Indigenous Cosmopolitanisms of Music in Sámi Theatre

Abstract

Which kinds of Sáminess are expressed and engaged with music in Sámi theatre? Through descriptions of the kinds of musical genres and sounds presented, the article argue that the music of Sámi theatre can typically be described as cosmopolitan. As the musical expressions and engagements convey what is Sáminess, they present cosmopolitan versions of Sáminess. The author interprets performance moments as presenting types of Indigenous cosmopolitanism, in other words, Indigenous cosmopolitanisms. The article approaches music as musicking, which refers to all of the social interactions that go into creating a musical experience. Because this is theatre, this includes the social processes of staging other theatre values that relate with the music during theatrical performances. Other theatre values include costumes, set design, props, lighting, sound effects beyond music and movement such as dance and blocking. Overall, the productions perform a dynamic and fluid Sáminess that incorporates sounds, sights and movements from around the world, while often being “rooted” in what it is to be Sámi today and historically. Although most productions include identifiably Sámi music genres such as joik, it is worthwhile to note that some don’t. In these productions, the author identifies specific varieties of cosmopolitanism, such as vernacular cosmopolitanism, different forms of rooted cosmopolitanism and pan-Indigenous cosmopolitanism. The article examines case studies from Sámi theatre companies in Norway, Beaivváš Sámi Našunálateáhter and Åarjelhsaemien Teatere. The cases, among other productions, are the joik operas The Frost Haired and the Dream Seer and Allaq; the dance theatre productions Eatnemen Vuelieh and Gïeje; and the stage plays Silbajárviand Almmiriika.