Indigenous culture jamming:Suohpanterror and the articulation of Sami political community
Abstract This article examines the work of the anonymous Sámi artist and activist group Suohpanterror as an example of Indigenous culture jamming, which uses global visual archives and the social media to articulate a contemporary Sámi subjectivity politically. In a short time, Suohpanterror has gai...
Main Author: | |
---|---|
Format: | Article in Journal/Newspaper |
Language: | English |
Published: |
Informa
2018
|
Subjects: | |
Online Access: | http://urn.fi/urn:nbn:fi-fe2019062621920 |
id |
ftunivoulu:oai:oulu.fi:nbnfi-fe2019062621920 |
---|---|
record_format |
openpolar |
spelling |
ftunivoulu:oai:oulu.fi:nbnfi-fe2019062621920 2023-07-30T04:06:38+02:00 Indigenous culture jamming:Suohpanterror and the articulation of Sami political community Junka-Aikio, L. (Laura) 2018 application/pdf http://urn.fi/urn:nbn:fi-fe2019062621920 eng eng Informa info:eu-repo/semantics/openAccess © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. https://creativecommons.org/licenses/by/4.0/ Culture jamming Facebook Indigenous art Sámi people collective laughter decolonization info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2018 ftunivoulu 2023-07-08T19:59:48Z Abstract This article examines the work of the anonymous Sámi artist and activist group Suohpanterror as an example of Indigenous culture jamming, which uses global visual archives and the social media to articulate a contemporary Sámi subjectivity politically. In a short time, Suohpanterror has gained national and international recognition as a new Sámi voice, which is challenging earlier representations and conceptions of the Sámi. However, instead of focusing upon Suohpanterror’s efforts to address the dominant society, this study is concerned mainly with Suohpanterror’s operation within, and at the fringes of, the Sámi community itself. To this end, I examine Suohpanterror’s entanglements in the small Sámi “uprising” that took place in the social media in spring 2013 around the interconnected issues of Sámi definition, identity and the potential ratification of the ILO convention 169 in Finland. I argue that in the context of a highly politicized national public sphere which is considered insensitive to Sámi perspectives, “liking”, consuming and sharing Suohpanterror’s work online has offered an easy, effective and unmistakably trendy way to publicly identify with a certain set of (Sámi) political views, and to perform a political “us” which feeds, in particular, on experiences of a shared community of knowledge, and of collective laughter. Article in Journal/Newspaper sami sami Sámi Jultika - University of Oulu repository |
institution |
Open Polar |
collection |
Jultika - University of Oulu repository |
op_collection_id |
ftunivoulu |
language |
English |
topic |
Culture jamming Indigenous art Sámi people collective laughter decolonization |
spellingShingle |
Culture jamming Indigenous art Sámi people collective laughter decolonization Junka-Aikio, L. (Laura) Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
topic_facet |
Culture jamming Indigenous art Sámi people collective laughter decolonization |
description |
Abstract This article examines the work of the anonymous Sámi artist and activist group Suohpanterror as an example of Indigenous culture jamming, which uses global visual archives and the social media to articulate a contemporary Sámi subjectivity politically. In a short time, Suohpanterror has gained national and international recognition as a new Sámi voice, which is challenging earlier representations and conceptions of the Sámi. However, instead of focusing upon Suohpanterror’s efforts to address the dominant society, this study is concerned mainly with Suohpanterror’s operation within, and at the fringes of, the Sámi community itself. To this end, I examine Suohpanterror’s entanglements in the small Sámi “uprising” that took place in the social media in spring 2013 around the interconnected issues of Sámi definition, identity and the potential ratification of the ILO convention 169 in Finland. I argue that in the context of a highly politicized national public sphere which is considered insensitive to Sámi perspectives, “liking”, consuming and sharing Suohpanterror’s work online has offered an easy, effective and unmistakably trendy way to publicly identify with a certain set of (Sámi) political views, and to perform a political “us” which feeds, in particular, on experiences of a shared community of knowledge, and of collective laughter. |
format |
Article in Journal/Newspaper |
author |
Junka-Aikio, L. (Laura) |
author_facet |
Junka-Aikio, L. (Laura) |
author_sort |
Junka-Aikio, L. (Laura) |
title |
Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
title_short |
Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
title_full |
Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
title_fullStr |
Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
title_full_unstemmed |
Indigenous culture jamming:Suohpanterror and the articulation of Sami political community |
title_sort |
indigenous culture jamming:suohpanterror and the articulation of sami political community |
publisher |
Informa |
publishDate |
2018 |
url |
http://urn.fi/urn:nbn:fi-fe2019062621920 |
genre |
sami sami Sámi |
genre_facet |
sami sami Sámi |
op_rights |
info:eu-repo/semantics/openAccess © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. https://creativecommons.org/licenses/by/4.0/ |
_version_ |
1772819384151048192 |