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Towards a New Understanding of Sámi Popular Music and Identity in the New Millennium

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Towards a New Understanding of Sámi Popular Music and Identity in the New Millennium ABSTRACT Title Thesis: REWRITING THE SOUNDSCAPE: TOWARDS A NEW UNDERSTANDING OF SÁMI POPULAR MUSIC AND IDENTITY IN THE NEW MILLENNIUM Rebekah E. Moore, Master of Arts, 2004 Thesis Directed By: Jonathan Dueck, Lecturer, School of Music The purpose of this thesis is to illuminate the shifting focus of Sámi musicians and audiences in expressing identity through an analysis of Sámi history and original fieldwork on current Sámi popular music. In the new millennium musicians increasingly explore musics of many cultures, and identify the Sámi vocal tradition of joik as just one aspect of their broad musical influences. This does not connote an abandonment of traditional Sámi music, however , nor does it signal a lack of interest in as serting a dis tinctively Sámi identity. In stead, it reflects a desire of musicians and audience s to explore , through music, the globalized, multicultural worlds in which they live and the increasing interest in self -determination and in the expression of a more internal ized , personal sense of identity. The study is based on published literature, interviews with experts in music, cultural studies, and radio programming, and attendance of popular music performance. REWRITING THE SOUNDSCAPE: TOWARDS A NEW UND ERSTANDING OF SÁMI POPULAR MUSIC AND IDENTITY IN THE NEW MILLENNIUM By Rebekah Elizabeth Moore Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2004 Advisory Committee: Lecturer Jonathan Dueck, Chair Professor Robert C. Provine Professor Thomas J. DeLio Lecturer Boden C. Sandstrom © Copyright by Rebekah Elizabeth Moore 2004 Table of Contents Table of Contents ................................................................................................................ ii List of Tables ..................................................................................................................... iv List of Figures ......................................................................................................................v Chapter 1: Introduction........................................................................................................1 Topic ................................................................................................................................1 Approach ..........................................................................................................................3 Methodology and Historical Framework .........................................................................4 Theoretical and Ideological Framework ..........................................................................4 Theories on Identi ty .....................................................................................................4 Theories on Indigeneity ...............................................................................................8 Theories on Popular Music ........................................................................................16 Chapter 2: Sámi Cultural and Musical History ..................................................................26 Early Sámi History .........................................................................................................26 Methods of Subsistence .............................................................................................30 Arrival in the North ....................................................................................................31 Language Groups.......................................................................................................32 Indigenous Status.......................................................................................................33 Sámi Music: The Joik ....................................................................................................34 Joik Aesthetics ...........................................................................................................35 Functions of Traditional Joik .....................................................................................41 Contexts for Sámi Musical Performance ...................................................................44 Sustained Cultural Contact ............................................................................................47 Religious Assimilation...............................................................................................48 Nationalist Movements and Cultural Assimilation....................................................51 The Boardinghouse System .......................................................................................52 The Sámi after World War II .....................................................................................53 Shifting Perceptions of Identity .....................................................................................56 Chapter 3: Cultural Mobilization and the Rise of Sámi Popular Music ............................58 Reconstructing Identity ..................................................................................................58 Human Rights Politics ...............................................................................................59 The Áltá Conflict ...........................................................................................................60 Adoption of Nationalist Symbols ...............................................................................63 The Sámi and Global Indigenous Politics ......................................................................66 The Joik Renaissance .....................................................................................................67 The Artists: Cultural Ambassadors ............................................................................70 The Modern Joik ........................................................................................................78 Reemergence of the Traditional Joik .........................................................................80 The Next Generation......................................................................................................81 Chapter 4: Shifting Perceptions of Music and Identity ......................................................83 First Encounter with Joik ...............................................................................................83 Return to Sápmi .............................................................................................................85 Ijahis Idja: The I ndigenous People’s Music Festival .....................................................87 ii The Anár Sámi ...........................................................................................................87 Lectures at Siida Museum..........................................................................................89 Afternoon Performances ............................................................................................89 Interview at Sámi Radio, Anár .......................................................................................93 Broadcasting Statistics ...............................................................................................94 Programming Choices ................................................................................................95 Sámi Radio and a Non-Sámi Audience ...................................................................101 Interview Conclusions .............................................................................................102 Jutajaiset Festival .........................................................................................................102 The Artists ................................................................................................................103 Jutajaiset and Audience Reception ..........................................................................106 Characteristics of Festival Performances .....................................................................108 Vilddas and Interview with Marko Jouste ...................................................................109 Modern Understanding of Joik ................................................................................109 The Shaman Drum as a Symbol of Culture .............................................................111 Language and Performance ......................................................................................112 Vilddas .....................................................................................................................113 Conclusions..................................................................................................................118 Chapter 5: Conclusions: Sámi Music and Identity in the New Millennium....................120 Issues of Identity: Sámi Youth .....................................................................................120 The Sámi and Multiculturalism ...................................................................................121 Identity and Popular Music ......................................................................................123 Identity and Language..............................................................................................124 Identity and the Gakti ...............................................................................................125
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