Swedish colonialist neutrality

Engraved and hand coloured map of Scandinavia from the early days of the Swedish Empire in the 17th century. Creative Commons Public Domain Mark 1.0 License.

by Roger Blomqvist

Old colonial relations cast a shadow over today’s environmental politics. But when accusations of historical abuse pop up, some nations manage to fly below the radar in spite of extensive colonial involvement. Due to their so-called higher standards of behaviour they may even gain advantages in the global competition for control of natural resources. ‘Neutral’ Sweden is one of those nations.

In this essay, I weave together depictions of Swedish colonial history with recent political events. I thus hope to shed light on the way that professed concerns with sustainability in Sweden and Northern Europe interact with postcolonial power structures today. Much of the historical research that I build on is derived from two recent books which have contributed to a rethinking of Swedish and Scandinavian involvement in colonialism: the research anthology Scandinavian Colonialism and the Rise of Modernity: Small Time Agents in a Global Arena (2013), edited by Magdalena Naum and Jonas M. Nordin, and Våra kolonier, de vi hade och de som aldrig blev av (‘Our colonies, the ones we had and those never realized’; my translation), by Herman Lindqvist.

Double standards in Northern European environmental politics

An odd thing happened to the mainstream image of Northern European environmental politics following the wildfires in the Amazon rain forest last year. In August 2019 the G7, or Group of Seven, countries offered Brazil a $20 million relief effort—allegedly to reduce the risk of climate change by counteracting extensive forest fires in the Amazon. The offer was however turned down by the Brazilian president Jair Bolsonaro, who confronted the G7 leaders and said that they were treating Brazil ‘like a colony’. Bolsonaro eventually had second thoughts and accepted the aid, but the controversy nonetheless brought the question of colonial guilt and contemporary postcolonial power relations to wider public attention.

What makes Bolsonaro’s scoffing particularly interesting is that he directed it toward nations that tend to be depicted as humanitarian and climate heroes: Germany and Norway. Those two countries had withdrawn financial support from the Amazon Fund in order to pressure Bolsonaro’s administration to take action against the Amazon fires. While influential social scientists have celebrated Scandinavia, the Netherlands, and Germany as ‘clean and green’ utopias, Brazil’s right-wing president unexpectedly—and even against his own anti-environmentalist politics—opens the door to an environmental justice critique of Northern European countries. He accurately ascribes double standards to Norway and Germany, Norway as a whaling country and Germany as needing reforestation. At the same time, his own administration engages in even more absurd forms of anti-environmentalism—as when the director-general of the Brazilian National Institute for Space Research Ricardo Galvão was fired and labelled a ‘traitor’ after the Institute issued a report in 2019 on the acceleration of deforestation in the Amazon.

The clean and green façade of Northern Europe begins to crack as its lack of climate action at home is revealed.

Activists and NGOs used the attention which both the Amazon fires and Bolsonaro attracted to point out that the Brazilian president, although he himself wants to practice environmental destruction at home, does sort of hit the nail on the head when he criticizes Northern European countries for not wanting to change anything in their own backyards. As a Norwegian news site writes, ‘Norway’s rain forest preservation programs have not been without controversy, with critics suggesting Norway has opted to finance climate measures abroad instead of cutting more carbon emissions at home by curbing oil exploration and production.’ The clean and green façade of Northern Europe begins to crack as its lack of climate action at home is revealed. Also, the postcolonial interests of rich countries are still evident: the $20 million relief effort may contain a hidden agenda and climate care can serve as a perfect alibi for retaining economic influence—provided that the commitment to sustainability and fair distribution of welfare and resources is made credible. In 2018, the Brazilian vice president, general Hamilton Mourão, expressed suspicions about such professed commitments: ‘The rich world uses the climate debate to continue to dominate.’

There is a historical continuity to point to here: the poor have suffered the most from environmental impact and unjust conditions caused by the wealthy. And scientists project that this tendency will escalate with global warming, as a future scenario with extreme heat threatens the global South in particular, with consequences like decreased labour productivity, lower crop yields, and impoverished human health. And the ‘clean and green utopias’ of Northern Europe have a part in this unequal system. Equitable distribution of environmental load and economic benefits is not a core shareholder value in the global economy.

Sweden is one of the countries who are keen on business in Brazil. The Swedish Minister for rural affairs, Sven-Erik Bucht, went there in 2017 with major Swedish forestry actors and researchers, establishing relations for Swedish businesses under the guise of sustainability. The Amazon is a target for Swedish exports of technology and forestry know-how. Since Swedish forestry often includes criticized clearcutting, Greenpeace Sweden took the opportunity when the fires in the Amazon brought attention to deforestation to point to Swedish double standards when the country pressures Brazil to preserve the rain forest all the while replacing forests with tree plantations at a remarkable speed in Sweden. Since the same companies that are trying to gain access to Brazilian land are causing environmental harm back in Sweden, Greenpeace’s reaction against Swedish double standards could be taken even further. These double standards reside not only in the tendency to require better environmental protection in Brazil than at home, but also in how Swedish forestry actors would happily contribute to deforestation in the Amazon.

We can in fact identify a continuity here; a repeated pattern of what we might call Swedish colonialist neutrality.

So what is going on with all this? How can widely celebrated ‘clean and green utopias’ engage in such dubious practices? By looking at the role of Scandinavia, and in particular Sweden, in the colonial era, we can in fact identify a continuity here; a repeated pattern of what we might call Swedish colonialist neutrality.

Swedish colonialism in thegreat olden days and today

Sweden’s ‘free lane’ into business profit in formerly colonized areas depends on the common perception that Scandinavian colonial violations were marginal, if they occurred at all. But however negligible the Swedish exercise of power has been, it is paradoxically depicted with great glamour. A telling example is the Swedish national anthem from 1844, including the patriotic stanza which begins ‘Du tronar på minnen från fornstora dar, då ärat ditt namn flög över jorden(You are enthroned on memories of great olden days, when honoured your name flew across the Earth’).

Many Swedes probably tune into the song with a sense of pride—most commonly at sport events—and a vague notion of its references to the Swedish Era of Great Power in the years 1611-1718. Sweden was then a colonizer, although admittedly on a smaller scale than Spain, Portugal, the Netherlands, Great Britain or France—and allegedly of a benevolent type.

But the Swedish Crown and power sphere were in fact heavily involved in the European colonization project with all its atrocities. This is convincingly shown in the anthology on Scandinavian colonialism from 2013 edited by Naum and Nordin. In more than a dozen close-up descriptions of colonial encounters, a continuous whitewash of Scandinavian history is revealed. The anthology displays Swedish involvement on several continents: from expansion up North to the New World, Africa, and Asia. In 2015 this book was succeeded by Våra kolonier in which popular historian Herman Lindqvist uncovers a strong Swedish ambition to develop a colonial role. Conclusions in the two books align: dreams of gold, ivory, sugar, spices, and tobacco triggered the Swedish search for and foundation of colonies from the early 17th century in North America, West Africa, and later the West Indies. Ships were built to export iron, wood, and tar, financing increasing imports.

Swedish iron was a key ingredient—mainly for arms production—in the infamous triangular trade. Dutch-born entrepreneur Louis De Geer was an important figure in this as the Swedish Crown granted him a monopoly on copper and iron trade (he later got the epithet ‘the father of Swedish industry’). A curious fact is that iron in his forges was cast into bars that suited the backs of donkeys (!) used for transportation in Africa, as an adaptation to the slave economy: bent bars were replaced by slaves. With Royal Swedish support he also established a trading post in Cabo Corso at the African Gold Coast. 1,500-2,000 slaves were shipped by Swedes over the Atlantic. Ethics were no obstacle. The European colonial attitude depended on racial supremacy. A Swedish pastor doubted openly that African slaves were human beings. A Lutheran bishop in Copenhagen proclaimed that slavery was a natural state for heathens and punishment for their sins.

The word ‘colonizer’ is seldom used in Swedish sources.

Sweden has successfully avoided scrutiny partly because of a widespread understanding that it never got any major colonies. The word ‘colonizer’ is seldom used in Swedish sources, historical or popular. But Sweden did have several colonies for quite some time. Baltic provinces were annexed in wars in the 16th and 17th centuries, staying under Swedish control for 150 years. Regions in Germany and Poland were occupied. Swedish trade relied on indentured peasants in those areas. If the brutality of Swedes is absent in Swedish sources, it is all the more present in German, Polish, and Baltic ones.

An imagined peaceful meeting between Swedish settlers and Native Americans in New Sweden with warring Native American tribes in the background. Creative Commons Public Domain Mark 1.0 License.

The Swedish leadership also aimed for America. A detailed colonial trade plan was formed and New Sweden was established in Delaware in 1638, challenging Spanish control. The Swedish governor got royal instructions to treat the ‘wild people’ well to gain their confidence. The Crown was hoping that ‘higher standards’ would convince them to withdraw from competing traders. And the Swedes managed to cooperate with the Lenape and Susquehannock nations for some time.

In New Sweden, forest Finns were forced (by updated legal restrictions in Sweden) to cultivate the colony with their ‘slash and burn’ practise. They were roughly treated and historians have even used the term ‘penal colony’. The use of indentured labour was similar to the infamous use of the same system in British plantations in the West Indies.

There is evidence that the Swedish governor actually wished to eliminate the Indigenous population in the barren colony. He applied for sufficient numbers of soldiers to do so. The proposal was however ignored by the Crown, probably because of the urgent need for war resources in Poland and elsewhere.

The Swedish Royal council also planned other settlements in Africa, the Caribbean, South America, and Asia in the 17th and the 18th century. But plans constantly failed, until Sweden at last obtained Saint Barthélemy from France in 1784. The Caribbean island became an important trade hub with slave trade as the main objective. This trade relied on Swedish ‘neutrality’ in European wars.

It is revealing as well that leading Swedish merchants sold iron (for weaponry) to rebellious forces in the American War of Independence.

Photo from Swedish Saint Bartholémy, circa 1865. Creative Commons Public Domain Mark 1.0 License.

Back in Europe, the discovery of silver in Lapland in the 1630s triggered the Swedish Crown’s expansion north into Sápmi. In centuries to come, resources like fur, game, and minerals were extracted—and the Indigenous Sámi were ‘civilized’. The colonial attitude was obvious: Chancellor Oxenstierna referred to the northern parts of Sweden as ‘our India’. The ultimate purpose was to displace the Sámi people and deny them their independence and land rights.

The Swedish presence through settlers, bailiffs, entrepreneurs, and clerics in Lapland has not been seen as colonial domination by historians until the last few decades. Instead, terms like agricultural expansion, Forest Sámi assimilation, domestication, or civilizing have been used. But the compulsory boarding school attendance (with Christianity lessons) for Sámi children cut off from their families is not essentially different from the Belgian education of natives in the Congo or North American examples such as the Brafferton Indian School in Virginia.

Mining interests have repeatedly collided with reindeer herding and settlements.

Furthermore, the colonial legacy in Sápmi is still evident today. There are long-standing conflicts about land use in much of Sápmi, often in connection to the environmental impact of extractive industrial projects. For example, mining interests have repeatedly collided with reindeer herding and settlements. At the present time mining entrepreneurs, including several multinational companies, are searching for rare earth metals and iron, exploitation that is marketed by companies (and the government) as environmentally and socially beneficial because Swedish environmental protection and working conditions are superior to Chinese ones. In all this, the Sámi appear to have no say.

One land use conflict is currently tried in the Swedish Supreme Court. The dispute concerns who should administrate hunting and fishing rights on the grazing lands of the reindeer herding community of Girjas: the Sámi community or the Swedish government. Girjas has won in the District Court and the Court of Appeal. The Supreme Court’s decision will likely serve as a precedent in similar cases, meaning that it can have far-reaching effects on how Indigenous land use and land rights are interpreted by Swedish courts in the future.

In the court proceedings, surprisingly blunt statements have been made by representatives of Swedish authorities about the Sámi as ‘inferior’, a characterization which echoes the old colonial depiction of Indigenous peoples. Throughout history many Sámi people have been hurt, humiliated, and oppressed by Swedish authorities. When the well-known Sámi public figure Johannes Marainen was recently interviewed in a Swedish newspaper, he concluded that ‘We Swedes are quick to engage when people in other countries are oppressed, but we have not really cleaned up in front of our own door.’ This is not the least apparent in the Swedish government’s continual restriction of who has the legal right to call themselves Sámi on ‘Swedish’ territory: reindeer owners of ethnic Sámi origin. All other Sámi people—like fishing and hunting Sámi—are by Swedish definitions not Sámi! The self-imposed governmental right to define, acculturate, and segregate the Sámi people is largely unbroken since colonial times.

The vast underground iron ore mine in Kiruna/Giron. Photo:
Arild Vågen, CC BY-SA 4.0

Scandinavian peculiarities within the European colonial project

In a discussion of colonialism in Scandinavia, it should be noted that Denmark maintained even more widespread presence in colonies around the world than Sweden did, in Africa, Asia, and the West Indies. Also, Denmark tried to control the North, with its whaling and fisheries, in a ‘colonial union’ with Iceland, North Atlantic Islands, and Greenland. The exploitation of Greenland has been similar to Swedish expansion in Sápmi. Greenland still remains Danish, with a restricted autonomy. American president Donald Trump recently made a surprising announcement of the intention to buy Greenland, demonstrating how strategically and economically attractive land areas still are seen as available for purchase. But the neocolonial bid was declined by the Danish prime minister. Following the old colonial pattern, the islanders themselves were not consulted.

Heavy violence was not a part of Scandinavian colonialism, at least not to the same extent as in British, Spanish, French and later German rule. But one of the most long-lived slave revolts in the Caribbean actually occurred in the Danish colony of St. John in 1733. For six months a group of slaves battled and killed Europeans and slaves of other origin, until French soldiers violently ended the revolt. Colonial competitors would often unite in this manner against enemies who threatened the colonialist structure.

Another difference between Scandinavian oversees colonies and those of other European nations was that the numbers of Scandinavian settlers in the colonies were on the whole few. However, this doesn’t mean—so Naum and Nordin write in the introduction to their anthology—that the colonies were negligible in geo-economic terms. The colonial purposes were similar to those of other European powers:

Scandinavia’s colonial expansion was motivated by and involved particular economic thinking, mercantilist drive for profit (to sell dear and buy cheap) and balancing national economies. Furthermore, it made use of the principles of natural law, which stipulated universal rights to trade, travel, explore and settle in foreign lands and justified violent actions if these rights were denied.

Naum and Nordin show how the quest for economic growth attracted Dutch capital and workforce to Scandinavia, bringing industrialization as well as capitalism. Books were written about the usefulness of trade and the need for founding colonies. Sugar refineries were built in Stockholm and Gothenburg. Swedish herring was traded as food for slaves. Merchants offered shipping of slaves to French colonies. Expeditions to America were made, even secretly in war time.

Swedish neutrality turned out to be a strategic position and to offer competitive advantages in relation to colonial superpowers at war.

The Swedish Crown, merchants, and political leadership shared a Eurocentric worldview and supported the right to conquer, dominate, and civilize in the name of superiority and technological advancement. But there was also a specifically Swedish twist to colonial ideology: Swedish neutrality turned out to be a strategic position and to offer competitive advantages in relation to colonial superpowers at war. When Britain and the Netherlands were fighting, Sweden exported cannons to the Dutch and iron for weaponry to the Brits. France could, when fighting Britain, rely on Swedish shipping of smuggled slaves, weaponry and other goods in the Caribbean. Also, hundreds of US trade ships managed to avoid customs by sailing under Swedish flag—and thus Sweden could maintain the lucrative Saint Barthélemy trade traffic.

There seems to be a line of continuity in Swedish ‘neutrality’ goodwill from colonial times up to this day. When defending delicate business agreements, Swedish rulers are well aware of the strong link between ‘nonprofit’ trademarks and the ability to secure market shares.

The self-image of Sweden as a peace-loving world conscience of human rights rhymes badly with Swedish arms exports. The last few decades there has been a public debate on exports to dictatorships and regimes at war—though it is at least not, unlike in the ‘great olden days,’ a question of illegal smuggling. On the contrary, the companies and the government take care to emphasise the morally responsible nature of the Swedish arms industry, using foreign policy watchwords like ‘equality,’ ‘freedom of speech,’ and ‘press freedom’. Trade is promoted by professing high standards of human rights and progressiveness.

But whatever ideals are invoked, Swedish exports of military equipment are frequent to countries where essential freedoms and rights are absent. The Swedish company SAAB recently delivered airborne systems of radar surveillance to United Arab Emirates. The suppression of human rights in the Arabic autocracy was never questioned. Amnesty noted that SAAB does little or nothing to check if delivered equipment is used in war crimes or oppression.

The ongoing SAAB delivery of 36 fighter aircraft to Brazil causes no troubling debate in Sweden. But when exports to warring countries are highlighted the government is forced to act; recently exports to Turkey were stopped because of the war in northern Syria (the contents of the exports were secret, however—protected by law).

Continuing on or contesting colonial relations

As suggested earlier, ‘climate action’ is becoming another useful sales argument for rich countries like Sweden. But when it comes to climate offsetting, rich countries gladly export it. Swedish funds support tree plantations in Kachung in Uganda in a project which has meant that local farmers have been forced to move, thus losing their small income. The project has even been considered a form of ‘landgrabbing.’ Now the farmers cannot afford to send their children to school; some even starve. Ugandan David Kureeba, chief at the National Association of Professional Environmentalists, called this ‘climate colonialism’ in a major Swedish newspaper. The colonial pattern is there, in compensations for emissions of carbon dioxide as well as in exports of garbage to Africa. In a similar case, it has been revealed that Swedish government agencies have bought carbon offsets in Brazil from a multinational corporation that has now been sued for poisoning the land of the Guarani people. The offsets were bought to compensate for air travel by employees at agencies like the Government Offices and the Environmental Protection Agency.

Another example of Swedish ‘high standards’ being more like double standards can be found in the story of the Ethiopian/Swedish cardiologist Fikru Maru. In 2013 he was imprisoned in Ethiopia, where he was detained for five years without a trial, falsely accused of bribery. His daughter—a Swedish resident—was informed by the Swedish Foreign Ministry that his prolonged detention time could not be questioned, since Swedish detention restrictions are lacking too (UN, the European Council, and several NGOs have criticized this). It would therefore be inconsistent to put pressure on Ethiopia. But alas, there were other reasons to be silent: Sweden was depending on Ethiopian support for a coveted seat on the UN Security Council and did not want to annoy Ethiopian colleagues by criticizing unlawfulness. This is revealed in a Fikru Maru biography which came out in October 2019.

As we have seen, there is reason to conclude that Swedish ‘higher standards’ to at least some extent have been tactical more than factual—a strategic colonialist neutrality. Some may even call Sweden’s world conscience rhetoric hypocritical. In any case, regardless of how one interprets Swedish neutrality, it is a fact that Sweden fully participated in the colonial expansion and supported it; colonies added to the power and glory of those ‘great olden days’ that are commemorated in the national anthem.

There has been no decolonizing moment during which Sweden has had to rethink its legacy. But some are trying to change this.

What differentiates Sweden from, for example, Britain and France is that there has been no decolonizing moment during which Sweden has had to rethink its legacy. But some are trying to change this. Swedish artist Carl Johan De Geer, a descendant of the industrialist Louis De Geer mentioned earlier, designed an art exhibition in 2019 (in Norrköping Art Museum) to discuss colonial guilt. De Geer wants to process the past in a way Swedish schools and art never have. For him, the triggering factor was his own encounter a few years before with a descendant of a slave sent to Brazil by his forefather (!).

The Church of Sweden also calls for a rewriting of history: ‘Sweden must deal with its historical debt to the Sámi,’ Archbishop Antje Jackelén officially declared in 2016, aware of the Swedish lack of international credibility due to the state’s and the Church’s treatment of the Sámi. As part of the Church’s self-examination several books have been published, including one with scientific white papers. The Church supports the Sámi Council’s request for a Truth and Reconciliation Commission, similar to the one in Canada, but the Swedish national parliament has as of yet failed to act on this.

Other states have at least partly begun to deal with their guilt. Germany is perhaps the best role model. Its World War II atrocities including the Holocaust have caused a processing in literature, art, education, and public debate. This has been termed ‘Vergangenheitsbemächtigung’, i. e. the processing of the past, and may be the key to Germany’s remarkable ethical recovery in the eyes of the world. But at the same time, the immense German colonial abuse in Africa in the late 19th and early 20th centuries has largely remained unexposed. Germany’s unwillingness to owe up to its colonial past is evident in the strained relations between Germany and Namibia (formerly German Southwest Africa) as the countries are five years into unsuccessful negotiations of the terms of an official apology and compensation from Germany for the genocide of 1904-1908.

It is disheartening (although perhaps not surprising) that there is a similar absence of processing of historical crimes in current superpowers. In Russia, Stalin is idolized to this day by one-eyed history writing—spelled out even by president Putin, the new ‘tsar’—despite all Soviet atrocities. Notable literature by Nobel Prize winners Alexandr Solzhenitsyn and Svetlana Alexievich uncovers a broader picture, but has not had an impact on the history that is told by the state. In China, the Communist Party nurtures a leadership cult around Mao Zedong as part of the government’s effort to legitimize continued power concentration and repression. And the one-sided description of the conquest of America, which glosses over genocide and traumatization of Indigenous peoples as well as the atrocities of the slave economy, plays a role in continued racism in the U.S. in the 21st century.

Any benefits that can come from the infrastructures and technologies of modern, globalized society will be effectively undermined by continued abuse and uneven distribution of wealth. In a world of increasing inequalities, where material wealth is concentrated in fewer and fewer hands and environmental load is placed disproportionately on the poorest, there is certainly a need for both processing of colonial guilt and a decolonization debate.

If history is unprocessed and allowed to repeat itself, ‘clean and green utopias’ like Sweden can continue to use their good reputation and depict themselves as ‘neutral’ actors to get strategic advantages in global trade. A scrutiny of historical roles in the colonial era shows how the same old patterns are at work. Although political control over vast colonies is history, economic structures ‘invisibly’ serve the same function (and in a way that is often cheaper than managing empires). Today formerly colonized regions largely depend on foreign company investments to develop a role in global trade. Differentiation of production is driven by market laws; cheap labour and access to raw materials are essential to make post-colonial wheels spin. Environmental harm is part of the equation. And in this postcolonial world economy, Sweden uses the same strategies to promote its economic interests as during the era of European colonial expansion.

Former colonial powers have a responsibility both for their material impact on the planet and the ideologies they enforce.

The possibilities of climate action

So where does all this leave us? Apart from scrutinizing their colonial history and identifying repetitions of historical patterns in the present, how might Scandinavian countries approach decolonization? This is a complex question which I can barely begin to answer here. I will say this though: we need to question the idea of economic growth as an ultimate bringer of welfare for all. In a world experiencing the devastating effects of climate change, this idea is less plausible than ever: as excessive consumption by a world minority threatens all of humanity’s existence, there can evidently be no equality unless wealth is distributed differently across the globe. This means that former colonial powers have a responsibility both for their material impact on the planet and the ideologies they enforce. Sweden—with its ‘higher standards’—is one of those countries. To advocate a greenwashed variety of ‘business as usual’ is to preserve existing power relations, instead of questioning vested interests. Selling Swedish fighter jets to Brazil and oppressing Sámi people at home while telling Bolsonaro to respect Indigenous rights—cashing in and washing our hands—is certainly not good enough.

But things can change. Slave trade and slavery were abolished as a result of widespread resistance and popular movements. It took centuries, but it happened.

We are now witnessing increasing pressure to change economic and political goals in an effort to counteract climate change. This may be the beginning of another dramatic shift of paradigms—if double standards hiding and justifying short-term profit interests do not stand in the way.

NOTE: Shortly after the publication of this text, the Swedish Supreme Court (Högsta Domstolen) ruled in favour of Girjas reindeer herding community against the state. The court’s decision was unanimous.

Many thanks to Rut Elliot Blomqvist for eminent editing and language revision.

Roger Blomqvist is a retired current affairs reporter/researcher and producer of “life philosophy” programs at Swedish public radio (Sveriges Radio), presently a university student of history and culture.

Birth

by Miguel Ganzo Mateo

66.6070° N, 19.8229° E

Hello World

We had to start somewhere so we decided we would start from the beginning. From birth.

Let us first track who we are, I mean, exactly who we are, what we can do, or what we could do with some training.

We don’t have access to energy credits, that’s something we all have in common. And we live outside of the inside. Sounds kind of silly, outside of the inside, but English is not my language and I don’t know how to write it in a better way. Almost none of us have English as our mother tongue, but English is anyway the language we use every day here. Not so strange as this is a community of almost ten thousand people with more than a hundred (old) nationalities represented … The second language, quite unexpectedly but fortunately—and the tendency is clear as I see it—is becoming Lule Sámi, or julevsámegiella, the language of our hosts: the Sámi people of Jokkmokk. But the purpose of this message is to communicate our strategy to other outside communities all around the world, so English is the best choice.

Our strategy is, oh, it sounds very big to call it a strategy. I would fit better to say our first step. Yes. Our first step.

Our first step is to organize the safety of the births, of giving birth and of being born, the mum’s and the child’s perspective, health and well-being. How to handle it here on the outside? Most of the births go well with not much intervention, but “most of the births” still leaves lots of births in the risky zone, and we wanted to improve that.

You’ll find the technical and medical details in the attached file: a cost effective, low-tech and energy saving procedure, with ideas and input from doctors and nurses from more than ten (of the old) countries. In the other attached document, you’ll find the financial and organizational aspects of the project, the first act of our taking-back-the-public-services agenda.

– Alex, Alberto, Magda, Ibtisam, Ahmed, Rebecka, Eva! The text is almost ready, attachments included. Who wants to check my English? Alooo? Somebody at home? No? Really? Nobody at home? First time ever. Let’s have a look on the second floor. Somebody here? Ups! Yes, Alex and little Nico. Alex sleeping like a baby and you, Nico, awake with your eyes wide open, as if today were the first day of your life. Well, that was not so long ago, the first day of your life. You’re not older than a month, are you? Time flies. It feels that it was yesterday, but at the same time it feels like you’ve always been here. What are you looking at? What are you looking at? Do you like my glasses? Yes, they are red, like your trousers. Come with me to the kitchen so Alex can continue in sleeping mode. Let’s see if the cat is in the kitchen. We’re alone: you, me, Alex and maybe, just maybe, the cat. Where’s everybody? Do you know where everybody is? I’m sure they’ve told you where they’ve gone, but you’re not saying a word. And I’m sure they’ve also told me, but you know how distracted I am. Maybe we’ll find some clue written in the calendar in the kitchen? Oh yes, oh no! how could I forget that? And why didn’t anybody tell me? Of course, nobody told me because I’m always saying that I don’t like to be disturbed when I’m writing, especially if I’m writing in the basement with the door closed. But anyway, they should have told me! The Vidsel Test R.I.P., Nico, the day when we celebrate the closure of Vidsel Test Range. It seemed impossible to achieve, but we managed, somehow, we managed, and the big military companies finally left the area: no more bombs, no more tests with scary airplanes flying in the blue spring skies. We’re on the outside, yes, but this is becoming a good place to be outsiders. And maybe someday, maybe someday when you’re, I don’t know, twenty or twenty-five years old? Maybe then we’ll regain the access to the river, the river that is now controlled by the insiders and their obsession with energy resources. Or who knows, maybe we’ll not need to wait that long. Nico, what are you looking at? The window? The sun and the snow? Oh, that’s a fox. And here is Ninina, being a cat as usual. And you’re a little kid. Yes, you are. The first kid born in the new Birth House. You’ll be happy to hear about that when you are old enough to understand what that means. You know what? I’ve heard stories about the babies that are born on the inside, how they measure everything, and constantly! with thousands of tables of optimal progressions, graphs and percentiles left and right, up and down, and that was some years ago, who knows what they’re measuring nowadays. Don’t misunderstand me. Measuring in itself is not a bad thing, but getting obsessed with measurements is almost a disease, a disease that nobody is measuring. I guess they measure so much because they’re afraid. Afraid of life, afraid of death, afraid of things that they can’t control. And we? I mean, and I? Am I afraid too? Well, to an extent indeed I am. But there’s so many things that we can’t control, here on the outside, that finally you stop being afraid, there’s no point. And you never know when something bad can turn into something good, or even really good. Look at you! I remember how sad we were when the avalanche destroyed our house in Kvikkjokk. Luckily no one was injured but we needed a new place to live. We found this house, our house now, your house as well; this beautiful house with beautiful people living on it, and it was then that your parents met each other. Did you know that? Did you know that they met here? And here you are, looking at me, demanding milk, and of course your nonexistence is inconceivable. I’ve not read much philosophy, but I would call it Axiom of existence. Ok, I get it, you are really hungry, but how lucky we are, there’s plenty of mum’s milk in the fridge. I’ll warm up 120 ml right now. And after your lunch I’ll play a song for you.

*

Birth

If the way you look at me is the look of future days
If the lightness of your body, make us lighter
If the joy of being still with you sleeping in our arms
Is a joy that is contagious and incurable.
 
I will tell you all the fables that I could someday forget
I will walk with you to lakes that still are hidden
I will sing a thousand songs, I will talk with you in words
From the language that was used by our ancestors
And you tell me, that you’re hungry.
 
Not afraid of the ruins of the city that is gone
Not afraid of the future that has perished
‘Cos for you those would be stories, just some legends from the past
Like the Holy Roman Empire or the Soviet.
 
And surrounded by the whiteness of the boreal spring
And the quietness of the snow that still is falling
With the firewood on the fireplace and the rocking chair for us
It is time for you to eat, for me to wonder
Such an energy, when you’re hungry.

Photo and recording by the author.

Miguel Ganzo Mateo is a Spanish writer and songwriter who works as a math teacher in a secondary school in southern Sweden. In 2018 he published the novel Sesenta metros cuadrados (Sixty square meters), and with the short story “Birth”he returns to Jokkmokk, the area in northern Sweden where the novel takes place. More info at www.miguelganzomateo.com.

There is no wilderness in Kiruna

Kiruna at midnight. Photo by Rut Elliot Blomqvist

by Rut Elliot Blomqvist

Kiruna/Giron, July 1st, 9 pm. The sun won’t set tonight, nor for another couple of weeks.

The recorded voice of Hans Forssell, a state attorney, booms from the speakers of the festival stage Cityscenen. A group of people are shouting “Jannok, Jannok!”, drowning out the contemptuous, racist crap from a 2016 court case between the Girjas reindeer herding community and the Swedish state.

Sofia Jannok enters the stage to the sound of the cheering audience. Kiruna has been a mining town for 127 years, and the state-owned company LKAB—Luossavaara Kirunavaara Aktiebolag—has long been and is still a key contributor to Swedish state wealth. Jannok’s stage at Kirunafestivalen has a view of both the Kirunavaara/Gironvárri mine and the surrounding mountains and woods where Sámi people lived for about ten thousand years before the crown and state of Sweden took an interest in these lands, and where Tornedalian farming settlements coexisted with Sámi culture for several hundred years before Swedish colonial settlements were established in the 17th century.

The Kirunavaara mine. Photo by Håkan Sandström

Jannok’s drummer hits the snare drum in the march-like intro to the song “This is my land – Sápmi”. Jannok points to the mine and sings: “If you want to ruin it all with big wounds in the mountain, then you’re not worthy listening to this song”. This line leads into a power yoik—yoik being the traditional Sámi vocal style which Jannok mixes with pop music, creating an evocative and original sound—which seems to me to embody both the anger and the joy someone feels when they fight to protect what they love. Her voice and her eyes express grief and loss, and then happiness and love; despair and anger, and then a fierce, euphoric fighting spirit—moving seamlessly between these inseparable feelings. In “I ryggen på min kolt” (“Backstabbing my gákti”), Jannok again points to the mine, singing: “Att sälja landet åt gruvor kallas folkmord”, “To sell the land to mines is called genocide”.

Before the song “Čuđit – Colonizer”, Jannok talks about the last time she arrived at Kiruna airport where she remembers a sign that read “Välkommen till Europas sista vildmark”, “Welcome to the last wilderness of Europe”. She observes that wilderness means unpopulated; the sign at the airport suggests that Sápmi and Tornedalen were empty before they became part of the Swedish state. Jannok says, “there is no wilderness”: “Who do you think named these mountains, in several languages?”. People were living with the land and gave places names in Sámi and Meänkieli (Tornedalian) before others came to colonise the land.

Čuđit – Colonizer”

Never empty, she was never wild

Stolen cruelly away from her child

Taken care for thousands of years

In seconds she’s ruined seas to seas

Kiruna, or Giron in northern Sámi, means ‘snow grouse.’ Not incidentally, Jannok sings a song called “Snow grouse – Ii leat ivdni mus” which is about surviving:

Invisible though I’ve always been here

Like a snow grouse I fly though they want me to die

The crowd at the festival. Photo by Håkan Sandström

To my left, three young people in colourful, patterned gákti—the Sámi regalia—are dancing with a Sámi flag.

Behind them, there are a few older women in blue gákti.

To my right, a middle-aged man is standing alone, dressed in a smart checked shirt, jeans, and a black cap decorated with reindeer and a small Sámi flag. He removes his glasses, to wipe away what seems to be tears.

When I turn around to view the huge crowd, two women behind me who are dressed in contemporary European fashion speak—to me, I think—in a northern Swedish accent, saying “Hon är så jävla bra”, “She’s freaking awesome”.

Closest to the stage by the fence is a line of young girls, many with Sámi handicraft—Duodji—handbags.

A few people in their twenties and thirties, seemingly a bit drunk, are dancing in front of me without paying much heed to the people around them, and two of them know the kids by the fence and sometimes hug and dance with them. Some of the kids don’t seem entirely happy about this.

To the left of the drunken dancers, three people form a kind of line by hugging each other, watching and listening intently to Jannok.

A bit behind me on my right there is a group of people whom I read as queer. One of them is wearing a “don’t assume my gender” t-shirt.

Between two of her songs, Jannok talks about “the strong souls who held on so that I can stand here now”.

Sofia Jannok. Photo by Håkan Sandström

Before one of the last songs of the gig, Jannok says, “Whatever happened yesterday, you are still here”.  She presents the song through a powerful image: When horrible things happen, you take the hate this awakens and you close your fist around it like around a small stone, and you hold it there until it has become love and then you open your hand and let the love come out. You spread love. That’s how you survive; that’s why diversity and goodness still exist in a colonial world; that’s how we are still here. Then Jannok sings “We are still here – Mii leat dás ain”—which is also the name of the tour.

After “We are still here”, a big group of people near the stage shout what I would venture to guess is “one more time” in Sámi. Someone comments in Swedish that half of Sápmi is there at the gig.

I feel a bit introverted, hiding in my hoodie, wanting to be in a quiet place to think and feel everything Sofia Jannok’s concert has made me think and feel.

I don’t know if the people around me are representative of Sápmi, or of Tornedalen—the Torne river valley—or of Kiruna/Giron. Regardless, these people remind me that there are all kinds of people everywhere: in Gothenburg in the south where I currently live, in Sápmi and Tornedalen, in Kiruna; in an urban core, in Indigenous and other local communities, in a mining town.

I think about something Jannok said during the concert: “I wish that no one would ever have to argue with the state or with anyone else, saying ‘yes, I do exist’”. All of us exist and we are all different. She called the audience her rainbow and sang “Jag är regnbågen på din näthinna”—“I am the rainbow you see”, or “I am your retina’s rainbow”. This is a theme Jannok returns to over and over again, like in “I ryggen på min kolt” which concludes with the words “Colours exist because everyone’s here”.

Leaving the festival, walking back to my father-in-law’s flat in the midnight light, I wonder if anyone wearing a gákti will be harassed or beaten tonight, remembering the line from Jannok’s song “Čuđit – Colonizer”: “Go gávtti biggo šaddá návddiin diggot”, “Wearing your gákti means dealing with beasts”. I wonder if anyone will be sexually harassed or raped tonight—sexual harassment and rape have haunted Swedish festivals this summer, as they have always done. I wonder how many lonely people will get wasted and break down tonight, here in the area called the Vodka belt where talking about your feelings isn’t always a priority. I wonder how many angry, underprivileged men will bond over racist comments about the Sámi and refugees tonight.

I wonder why some people, in particular here in the north, channel their despair, grief, loss, loneliness, and anger in the form of hatred towards the Sámi. That very few Sámi people have minor, relative privileges compared to some other underprivileged groups in the north seems like a simplistic explanation. I wonder if this hatred isn’t also about a kind of jealousy: maybe people envy the Sámi for the Sámi sense of community. I know that, when Jannok sings about her love for the land and her people, I find myself longing for being in a community of people and land.

If a sense of community is what you want, no hatred is going to fill that empty space. Instead of spreading hate, it makes so much more sense to hold it in your fist until it becomes love and then spread that love. It makes so much more sense to build a local community with the people around you; to create your own story about injustice, extractivism, and colonialism; to define what you would demand from the state and other sites of power, and then join the Sámi in their struggle for local autonomy and land rights.

Just outside my father-in-law’s house, from the parking lot, I can see the closed Luossavaara/Luossavárri mine in the distance. The name means Trout mountain. I wonder who gave it that name once. It looks lonely.

Rut Elliot Blomqvist is a songwriter, musician, writer, and PhD student in literature and environmental humanities who thinks a lot about environmental justice, degrowth, and the mythologies of contemporary Western society.

Decolonisation in Europe

standing-rock-96
Sofia Jannok at Standing Rock. Photo: Jeff Schad

by Rut Elliot Blomqvist

The European core nations have colonised the world. This system is not only based on the unequal exchange of land and labour—as the anthropologist Alf Hornborg has shown in Global Ecology and Unequal Exchange—it is also on the verge of making the planet uninhabitable. So the world must be decolonised. But what would it mean to decolonise Europe? How do we decolonise the core of the world system—the area of the world that gave birth to colonialism itself?

Another world exists

In the north of Scandinavia, there is an Indigenous culture that has persisted against colonisation. The land is called Sápmi. The Sámi, like all Arctic Indigenous peoples, are experiencing the severe effects of rapid global warming and decolonisation is now more than ever a matter of survival.

Sofia Jannok is a songwriter, yoiker (yoik is a traditional Sámi vocal style), and pop singer; activist, environmentalist thinker, and reindeer owner. Through her words, melodies, activism, and existence, Jannok pushes for decolonisation. The title of the last song on her latest album ORDA: This Is My Land is “Noaidi,” a Northern Sámi word that means shaman but that she also translates as “Decolonizer.” The noaidi drives out the colonisers and their mentality. The noaidi reveals another world, a story that has been silenced in the history of the Swedish nation state.

For me, the encounter with Sofia Jannok’s music and stories opened the door to a new world-view. I am an urban middle-class Swede brought up to think that industrialisation is necessary and that this mode of production combined with better welfare distribution means progress for all. I have always had a nudging feeling of something being wrong with the story I have been told but other narratives are rarely given space in the media, nor in the academic contexts or political organisations I have been part of.

I was able to interview Jannok to explore the connection between her music, the decolonisation of Sápmi and of Europe, and the necessity of Indigenous rights and Indigenous peoples’ perspectives for all of humanity. This article tells the story of the other world that already exists in Jannok´s Sápmi. I weave a pattern of our conversation, her songs, images of what her stories make me feel, and examples of colonisation past and present.

Jannok and I begin by talking about music. I ask her about the role of music in Sámi decolonisation work and she emphasises that the increased focus on Sámi musicians and artists in the Swedish media often misses the historical ties between artistic expression and political struggle in Sápmi:

The national media in Sweden are only now opening their eyes to what is happening in Sápmi, because music is bringing these things to the fore. But music has always been an essential part of the decolonisation work that Sápmi has undertaken for as long as I have lived and long before my time.

She tells me that she sees her voice as a continuation of the voices of the past. Some of her influences, or precursors, are the yoikers, musicians, and activists Áillohaš (Nils Aslak Valkeapää) and Mari Boine. She also mentions all the music that came out of the action in Alta in Norwegian Finnmark in 1981—a manifestation, Jannok says, that made Norway take Sámi politics seriously, leading them to open a Sámi parliament and sign ILO 169 (the UN convention on Indigenous peoples’ rights, which Sweden still has not signed).

I continue what previous generations started: mirroring the contemporary world—as art always does, or at least I think it should.

Indigenous art can be an important mirror: it reveals parts of reality that are obscured or distorted by the colonial mirrors that dominate many people’s view of the world:

It’s through art and culture that we can look back on what another time was like. From my perspective, neither history books nor the media are impartial. With regard to us in Sápmi, an efficient way of obscuring and oppressing is to say that we don’t exist at all. And because of that I think that art and culture and music gives a more fair and true image of reality, because it is told through the eyes of the ones who experience it. All over the world, the history of Indigenous peoples has mainly been told by the colonisers and of course that yields a pretty slanted image and a very short-term perspective too because the time that colonisation has been going on is only a second if we compare it to how long we have existed on the earth.

Through a decolonised picture of reality—this is how we can see the other world that is possible.

Colonial blindness and Indigenous grief

On her latest album ORDA: This is my land, Jannok has a song that contrasts these two reflections of reality—the colonial and the Indigenous one.

Grieving: Oappáide”

Not grieving the loss of you home sweet home

Not grieving your walls that for all times are gone

Not grieving, because they were already gone

Your house was built on an old woman’s home

I’m grieving the wide open wound that I see

When will they understand when to let be?

I’m grieving for her because she lost it all

Under your kitchen floor buried is her soul

The first time I heard this song, all illusions about the goodness and soundness of my society started to melt away. I felt that it spoke to me; that I was the “you” that this song is directed to:

I—the grieving Sámi.

She—our mother, the earth.

The kitchen—the food, energy, of the colonising world, which has buried our mother’s soul.

You—the blind people in the colonial state, who do not see what they have lost.

They—the core of the Swedish state, which colonised Sámi land and whose colonial project is ongoing.

Like the Indigenous peoples of Turtle Island (North America) who are right now protecting their home and the earth from the Dakota Access Pipeline and the expansion of the Tar Sands, Jannok and the Sámi see that the colonising industry wants to “steal our mother”—a line from Jannok’s song “We are still here”—and so they are protecting the land, water, air that we all depend on. Jannok was in fact part of a Sámi group that went to Standing Rock in North Dakota to show their support for the activists there.

But the core of colonial society in Sweden contests the parallels between the Sámi and other Indigenous cultures. On ORDA: This Is My Land, Jannok shows this very clearly by including excerpts from a hearing in a court case between the Sámi reindeer herding community Girjas and the Swedish state—a case that Girjas won, though the state has appealed and a new trial will be held in 2017.

In the hearing the State calls a witness, a non-Sámi resident of Finnish Sápmi, who voices the opinion that the Sámi are not an Indigenous people and that the colonial theories that have been developed “for North America and Australia” do not apply to “Lapland” (or Swedish Sápmi). Jannok explains why she contests this claim on her album:

I draw parallels to other Indigenous peoples precisely to debunk the opinion that Sámi people aren’t Indigenous. As if that was an opinion when it’s fact, and facts are facts and can’t be overlooked: the Sámi are an Indigenous people. The opposite is to claim that the earth is flat and try to discuss from the starting-point of the earth being flat when we have already agreed that the earth is round. Let’s start the discussion from there. We are an Indigenous people. Grant us our rights, that we have maintained for ourselves for thousands of years.

This fact does not stop the Swedish state from telling its own story about the Sámi. In one of Jannok’s samplings from the hearing, the state attorney questions the concept of ethnicity and its relevance to the description of the situation in Sápmi. Listening to this, I remember the music video to Jannok’s song “Viellja jearrá” (“Brother asks”) where the history of racial biological studies on the Sámi is shown. In the light of the history of Swedish eugenics, we can begin to understand the degree of disrespect shown by the state when it now refuses the Sámi the right to define themselves as an Indigenous community. The state in the past studied the Sámi as a “lower race” and now instead wants to do away with the concept of ethnicity. It is hard to find a better example of how Sámi politics are reframed to suit the political agenda.

The state attorney also says that “the State has done its utmost to regulate the reindeer husbandry trade in a generous way” and that “the Sámi have not been subjected to discrimination by the State”. These types of statements can feed widespread prejudices in Sweden about the Sámi as privileged—prejudices claiming that the Sámi both receive special privileges to keep reindeer and benefit from modern infrastructure and technology. What these claims entirely leave out is that the Sámi did not choose to be incorporated into this modern industrial society. The state never asked the Sámi if they would like to abandon a subsistence lifestyle for a professional, regulated reindeer trade.

Part of the decolonisation work is to confront this racist discourse about Sámi privilege. An example of this in Jannok’s music is one of her most fiercely political songs, “I Ryggen på min Kolt” (“In the back of my gákti”—gákti being the Sámi word for a traditional regalia) which is directed at the Swedish state and its double standards; when it wants to use Sámi culture for advertising in the tourism industry but not grant Sámi people their rights. She sings:

Du söndrar mellan grannar som lärt sig leva bredvid varandra

Sprider lögner om min familj, mitt folk

Dina ord en dolk

Rakt i ryggen på min kolt

You’re sundering neighbours who’ve learnt to live next to each other

Spreading lies about my family, my people

Your words, a knife

Right in the back of my gákti

The song reveals how, in a classic case of “divide and conquer,” the idea of Sámi privilege is used by elites to play out oppressed groups against each other. There are numerous examples of what this sundering of neighbours has led to today—ranging from racist comments on the internet, verbal harassment, and vandalisation of Sámi language road signs, to hate crimes such as assault and battery, killed reindeer, and arson of lávvu (the Sámi equivalent of the North American tipi).

But “I ryggen på min kolt” tells us that this racism was not always there, that we are all being told lies about the Sámi and the history of Sweden and that this is creating enmity. Decolonisation requires retelling history.

Decolonising history

The slanted colonial story of the past and present has been and is motivated to a large extent by the mining industry which has fed the modern Swedish economy, although colonisation through farming settlements goes back several hundred years before this as well. The “golden age” of social democracy and the welfare state was funded by the unequal exchange of land and labour between the core and periphery in the Swedish territory. Jannok, in her work, unearths this inconvenient truth:

Snölejoninna: Snow lioness”

Antirasist my ass,

när du inte ser från vem du snott all din cash

Han, hon, hen “son”

av oss stal du landet en gång

Urfolkskvinna, snölejoninna, jag är regnbågen på din näthinna

jag är allt det men jag är mer, “mon lean queer”,

har funnits här i tusentals years

An outspoken anti-racist, my ass

You don’t even recognize the people from whom you’ve stolen all your cash

Son”, he, she and ze;

Once you stole this land from me

A native empress, the rainbow you see, a snow lioness; well, all that is me

All of it, yes it can all be found here, yet I am something more, as I am queer

Residing here for thousands of years

(“Son” is the Northern Sámi third person singular pronoun, which is always gender neutral.)

This song shows the reality of the resource flows in the colonial-industrial economy, but its focus is on the Sámi as dynamic, as queer—without even a grammatical gender divide—and diverse. It is about telling her own story about who she is and can be, or could be. Jannok says:

“Snowlioness” is partly about how the box that society wants to squeeze me into doesn’t have to be a box. Instead I can be all of this and still have the right to be Sámi.

“Diverse” is a good word to describe both Jannok’s Sápmi and the history of northern Scandinavia. The nomadic Sámi population and the settlers of the north coexisted in the past and both groups benefited from their cooperation. Some non-Sámi people had reindeer and many farmers housed Sámi families on the move between summer and winter pastures.

This decolonised story of the past is slowly gaining space in mainstream media because of the music and activism of people like Jannok, and finally also in some history books. One of these books is Urfödan: Om självhushållets mat hos folk i Lappland (Ancient food: On the food of self-sufficiency among people in Lapland) in which Lillian Ryd interviews people from the last generations of both settlers and nomads who lived traditional, self-sufficient lives in northern Sweden before industrialisation all but erased these livelihoods. Through such stories about the past, we can begin to see that the people who benefited from the exploitation of land and labour in the north of Sweden were responsible both for the colonisation of Sápmi and for taking the land away from farmers through the 19th century enclosure movement (“Laga Skifte”).

What has happened to people’s livelihoods in this process is that they have been incorporated into the industrial structure of big society. This is true for both the Sámi and the settlers. One example of this that Jannok mentions in our conversation is the state’s regulation of reindeer herding:

The term “renskötsel” (reindeer husbandry) alone is a very clear example of how society has wanted to label a lifestyle to enter it into its laws and regulations, and then deciding who can do reindeer herding and not. To have zero experience, not even having seen a reindeer or visited a reindeer herder’s everyday life, and still regulate and make decisions that don’t match reality. So you only see the tip of the iceberg if you see a privilege.

The traditional lifestyle of the Sámi has in modern history been undermined by the establishment of national borders, mines, the forest industry, hydroelectric dams, military test ranges, and wind parks. It has also been attacked culturally through eugenics, boarding schools, forced sterilisation, and forced Christianisation—which among other things entailed a ban on yoik. Then, after these atrocities, the state came up with the term renskötsel—a word that, Jannok says, doesn’t even exist in Sápmi traditionally—in order to incorporate this lifestyle into an industrial-professional economy. Reindeer-owning Sámi people became professionals in the reindeer food business. Sámi people who did not own reindeer lost their legal right to be Sámi, Jannok adds:

This led to internal conflicts and differences between Sámi people and Sámi people, which has severe consequences even to this day.

If we look beneath the surface, what we see instead of privilege is the attempt by a colonial state to eradicate an Indigenous population:

For the Sámi, the equation doesn’t add up, and it will be the death of us unless someone listens soon. That’s the way it is. This is an Indigenous culture and it depends on the right to land and water and the reindeer and our settlements. Every day that you infringe on these rights it becomes a little harder for us to survive. We have nowhere to go anymore. That’s just how it is. And it doesn’t add up. It doesn’t add up.

Hearing these repeated words, I feel the grief that Jannok sings and yoiks in “Grieving”. I feel called on to share a decolonised story of our past with all those who still take out their sense of loss and their anger on the Sámi. Stockholm, Oslo, Helsinki, or the world market should be the target of everyone’s anger, and we should work together to build other ways of living with the land—our mother.

Another world through consensus-based decision-making and Indigenous knowledge

There are alternative ways of living—we do not have to sabotage the home we live on in order to live good lives. In fact, if we exploit and pollute the earth, then none of us—like the Sámi now—will have anywhere to go. Colonial society is blind to this. Jannok explains that it is much clearer to her than to many others since she has had the benefit of growing up in a family that is entirely dependent on what nature gives.

The relationship to the earth, Jannok says, gives Indigenous peoples an insight that is lost in the industrial core countries of the West. So, as one decolonisation strategy, could we perhaps imagine a Sámi council in Sweden that advises on environmental issues and pushes back colonial-industrial values from decision-making?

Absolutely. We even have an example of this in the management of the Laponia world heritage area which is located in a very large part of Swedish Sápmi. Sápmi has fought seven hard years to get a majority on the board. Now every decision has to be reached through consensus, which is a typical way to reach decisions in reindeer herding communities.

Majority rule doesn’t work if you are Sámi you know, we’ll lose every vote. We are so few. There are alternative ways of solving it. I really believe in a council where Sápmi actually has the right to say something. Because as it is today there is supposedly consultation and dialogue around every infringement on Sámi land—with LKAB for instance, a large mining company, if they want to prospect for minerals, then the Sámi community is supposed to have a say—but that’s not how it is in reality.

You can voice your opinion but no one takes it into consideration. And that’s not dialogue. That’s information. So I think an influential Sámi council is a great idea. I don’t understand why it isn’t already like that, with Sápmi having an obvious role in saying how things affect life, nature, the water, the air, the earth. We are dependent on it and for us it is extremely clear but it’s actually for the benefit of everyone. We can’t drink poisonous water, that’s just how it is.

Jannok goes on to describe what has been lost to a great part of the world’s population, and to show that Indigenous rights are important not only for Indigenous peoples but for humanity and the earth itself:

A big part of the world’s population has lost the connection not only to the earth but also with the elders and the knowledge that generations before us had built up. People have been cut off from this, because of industrialism, individualism, egoism, greed. But it is still here, we are still here. Indigenous peoples exist all over the world and we have still got that connection, not least with the elders, the old generation. And with animals and the places we live in. We see how they change. I mean, it is not a coincidence that all the research reports that indicate evidence of climate change and that the gulf stream is changing, these are things that Indigenous peoples have already confirmed decades before. So there is already a lot of evidence that it can be for the good of all to actually listen to these people. This competence that you can find among Indigenous peoples should be used, and it doesn’t have to be proven in accordance with Western methods to be valid. We see, we listen, we feel, we can remind others about how you do this, because we all come from the earth so of course everyone has this ability. To listen.

standing-rock-43
Sofia Jannok at Standing Rock. Photo: Jeff Schad

Singing yourself and the new world into existence

To get more people to listen and reconnect with their own ability to see, hear, understand the earth and other living beings, Jannok has moved from singing primarily in Northern Sámi to singing mainly in English, and some Swedish as well. And the soundscape, production, and rap-inspired vocal style on her latest album also contribute to a sense of her music being more confrontational:

It is a more direct rhetoric. I have moved away from writing more poetically—I’ve always been critical in my songs but allowed art to be art, giving the listener a chance to interpret it in their own way. Now, on my latest album, I don’t want to do this, I want to be as direct as possible. I want to say things that for me have been like saying that the sun rises or something: It’s that it’s light all summer; it is that we are still here. For me it is self-evident, but it apparently isn’t to the ones who always go, ”hey, but, what do you mean with Sámi, do you even exist?” I also want to say “This is my land,” because the focus is always on something other than the fact that this is Indigenous land. Though it is described on every single map—there isn’t one map of Sweden that doesn’t have almost all names in Sámi in northern Sweden. So these self-evident things are what I want to write and I don’t want to leave any space for misinterpretation. It should be clear as daylight what I mean.

Jannok and others like her, from Sápmi and other parts of the world, are giving a voice to alternatives. These stories have the power to change people’s minds and dreams—and so they can also change the society we all build together.

Hope. But there will still always be doubt. Anxiety. We can never know if it will be enough. To find the will to live can be a struggle. All we can do is listen, understand, act, and pass the torch, the fire, on to the people who come after us:

Grieving: Oappáide”

What else can I do but to sing all these songs,

to sing and to hope that we’ll always belong?

I sing to the healing of ancestors’ soil

For future sisters I’m singing this song

What else can I do but to sing all these songs?

For future sisters, I hope they keep strong

To support these future sisters (oappáide means “to the sisters”), to help Sápmi stay strong, Jannok has donated money to the Sámi youth choir Vaajmoe—a choir that developed from the need for a meeting-space after the suicides of several young Sámi. And, of course, Jannok’s own music is part of that same movement of singing yourself into existence, making a place in the world for yourself and the people who walk with you. Jannok’s song “Áhpi: Wide as Oceans” is also about suicide; a tribute to those who have left and a comfort to the ones left behind.

Áhpi sheds light on a reality that exists and that has a taboo on it: mental health issues. To simply shed light on things that are real but invisible is to acknowledge people who live that life. To be seen.

Light, life, love—a land for everyone

Light. She constantly returns to this—to the bright summers with the midnight sun and to the fire that lights your way in the winter:

It’s not in the fight for my own existence that my fire has its source. It’s in life. And life is so beautiful, rich, full of laughter, hustle and bustle between bare mountains, forest lakes and cities. With strong ties to my people, both the ones who have passed and the ones who are and the ones who shall come. My inspiration for everything comes first and foremost from all the colours of life. From the riches of Sápmi; pride, power, and the indubitable fire of existence; from love for people and my beloved hoods. Everyone who claims that we’re a minority, on the verge of extinction, a disappearing part of world history, haven’t been to my world. Anyone who has seen it could never claim such a thing. We are fully alive as long as the earth breathes, because we are connected to our land and we will protect it as if it were a matter of protecting our own lives. Because that’s what it is.

Indigenous people are survivors, and they must survive for all our sakes—they are at the forefront of the struggle against the accelerating industrial-colonial society that would rather drive us all into the darkest abyss of collapse than to degrow, decolonise, scale down at a controlled pace and find the way back to the land. To survive, the Sámi gain strength through the yoik, through the words and melodies and stories of another world that is possible, a world that is not dead and must not be reinvented because it still lives in these people. Jannok’s yoik is the sound of the noaidi driving out the colonisers from the land and from people’s dreams.

Sápmi is the norm, power, beyond doubt. I sing about what I know. I sing about truths that have been censored, removed. But music, language, culture wouldn’t be alive if it weren’t for the human beings. Us. Human beings keep fires alive. And fire in its turn keeps humanity alive. So I can but show respect and gratitude to those who’ve given me the chance to live with pride, all my forefathers and foremothers who have gone before us and shown the way. Mum, dad, family and sinewy ancestors. Without these people we wouldn’t exist, and the music wouldn’t exist. It comes from us. I honour the people who’ve clung to the tundra as the windswept mountain birches, and who never let go no matter how hard the wind blew in times far harder than these.

Sápmi as the norm is an alternative to the slanted, short-term perspective of colonial society. Through Jannok, the noaidi’s voice comes to bring a new world to both the minds of Indigenous peoples and the minds of the people in settler societies who may not even understand their own role in the world system. It tells the story of a diverse world where there is room for everyone and where we all know the land. I long for that world, for a place where I can exist. Jannok describes a home that I have been denied by my colonial-industrial culture.

Listening to this story of another world, looking at the world through the grieving eyes of Sámi people, we can find ways to decolonise everyone’s minds and the land we are part of—in Sápmi, Sweden, Europe, and the world.

Another world is not only possible. It already exists.

“This is my land: Sápmi”

This is my land, this is my country

and if I’d be the queen you’d see

that I’d take everyone by hand and sing it so it’s out there

that we’ll paint this land blue, yellow, red and green

If you say that this girl’s not welcome in this country,

if she must leave because her face is brown

Well, then I say you go first, ‘cause frankly this is my land

and here we live in peace, I’ll teach you how

This is my pride, this is my freedom,

this is the air that I breathe

and you’ll find no kings, no queens, here everybody’s equal –

men, women and all who are in between

This is my home, this is my heaven,

this is the earth where I belong

and if you want to ruin it all with big wounds in the mountains

then you’re not worthy listening to this song

This is my land, this is my country,

these lakes, rivers, hills and woods

If you open up your eyes you’ll see someone is lying

I’ve always been here, welcome to my hoods

standing-rock-49
Sofia Jannok at Standing Rock. Photo: Jeff Schad

Rut Elliot Blomqvist is a songwriter, musician, writer, and PhD student in literature and environmental humanities who thinks a lot about environmental justice, degrowth, and the mythologies of contemporary Western society.

Sofia Jannok’s new album, ORDA: This Is My Land, is available on DiscogsAmazon, iTunes, and Spotify. You can buy other merchandise on her website, www.sofiajannok.com.

To receive our next article by email, click here.