modern/ traditional Nils Somby, photograph Trond Trondsen/Nordkappfoto LOST NUANCES?
modern/traditional
Nils Somby, photograph Trond Trondsen/Nordkappfoto
LOST NUANCES?
The meta condition of monumentality/typology
“Identifikasjon av typer beror i det hele tatt på at visse velbrukte former har nådd en slags inert tilstad der de ikke lenger utvikles for å svare på endrete behov.” “Typeformene ses med nye øyne, distansert fra opprinnelige funksjoner og isolert fra livssammenhengen de inngikk i. Typeformene har fått museal
verdi, som formidlere av fortida” (Haugdal, 2007).
In order to maintain a historical continuity the typology is transmitted into the monumental, institu-tional architecture. Typology, specificly the lavvo/nomadic type, may in this respect be seen as a meditator of the past, but the representation of a culture should contain more, and gain actuality. Like Norberg-Schulz argues “Typebildet synliggjør stedet og skaper kontinuitet i tida. Det bærer med seg en historie og gir men-
nesket ‘fotfeste i tiden’.“Tapet av sammenheng mellom funksjon og form er, i følge Norberg - Schulz, symtomatisk for en mod-
erne tilstand, et stedstap” (s.136, Haugdal, Elin Kristine, 2007, Ny monumentalitet). Do the technol-ogy i phone based society suffer from a stedstap (loss of belonging to a place) and a collective memory; the relation to who we are, our origin, and why we exist? Facing two opponent forces, the tradition and the new, how can aspects of the Sami culture be translated or pursued into a modern context, without repeating the obvious cultural and monumental symbolism and create a more reliable and honest show-ing, to themselves and to the visitor?
Taking in consideration the tendency of Sami people as a minority group and immigration into big cit-ies,
what happens when the culture no longer have a in situ connection? What is typebildet of a culture?
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledge
the simpli�ed/adapted ‘visitor - culture’
Visitors meeting Sàpmi
Collosion traditional/modern?
things and significance‘To him, the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory’ (http://en.wikipedia.org/wiki/Peter_Zumthor, interpretation of Zumthor’s chapter: “A way of looking at things”).
Are things instruments to placing yourself in a contextual meaning?
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
Kvann and syregress as spices and source of vitamins and as medicine (http://ndla.no/nb/node/3825).
Badjelgorži
Norsk:
Foss i Olmmáiváteatnu
(Manndalselva). Her var en
svær stein i elva, Geađgi, som
ble brukt til ferdsel over. Den
ble sprengt bort av ukjent
grunn. Badjel betyr over, gorzi
betyr fossen. Norsk: Øvre Fos -
Sennagress is often cut late summer. There are processes to tapping and drying it before it can be used in the footwear, skaller. The composition of di�erent directions of the fur create a �rm grip to skallene.
Tæger (selje, gran furu, bjørk, vier) are wooden materials that construct dense knitting tecniques. They must have been growing straight, and in sandy or wet ground.
Venison and fur are often dried outside the private properties, and create what Sunniva Skålnes calls ‘improvized architecture’.
Vier, lyng, bjørk, etc. - plant dyeing of yarn(http://no.wikipedia.org/wiki/Plantefarger). Skallebånd and bands to kofter have particular patterns with geographical and ‘stage -in - life’ referencecs.
Sisti, processed leather (treated with hemmabark), is a base material of the traditional duodji, Sami arts and craft.Other materials are bone, textiles (http://duodjikonsult.com/horn.html).Tendons (sener) from the reindeers are made into threads.
The making of Sami use objects (bruksgjenstander) carry a social space.
etc....
or
Two ways of processing natural resources.One short. One long.
time perceptionThe sami calendar and the namings of the months are based on the rythm of the nature and the reindeer management (http://www.samer.se/1077). Our divi-sion of seasons contains 4 articu-lations, while the Sami culture rely on 8 seasons and a nuanced view on the environment in con-stant, cyclical change.
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
selected animals slaughtered
counting, marking,vaccinating, saw off huge antlers
SUMMER
WINTER
AUTUMNSPRING
calve arrival
towards summer pasture
-40ºctotal darkness,samene spread out to cover a vast pasture
towards winter pasture
winter slaughting
making of dried venison
bulls unattended while grazing during summer
making of dried venison and hide
the reindeer group split in smaller groups to improve grazing effi-ciency
the bulls are kept inside fences
slow walk in melted, deep snow
navit
aidejavrre
General time perception?
winter slaughting
making of dried venison
calve arrival
towards summer pasturecalves gaining weight
bulls grazing unattendedly
towards winter pasture
counting, marking,vaccinating, saw off huge antlers
slaughting
-40ºctotal darknesssurvival
collecting bulls in fences
smallerherding groups
big bull groupmany same - teams
SUMMERGiesse
WINTERDálvve
AUTUMNTjaktja
SPRINGGidá
http://www.samer.se/1077
autumnwinter Tjaktjadálvve
springwinterGidádálvve
autumnSUMMERTjaktjagiesse
springSUMMERGidágiesse
Sami time organizing.
Can the vocabulary of a language/field used within what we define a culture, manifest some truths, attitudes or basic foundations of the culture in the showing of what is more articulated?What do the very detailed apps vocabulary tell about the society we are curretly structuring, the zeitgeist of the time? Can the vocabulary of the Samis reveal a different representative cultural picture?Are the general international/norwegian population opponent to the Sami population through the difference of the i - phone society maneuvering beyond concrete location, and the very direct contact to the local surroundings implemented in the Sami culture?
vocabulary
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
muotta snø i sin alminnelighet
vahca nysnø
oppas urørt snø
ciegar ”beitet” snø
seanas kornsnø (i februar og mars)
ceavvi tettpakket snø
skávvi tynn skare
cuonu ordentlig hard skare
cearga snødriv, snøskavle
jassa Snødriv på rabbe (snaufjell)
sievla snø gjennomtrekt av vann
soavli snøsørpe
oavlu nesten bare vann i snøen
s n ≈øguovda vasspytt i skog som det veks sennagras rundt
juovva ur ur
jeaggi myr myr
suotnju blautmyr der det veks starr
m y r ≈
bihci rimfrost i sin alminnelighet, rim på marka
suhci fastfryst isrim på trær
ritni rimfrost på trær, særlig nå snøen har falt på suhci
sealli trær fri for rimfrost (om vinteren)
suoldni dugg på marka
laksi dugg (vatn) på gras, trær og busker
r i ≈m
álda offerstad
barta årestue, hytte
bassi heilag stad, heilagdom (og som adj, heilag)
báiki stad, stad der nokon bur, heim
badje (stutt) avstand, lengd (som mid-tledd i stadnamn med tre ledd)
siida 1) reinby, gruppe av reineiere som samarbeider, 2) buplass, heim
sadji stad, plass, rom
goahti gamme, telt
muvra varde (mur)
b y g d
≈s t e d
ája 1) kjelde, 2) bekk, lita elv
boatka innsnevring (avsmalning)
dearpmi elvemel, bakkekant ved innsjø, bratt lien bakke
deatnu, eatnu stor elv
fielbmá ei mindre elv som flyt stille, kjos
gorzi foss
luoppal utviding av ei elv, liten innsjø som det går ei elv gjennom
guoika stryk i elv
njearri grunt sttyk der elva er brei
johka elv elv, mindre enn deatnu, eatnu
skáidi landet mellom to elvar som renn saman
veadji (87) mindre elv, bekk, dal med liten elv
e l v ≈
alás det høgste av et fjell
beaski 1) fjellklubb (ved kysten, ofte bunden saman med fastlandet med eitsmalt eid), 2) smal passasje over eit fjell
bákti berg, flog
barsi knaus, ein kolle som stikk fram ved enden av eit fjell
ávzi trong, djup elvedal med svært bratte sider, skard
coaltu rundaktig haug eller topp
cohkka (20) fjelltopp, topp
dievvá rundaktig eller avlang haug
duottar vidde, snaufjell
buolza bratt morenerygg, tørr grushøgde (kame)
corru langstrakt forhøyning eller rabb (esker)
borri fjell med jamne skråningar til to sider
cahca vasskilje, overgang mellom to fjell
cearru nokså flat og ofte vid høgfjellsstrekning med lite vegetasjon
háldi (som fjellnavn): rundaktig, høgt fjell
hárji åskam, smal og lang åsrygg (møne)
liehppa tverrbratt eller overhengande bergvegg, bratt fjellside
nibba (60) spiss fjellknatt
nurki nov, hushjørne, utstikkar på eit fjell
oaivi 1) hovud, 2) avrunda fjell
hoanka utoverhengande bergvegg
luohkká bakke
várdu høgd med vid utsikt
várri fjell
vadda (80) open slette utan tre, med skog rundt
gielas 1) kjøl, 2) lang, smal ås
rássa høgfjellsstrekning utan vegetasjon, dekt av små flate steinar eller ur
roavvi stad der det har vore skogbrann; langt, ikkje høgt, skogkledd fjell
GÀISI Fjelltind
geahci ende, spiss
gurra skar, kløft, hakk
njunni 1) nase eller framende, spiss, 3) bergnase 4) tut, 5) nebb
maras brei høgde i terrenget med forkrøplet bjørkeskog, lav høgde med skogvuopmi skogland (i motsetning til skoglaust høgfjell, duottar)
F J E L L ≈
o m s t
≈t i l
k
riehppi dal som det er vanskeleg å koma til, med utvida nisjeforma dalbotn
moski stad der det ikkje går an å koma fram, dal stengd i botnen
gorgnehat (40) stad der ein kan stiga opp (t.d for vinterveg inn på land)
ráktu steinhelle, skiferhelle
goavdi heller, opning under noko
geaidnu veg
nuorra sund
suolu øy, holme
vággi 1) dal, stutt dalsenkning ved eller nær kysten, 2) lita bukt ved sjøen
njárga nes, odde, halvøy
vuohppi kjos, lang og smal vik i elv eller innsjø
vuotna fjord
gála vadestad
jávri innsjø, vatn
gohpi rundaktig vik, brei bukt
luokta vik, bukt
mohkki krok, sving, bukt, vik
sáiva 1) liten innsjø utan (større) tilløp, 2) ferskvatn
stáhppu smal keile ved sjøen
muotki eid, jfr. skáidi
v a n n ≈
All words are taken from the dokument Bruk av landskapet - historisk og kulturell forståelse av landskapetOdd Mathis Hætta, autumn conference, NLA, Kautokeino 2009.
The municipality of Kåfjord has collected 2200 names of locations, most of them Sami. These names tell about how the landscape is used and harvested from, and about the local history. These are some examples.
JuopmobáktiNorsk:Firkanta stein overfor skog-grensa under Goddegurra, stor som et lite hus. Juopmu er syregress, som man brukte å kokte grøt på. Bákti betyr berg.
SálorihtáNorsk:Sted. Salo er mannsnavn, no slektsnavn. Rihtá er felle til fangst av større rovdyr.
CuoppugieddiNorsk:Voll. Cuoppu er et lite dyr som lever i myr, gieddi betyr eng, voll. (Cuopposuoidni er en ko-rtvoksende gress-sort som ble brukt som fyll i madrasser.)
All photos and descriptions are collected from http://www.gaisi.no/hoved.php
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
Landscape voicesJoik can be seen as a communicator (formidler) of the subjective cognitive memory of Sami people. The memory of Sami carries an immaterial understanding of the culture and knowledge related to it. “As long as we continue to joik, we’ll remember who we are” (Jones - Bamman, 1993).
Why does joik function so well in establishing a cultural identity? I argue the points below allto-gether shape it as a dynamic medium.
◆ Subjective space of interpretation (tolkningsrom) and invilvement (deltagelse) “...Den avspeiler andres subjektive oppfatning av mennesket, eller av dyr eller landskap hvis det er det joiken er betegnet etter” (Jernsletten 1978:110).◆ Duble subjectivity (the messager and the reciever) creates social interaction (Vansina:1985).◆ Ethnical/national positioning◆ Cosmologial positioning
“...berättelser talar om vilka vi är. Detta inkluderar ursprung, förfäder, världsbild och kunskaper.
Det är en spegelbild av vårt liv (Kuokkanen 2000:421).”
“...folkloren handlar om i och med att förnippas med en grupp för vilken den är meningsfull” (Arvidsson 1999:21).
Joik lydklipp
Joik lydklipp
Joik lydklipp
How is the Sami region communicated to a visitor today?
Can the Sami institutions, desentralized, but as a whole, with their pre-sent ‘architectural’ character be seen/valuated as a museum of Sapmi?
It might look like, in fear of not remembering/claiming the importance of these institutions, they have been compensated with a spectacular archi-tectural response. I would ask if this ‘response’ contribute in maintaining the museum (read: the Sapmi culture read as a tourist) as ‘another place’, that differ from the real genius loci/character of the place. This mean-ing as a visitor of Inner Finnmark and in the meeting of the institutions that welcome them, in reality the visitors do not travel to Sapmi and the authentical vernacular state, but what the Sami people themselves regard upon as ‘another place’.
Welcome to another place-
visitors
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
OH YEAH, this is exactly what I expected!
spectacular, authentic cultural symbols
oil, gas and wealth
“It appears that people react to environments in the terms of the meanings the environments have for them. ...Environmental evalu-ation...is more a matter of latent that of manifest function, and it is largely affected by images and ideals” (Rapoport, 1977:60).
Individ - worldIndivid - family - neighbourhood - municiplity - country - world
In what context is knowledge placed?
tradition/instant
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
http://saamiblog.blogspot.com/2009/01/pre-christian-sami-religion-and-gods.html
line of knowledge instant knowledge
20
40
60
80
100
0
DAYS
%
app ‘still in use’ in time after download, subject:30 mill. downloads of an app
6030 90
The industry of domesticating reindeers is traced back t the 18th - 19 th century, but accord-ing to rock carvings the people of the Sami region has benefited from wild reindeers. Other Sami traditons can be traced back to ancient generations.
How is the contemporary Sami region communicated to a visitor?
Jean - François Lyotards definition of monumensjon:‘I monumensjon legges “den simple kendsgerning, at et hvilket som helst stykke, hvor ube-tydelig og trivielt det end måtte være [...] i samme øjeblik som det indføres i museet og for-synes med sin identifikationsmærkat, forvandles til et monument” ‘Likefullt, i et akvarium blir selv fisken til et kulturelt objekt. Hentet ut fra sin naturlige sam-menheng, satt inn i menneskeskapte rammer - i det arkitektoniske rommet - gis fisken en kulturhistorisk betydning’ (Haugdal, 2007, about the Lofot aquarium)
It is the architectural framing, and not the object displayed (here: the fish), creating den museale monumensjon. Can the Sami institutions (desentralized, but considered as a whole cultural region) with their present ‘architectural’ character be valuated as objects of a mu-seum feature of Sàpmi, like a museal monumensjon?
It might look like, in fear of not remembering/claiming the importance of these institutions, they have been compensated with a spectacular architectural response. I would ask if this ‘response’ contribute in maintaining the museum (read: the Sapmi culture understood of an average visitor) as ‘another place’, that differ from the real genius loci/character of the place. This meaning as a visitor of Inner Finnmark and in the meeting of the institutions that wel-come them, in reality the visitors do not travel to Sapmi and the authentical vernacular state, but what the Sami people themselves regard upon as ‘another place’.
Welcome to another place-
Ways the Sami look upon the landscape
resource (nytte) landscape
a visitor’s cultural consumption
travelled/lived landscape
landscape of orientation/knowledge
meta - landscape
lifespan of knowledgeVisitors meeting Sàpmi
Collosion traditional/modern?
sami monument
samediggi karasjok
màze kro
kautokeino fjellstuekautokeino kulturhus
tana bru
museum of sàpmi
?Sculpture/’non architecture’ aimed for ‘non - Sami’ people.
samelandsenteret, karasjok
kautokeino fjellstuekautokeino kulturhus
bulet eco siida
àrran lulesamisk senter
buletjàvri turistsenter
màze kro
majavatn hotell
lujavri samesenter russland samediggi karasjok
‘improvized architecture’ (skålnes, sunniva, Arkitektur n, nr.. 3 2008)
Stortinget agreed on the Sami law in 1987, which constituted Sametinget (http://www.samediggi.no/artikkel.aspx?MId1=337
7&AId=3645&back=1&MId2=3483). Their independence asked for a new serie of architecture to accomodate their management.
tana bridge
+
extrovert monumentalSymbolism?
introvert vernacularFunctionalism?