Faculty of Humanities, Social Sciences and Education From “Lapp” to “Margrete” Representation of Sámi People in Photographic Postcards from Norwegian Sápmi Eli-Anita Øivand Schøning Thesis submitted for the Degree of Master of Philosophy in Indigenous Studies May 2018 From “Lapp” to “Margrete” Representation of Sámi People in Photographic Postcards from Norwegian Sápmi A thesis submitted by: Eli-Anita Øivand Schøning Master of Philosophy in Indigenous Studies Faculty of Humanities, Social Sciences and Education The Arctic University of Norway May 2018 In the cover page: Karin (b. Siiri) and Anders O. Hetta,1 1940-1950. Könkämä Sámi, Gárasavu gákti, Ivgu. 1 Source: Relatives of Karin and Anders Hetta, Facebook page “Gamla foton – Karesuando samer.” Acknowledgements Trude, my supervisor. Thank you for your patience, your time, your knowledge, and the valuable guidance during the writing process. Thank you for helping me back on track when I got lost. I would not have managed to complete this project without you. Sofie. Thank you for sharing your stories from “Fjellfinnbakken” with me. You opened a door to a history I would not had access to if it was not for you. Erik and Maren. You invited me, a stranger, to your home, introduced me to Sofie, showed me “Fjellfinnbakken,” and shared your knowledge about places with me. Thank you! Berit Åse. Thank you for spending a whole day with me at RidduDuottarMuseat, for sharing your knowledge, and for showing me RDM’s postcard collection with Sámi motifs. Ola, Karoline, Hakon and Per Ivar, thank you for giving me approval to use your photographs/postcards in the thesis, and/or for sharing names and stories. Torjer, Else Grete, and Rachel at the Center for Sámi studies. Thank you for always keeping the door open, for your guidance, challenging questions, and feedback during the past two years. Thanks to ALL of you, wonderful people who so willingly prioritized to answer my questions, who shared literature, links, and perspectives with me (on email or in person). Classmates at the Indigenous Studies. Thank you for your perspectives and all the fun moments. Shanley. Your proofreading was conducted with excellence. Thank you. Nils Runar. Thank you for the proficient translation of the Abstract into Sámi. Center for Sámi studies. I am grateful for the grants to travel to Kárášjohka and Ivgu. Lyngen Kommune. Thank you for making it easy for me to explore your archives. The kids’ grandparents. Thank you for stepping in when assistance was needed. And finally; Lasse, Magnus and Matilde, my dear family. Thank you for your patience and love. A special thanks to Lasse for your support during the writing process. Eli-Anita Romsa, Miessemánnu 2018 i Abstract This master’s thesis examines how Sámi people were represented in postcards from Norwegian Sápmi during the late 19th century to present day. The study explores how postcards can unveil both grand narratives and personal and local stories. Portraying Sámi people and culture as exotic and different, is a commonality in touristic representations of the Sámi. Postcards with Sámi motifs are no exception. I argue that the postcards depict the Sámi in an “emblematic” way, through a focus on nature, reindeer herding and traditional clothing. This kind of representation is not only conducted by outsiders, and I maintain that emblems are likely to be utilized as a strategy to satisfy the demands in the tourism market. Postcards trigger memories, and can therefore be used to bring personal and local stories to the forefront. As such they serve to individualize rather than objectify, reconstruct stories of the past, and shed light on Sámi agency. Further, postcards can be instruments for the Sámi themselves. When they produce their own postcards, or repatriate old postcards through artistic work, the postcards become powerful tools in revitalization processes and contribute in shaping Sámi identities. ii Abstrákta Dán váldofágabarggus iskojuvvo movt sámi álbmot ovddastahttojuvvui boastagoarttain norggabeale sámis 1800-logu loahpas gitta dálá áigái. Dutkkus čájeha movt boastagoartat sáhttet almmustahttit sihke mearkkašahtti muitalusaid ja persovnnalaš ja báikkálaš muitalusaid. Ahte govvidit sápmelaččaid ja sámi kultuvrra eksohtalažžan ja earálágánin lea dábálaš go turisttaide galgá čájehit Sámi. Boastagoarttain mas leat sámi motiivat lea dáhkkon dan seamma. Mun oaivvildan ahte boastagoartat ovddastahttet sámiid “emblemáhtalaččan” go lea nu garrá fokus bidjon lundui, boazodollui ja árbevirolaš biktasiidda. Eai leat dušše olggobealde beroštumit mat dán dahket, ja mun ákkastalan ahte lea jáhkehahtti ahte dát “emblemáhtalaš” vuohki lea leamaš oassin strategiijas movt mátkeealáhusa gáibádusaid duhtadit. Boastagoarttat dagahit ahte muittut čuožžilit, ja sáhttet maid čalmmustahttit persovnnalaš ja báikkálaš muitalusaid. Dieinna lágiin sáhttet rekonstrueret muitalusaid ovddežis, ja ná individualiseret ovdalii go objektifiseret sámiid ja maid čalmmustahttit ahte sámit ieža jođihit dáid doaimmaid. Boastagoartat sáhttet leahkit sámiide gaskaoapmin. Go sámit ieža ráhkadit boastagoarttaid, dahje máhcahit dološ boastagoarttaid sámi servvodahkii dáiddalaš bargguid bokte, de šaddet fámolaš reaiddut ealáskahttinproseassas ja váikkuhit dasa ahte hábmet sámi identitehtaid. Translated to Northern Sámi by Nils Runar Hætta iii Table of Contents Acknowledgements ..................................................................................................................... i Abstract ...................................................................................................................................... ii Abstrákta ................................................................................................................................... iii Table of Contents ...................................................................................................................... iv Figures ....................................................................................................................................... vi Tables and maps ....................................................................................................................... vii 1 Introduction ........................................................................................................................ 1 1.1 Topic and research question ....................................................................................... 2 1.2 Literature review ........................................................................................................ 3 1.3 Topic relevance .......................................................................................................... 5 1.4 Methods ...................................................................................................................... 6 1.5 Indigenous methodology, reflexivity and ethics ...................................................... 10 1.6 Data .......................................................................................................................... 12 1.7 Theoretical perspectives ........................................................................................... 13 1.8 Thesis structure ........................................................................................................ 15 2 Background ...................................................................................................................... 16 2.1 Postcards and photography technology .................................................................... 16 2.2 Tourism .................................................................................................................... 17 2.3 Norwegian nation narratives .................................................................................... 19 2.4 Grazing rights and cross-country reindeer herding .................................................. 20 2.5 The Indigenous movement and revitalization .......................................................... 23 2.6 Ethno-political and ethno-cultural background in Ivgu ........................................... 25 3 Representation of Sámi people in photographic postcards from Norwegian Sápmi ........ 26 3.1 Postcard publishers, photographers, and the collector ............................................. 26 3.2 A description of the findings .................................................................................... 28 iv 3.3 Encounters between Sámi people and photographers/publishers ............................ 32 3.3.1 Continuity in Sámi representation .................................................................... 32 3.3.2 Changed patterns from period 1 to period 2 ..................................................... 41 4 Representation of Sámi people in photographic postcards from Ivgu ............................. 47 4.1 Ivgu, tourism and the Könkämä Sámi ...................................................................... 47 4.2 A description of the findings .................................................................................... 49 4.3 Histories of the Könkämä Sámi at “Fjellfinnbakken” .............................................. 51 5 Building bridges between past and present ...................................................................... 62 Appendix 1 – Interview guide .................................................................................................. 69 Appendix 2 – Additional tables ...............................................................................................