The practice of Inuit throat-singing was banned by Christian missionaries for nearly 100 years as they believed that Inuit throat-singing was satanic and perpetuated non-Christian, non-white culture (Nattiez, 2006). The ban was lifted in the 1980s, leading to a resurgence and the tradition now attracts the younger and older generations of Inuit (Black, 2018, 17). In the arc of its revival, new approaches are being utilised to raise awareness about Inuit throat-singing, including the use of social media platforms, electronic music production and, video-conferencing technologies. The purpose of this dissertation is to determine the impact of modern technologies on the preservation of Inuit throat-singing. Some artists are at the forefront of this movement, including Ishani Novalinga, Tanya Tagaq, and Charlotte Qamaniq. The first part of this dissertation will explain key terms before presenting these three individuals. Each of these artists engage with a different format of dissemination, and I will explore their origins and values, and analyse their presence using quantitative data gathered from their social media accounts through primary research as well as collected information about their work in the arts. This dissertation will then analyse the different technological uses of Inuit throat-singing and their impact on the preservation of the practice regarding three key areas: the management of the cultural appropriation of Inuit throat-singing, the concept of community within the tradition, and traditional versus modern approaches to Inuit throat-singing. Finally, this dissertation will conclude with some thoughts on whether the preservation of Inuit throat-singing is being directly impacted by modern technologies.
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