅ'ᒥᖪᑦ.

ᑐ𑪴ᕐᓂᖅᑐᓕᐅᕋ𑪲ᐊᕋᓗᐊᖅᑐᒍᒃ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅ𑪱ᑦ ᐋ'ᖨᒋᖬᐅᙱᑦᕤᐸᓇᓘ'ᒪᑕ ᑯᑕᐃᖮᖪᑎᖃᐅᖅᖢᑎᒡᓗ. ᑕ'ᓇᐃᓕᐅᖅᑐᒍᒃ ᓇᐃᓈᖅᑎᓐᓇ𑪲ᐊᙱᑦᑲᓗᐊᖅᖢᒋᑦ ᐅᖃᐅ𑪱ᑦ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᖅᑕᐅᑦᕠᐊᖁ'ᓗᒋᑦ. ᑕ'ᓇᐃᓕᐅᕋᓗᐊᖅᑎ'ᓗᓄᒃ ᐃ𑪲ᒪᙱᑦᑲᓗᐊᖅᑐᒍᒃ ᐊᑐᖅᑕᐅᔪᒫᕐᓂᖓᓂᒃ ᐃᓄᒃᑐᑦ ᐅᖃᐅ𑪰ᖃᖃᑎᒋᙱᑕᑉᑎ'ᓄᑦ, ᐊᒃᐱᐅ'ᖬᐅᙱ'ᓇᒻᓄᒡᓗ ᐃᓄᒃᑐᑦ ᐊᑐᖅᑕᐅᔪᒫᕆᐊᒃ𑪻'ᓂᒃ ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᓇᓗᖕᒥ.

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.

𑪴ᓇᖃᑎᖃᖅᖢ𑪰 𑪲ᓕᕆᙳᐊᖅᑎᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᕆᐅᖅ𑪴ᕋ𑪲ᐊᓕ𑪵ᖅᑐᓂᒃ ᑐᑭ𑪰ᕚᓪᓕᖅᖢᑎᒡᓗ ᐱᒻᒪᕆᐅᓂᖓᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑦ ᐅᖃᐅ𑪱ᑦ ᐃᓕᑦᖁ𑪱ᓪᓗ. ᖃᓄᖅ ᐃ𑪲ᒪᕕ𑪰 ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅ𑪰ᖅ ᑲᔪ𑪰ᑎᑕᐅᑦᕠᐊᕐᓂᒃ𑪻ᒍᑦ ᖃᓄᕆᓕᐅᖅᑐᖃᕐᓗᓂ 𑪰ᕗᓂᒃ𑪺ᒧᑦ?

ᓂᓚᐅᓛᖅ: ᐅᖃᐅ𑪰ᖅᑯᑦ ᑲᔪ𑪰ᔮᖃᒻᒪᕆᒃᑐᖅ 𑪰ᕗᓂᒃ𑪺ᒧᑦ. ᐅᑉᓗᒥᐅᖪᖅ ᐃᓚᐃᑦ ᐅᖃᕆᐅᖅ𑪴ᙱ'ᒪᑕ, ᑕᒻᒪᓕᕌᖓᒥᒡᓗ 𑪴ᐱᓕᖃᑦᑕ'ᒪᑕ ᐊᔪᕋ𑪲ᒋ𑪰ᓐᓇᖅᐸ'ᒪᑕ. ᑕᐅᑐᖁᒐᓗᐊᖅᐸᑦᑲᑦ ᐅᖃᐅ𑪰ᖃᖃᑎᒋᙱᑕᑉᑎ'ᓂᒃ ᐃᓄᖕᓂᒃ ᓇᑦᕠᓕᖕᒥᐅᑦᕠᓇ𑪲ᐊᖅᑐᓂᒃ. ᑕᒻᒪᕋᓗᐊᕐᓗᓂ ᖃᓄᕆᙱᒻᒪᕆ'ᒪᑦ. ᑕᐃᒪ'ᓇ ᑕᒪᑉᑕ ᐃᓕ𑪴ᖅᐹᓪᓕᖅᐸᒃᑐᒍᑦ ᐆᒃᑐᕋᕋ𑪲ᐊᑦᕠᐊᕐᓂᒃᑯᑦ.

ᖁᔭᓕᑦᕠᐊᖅᑐᖓ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᖁᑕᐃᖮᖪᑎᑦ ᑎᑎᕋᐅ𑪰ᑦ ᐊᑐᖅᑕᐅ'ᒪᑕ ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᕐᒥ. 𑪲ᓕᕆᙳᐊᖅᑎᑦ ᐃᓕ𑪴ᑦᕠᐊᖅᑐᓇᓘ'ᒪᑕ, ᐆᒃᑐᕋᕋ𑪲ᐊᙱᓐᓇᖅᖢᑎᒃ ᐃᓕᑉᐸᓪᓕᐊᖪᐊᓘ'ᒪᑕ ᐊᔪᕈᐃᖅᐸᓪᓕᐊᖪᐊᓗᐃᑦ. ᐅᖃᐅ𑪰ᒃ𑪺ᐃᑦ ᓇᐃᒡᓕᒋᐊᖅᑕᐅᕙᓪᓛᖁᙱᑕᕋᓗᐊᑦᑲᑦ, ᑕᐃᑦᕠᐊᕈᖕᓇᖅ𑪰ᕙᓪᓕᐊ'ᓗᓂᒋᑦ, 𑪴ᓇᖃᑎᒌᑦᕠᐊᖅᖢᑕ, ᑖᑉᑯᐊᑦ ᑕᒪᐃᑕ ᐅᐱᒋᕙᑦᑲᑦ 𑪴ᓇᑦᕠᐊᕋ𑪲ᐊᖅᐸᒃᑲᓗᐊᖅᖢᑎᒃ. ᐊᑦᖁᓇᕐᓇᖅᑐᒃ𑪺ᐅᒐᓗᐊᖅ ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᖅᑎᐅᙱ'ᓇᒥᒃ, ᑭ𑪰ᐊᓂᒃ ᑲᓐᖑ𑪲ᖁᙱ'ᓗᒋᑦ 𑪴ᓇᖃᑎᒋᑦᕠᐊᖅᑕᕋᓗᐊᕗᑦ.

ᓇᑦᕠᓕᖕᒥᐅᑐᑦ ᐅᖃᐅ𑪰ᖃᕐᓂᖅ ᑲᔪ𑪱ᓐᓇᖁ'ᓗᒍ ᐳᐃᒍᖅᑕᐅᖁᙱ'ᓗᒍ ᐃᓅ𑪲ᒃᑐᑦ ᓄᓇᑉᑎ'ᓂ ᒪᑭᒪᑦᕠᐊᖅᑎᑕᐅᓇ𑪲ᐊᕆᐊᖃᖅᑐᑦ ᐅᖃᕆᐅᖅ𑪴ᖅᑎᑕᐅᓗᑎᒃ ᑲᓐᖑ𑪲ᙱᓪᓗᑎᒃ. ᑕᐃᒪᓗ ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᒥ ᐃᓄᐃᑦ ᓄᓇᖅᑲᑎᒋᙱᑕᕗᑦ ᐅᖃᐅ𑪰ᖃᖃᑎᒋᙱᑕᕗᑦ 𑪴ᑦᕿᑎᕆᓇ𑪲ᐊᖃᑕᐅᖪᑦ—ᑕᑯᖬᐅᑎ'ᓗᒋᑦ ᖁᕕᐊᒋᖬᐅᓂᐊᖅᑐᒃ𑪺ᐅᕗᑦ ᑲᓐᖑᓇᙱ'ᒪᑦ ᐆᒃᑐᕋ𑪲ᐊᖅ𑪰ᓐᓇᖅᖢᓂ

ᑕᒪᓕᒃ: ᐃ𑪲ᒪᕙᒃᑲᓗᐊᖅᑐᖓ ᐅᖃᐅ𑪰ᓕᕆᓂᒃᑯᑦ 𑪰ᕗᓂᒃ𑪺ᖃᑦᕠᐊᕈᖕᓇᖅᑐᒍᑦ ᐱᓇ𑪲ᐊᖃᑎᒌᑦᕠᐊᕈᑉᑕ ᐊᑐᕐᓗᒋᑦ ᓄᓇᓕᖕᓃᑦᑐᑦ ᐱᔪᒪᖬᐃᑦ ᐊᑐᖅᑕᐅᖁᖬᐃᓪᓗ ᐅᖃᐅ𑪰ᓕᕆᓂᒃᑯᑦ. ᐅᓇ ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᖅ ᑲᓇᑕᒧᑦ ᑕᒫᓄᑦ ᐊᑐ'ᒪᑦ 𑪰ᓚᕐᖪᐊᕐᒥᐅᑕᐃᓪᓗ ᐊᑦᖁᓇᐅᑎᖃᖃᖅᑕᐅ'ᓗᑎᒃ 𑪰ᓚᑉ ᐋ'ᓚᖑᖅᐸᓪᓕᐊᓂᐊᓂᒃ. ᑕ'ᓇᐃᑦᑲᓗᐊᖅᑎ'ᓗᒍ ᐃᓕ𑪴ᖅᑎᓂᑦ 𑪴ᐃᔅᑰᖅᑐᓂᑦ (ᐃᓕ𑪴ᕐᕕᖕᒥ 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, ᑎᑉ𑪰ᓇᖅᑐᕌᓘ'ᓗᓂᓗᒎᖅ ᖁᕕᐊᒋᖬᐃᑦ, ᐃ𑪲ᒪᙱᑦᑲᓗᐊ'ᒪᑕᓘᓐᓃᓐᖒᖅ ᐅᖃᒪᓕᒫᒐᑦ ᑕ'ᓇᑐᑦ ᐃᒃᐱᖕᓇᖅᑎᒋᔪᖕᓇᕆᐊᕐ𑪺ᐃᑕ ᐅᖃᓕᒫᖅ𑪰ᓐᓇᖅᖢᒋᑦ.

𑪴ᓇ'ᓗᖓ 𑪴ᓇᖃᑕᐅ'ᓗᖓ ᐃᓅ𑪲ᒃᑐᑦ ᐃ𑪲ᒪᒌᓐᓇᖅᑕᕋᓗᐊᑦᑲᑦ. ᖁᕕᐊᒋᖬᖃᖁ'ᓗᒋᑦ ᐅᖃᓕᒫᒐᕐᒥᒃ, ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᕐᒥᒡᓗ ᑕᑯᔪᒫᖅᖢᑎᒡᓗ ᐃᓕᑦᑯ𑪰ᕐᒥ'ᓂᒃ 𑪴ᑦᕿᑕᐅᑎ'ᓗᒍ ᐃᓕᑕᖅ𑪰ᓗᑎᒃ ᓇᑦᕠᓕᖕᒥᐅᑦ ᐃᓕᑦᖁ𑪱'ᓂᒃ, ᑕᐅᑐᒃᑕᐅᑎ'ᓗᒍᓗ ᐊᒥᖮᕋᖅᑐᐸᓇᓗᖕᓂᑦ ᖁᓐᖏᐊᕆᐊᖅᑐᖅᑐᓂᑦ. ᑕᐃᒪᓗ ᐅᖃᓕᒫᒐᓕᐅᖅᑕᐅᖪᕕᓂᕐᒥᑦ ᐊ𑪰ᐊᒎᓐᓄᐊᕋᓗᐊᖅᑐᒍᑦ ᐃᓪᓗᐊᖅ𑪴ᖅᑕᐅᒐᓐᓂᕈᒫ'ᒥᖫᒐᓗᐊᖅ.

𑪰ᕗᓪᓖᑦᕤᒻᒪᕆᖕᒥᒃ ᐃ𑪲ᒪᒋᔮᖃᖅᑕᖅᑯᑦ ᐃᓅ𑪲ᒃᑐᑦ, 𑪰ᕗᓂᒃ𑪺ᒥ'ᓂᒃ ᑕᐅᑐᙳᐊᖁ'ᓗᒋᑦ ᐅᖃᐅ𑪰ᖅᑎᒡᓗ ᐃᓄᒃᑐᑦ ᐊᑐᕋ𑪲ᐊᕐᓗᓂᖮᖪᒃ, ᑕᐃᒪᓗ ᑕᑯᒍᑎᒃ ᐅᖃᓕᒫᒐᒃ𑪺ᒥᒃ ᖁᓐᖏᐊᒐᒃ𑪺ᒥᒡᓗ ᐃᓐᒥᓂᒃ 𑪴ᓇᔪᖕᓇᖅᑕᐃ'ᓂᒃ ᐃ𑪲ᒪᒃᓴᖅ𑪰ᐅᕈᑎᖃᕈᖕᓇᖅᖢᑎᒃ. ᖁᓐᖏᐊᒐ𑪺ᓕᐅᕈᖕᓇ'ᒪᑕᓗ ᓄᓇᖕᒥᓂ ᐅᖃᐅ𑪰ᓕᕆᓇ𑪲ᐊᕐᓗᑎᒡᓗ ᖁᕕᐊᒋᔪᖕᓇ'ᒪᒋᑦ, ᑎᑎᕋᐅᓰᓪᓗ ᑯᑕᐃᖮᖪᑎᑦ ᐊᑐᕈᖕᓇ'ᒪᒋᑦ ᐃᓕᑦᕤᖕᓇ'ᒪᒋᓪᓗ. 𑪲ᓇᑐᐃᓐᓇᐃᑦ ᐃᓅ𑪲ᒃᑐᓂ'ᖔᕆᐊᖃᖅᑑᒐᓗᐊᑦ 𑪰ᕗᓂᒃ𑪺ᒥ'ᓄᑦ ᐊᑐᕐᓂᐊᕋᒥᒋᑦ. ᐃᑲᔪᖅᑎᒋᖬᐅᓇ𑪲ᐊᖅᓯᓐᓇᖅᑐᒍᑦ ᑕᖮᕙᐅᖪᒍᑦ. 𑪰ᕗᓂᒃ𑪺ᓕᐅᕐᓂᐊᓕᖅᑯᑦ ᓇ'ᒥᓂᖅ ᑕᐃᒪ, ᐅᖃᐅ𑪰ᓕᕆᓂᒃᑯᑦ ᐃᓕᑦᖁ𑪰ᖃᕐᓂᒃᑯᓪᓗ. ᑖᒻᓇ ᖁᓐᖏᐊᒐᒃ𑪺ᕕᒡᖪᐊᖅ ᐱ'ᓗᒍ 𑪴ᓇᖬᐅᔪᖕᓇᖅᑐᓂᒃ ᑕᐅᑐᙳᐊᕈᖕᓇᓕᖅᑯᑦ 𑪴ᓇᓇ𑪲ᐊᕐᓗᑎᒃ ᐱᔪᒪᖬᒥ'ᓂᒃ ᐃᑲᔪᖅᑕᐅᔪᖕᓇᖅᖢᑎᒃ ᐃᓄᑐᖃᕐᓂᑦ ᐅᖃᐅ𑪰ᓕᕆᖨᓂᓪᓗ.

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.

Tickets to The Breathing Hole / Aglu ᐊᒡᓗ 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.

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