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"A northern perspective" looking through ice by the St. Lawrence River (low tide in April), Godbout, Québec. Photo: Caoimhe Isha Beaulé, 2017.
Source publication
A chapter devoted to Louis-Edmond Hamelin's concept of ‘Nordicity’ and its potentials for the design fields.
Contexts in source publication
Context 1
... results divide the Canadian North into 4 different categories: the Near North (also called Base Canada), Middle North, Far North and Extreme North (see Figure 1) (see Hamelin, 1975). On an international scale, the nordicity index, once mapped out, gives us an oval shape that is "less perfect" compared to the Arctic circle, which is drawn at the 66 th parallel north, but closer to the reality (see Figure 2). ...
Context 2
... North, a living world interlinking natural and human character- istics, organized series of intellective acts, bearing, within a circum- scribed territory, reference to systems of thought, knowledge, vocabu- laries, intercultural grammars, representations in art and literature, the expression of opinions, economic, political and territorial applica- tions as well as ways of being. (Chartier, 2010, p. 36.) ...
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Citations
... The concept of Nordicity would also be relevant for analysing art and design in the Arctic. It refers physical reality as well as to subjective experiences and social imaginaries, ideology including visions and values and so-called 'total Nordicity' that embodies world views, knowledge systems, know-how in the arts and humanities (Beaulé & De Coninck, 2018). However, the concept of the AAD, in our view, can be used to draw attention to the potential of intertwining art, design and innovation. ...
In this article we explore the discourse of traditions and innovations in art and design education in the North and the Arctic regions. In the first section we introduce the concept of Arctic Sustainable Arts and Design (AAD) that has been initiated in research conducted in the Arctic Sustainable Arts and Design network within the University of Arctic (ASAD). Since its inception in 2012, ASAD has sought to “identify and share contemporary and innovative practices in teaching, learning, research and knowledge exchange in the fields of arts, design and visual culture education” (ASAD, 2019). The organization is one of the thematic networks of the University of the Arctic that aim to “foster issues-based cooperation within networks that are focused but flexible enough to respond quickly to topical Arctic issues” (University of the Arctic, 2019).
... Nordicity is defined in Canadian research and can be used to refer to a physical reality, as well as to subjective experiences, the imaginary and ideological, including visions and values. So-called total Nordicity embodies worldviews, knowledge systems, know-how, arts and humanities [42]. ...
There has been growing interest in Arctic arts and culture as well as in sustainability among artists, researchers, and policy makers. However, until recently, the comprehension of Arctic arts and culture within the framework of sustainable development has remained vague. In this study, by analysing diverse debates from the Arctic Arts Summit 2019 in Rovaniemi, we investigate how the arts and culture sector promotes Arctic sustainability. An analysis of abstracts, conclusions, blogs and newspaper articles reflecting the presentations, art events, exhibitions and dialogues showed that the discourse on sustainability is organised around five themes: (1) global politics and ecological crises as part of the cultural politics of the Arctic; (2) indigenous and non-indigenous Arctic arts and culture; (3) ‘handmade’ and the material culture of the Arctic; (4) place-making, revitalisation and regional development; and (5) economy and sustainability. These partly interlinked themes have relevance for policy making, defining principles for arts and culture funding, artistic practice and research on the Arctic. In addition, education and artistic training are important for all of the five themes; therefore, resources for educational institutions are crucial for the sustainable future of the Arctic. Arts, culture and education have the potential to empower people in the Arctic, increase cultural pride, educate and inform global audiences and create connectedness between the past, present and future. Arts, culture and education contribute to Arctic sustainability.
