Sounding Sámi Sentiments - Musical Practices in the Production of Ethnicity
Bibliographic Data
| ID | 5807652 |
|---|---|
| Authors | Paal Fagerheim (corresponding author) |
| Year | 2014 |
| Volume | 40 |
| Issue | 1 |
| Pages | 63-84 |
| Publication date | 2014-12-03 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Studia Musicologica Norvegica (JOURNAL) |
| Journal identifiers | ISSN: 0332-5024 • E-ISSN: 1504-2960 |
| Publisher | Scandinavian University Press (PUBLISHER • NO) |
| DOI | 10.18261/issn1504-2960-2014-01-05 |
| OpenAlex | W875772121 |
| Language | EN |
| Citations received | 1 |
| References cited | 12 |
SOUNDING SÁMI SENTIMENTSpreproduction period in the summer and ending with an additional recording period and a postproduction in Oslo.My main objective is to discuss how expressive modalities, through the production of sound, are culturally constituted by performance codes that communicate deeply felt ethnic sentiments and ethos. 2 This particular album, and its musical contents, should therefore be analyzed not only as an aesthetic object, but in addition as an integral part of individual, social, and cultural processes connected to values of existence, identification, transformation, and negotiation.In this context, I assert that the album Adjágas represents a new direction in the versatile soundscapes found in Sápmi. 3 NOTES ON METHODOLOGY This text is, for me, quite personal and colored by my own experiences with the music at hand, in addition to personal adventures into different performance settings, recording sessions, and social life as a musician with the band.As a researcher, I have mostly worked in the field of ethnomusicology with a focus on popular music traditions from the northern part of Norway, especially fieldwork related to local rap and reggae practices.But for this text, I rely heavily on my reflections over former lived experiences and sources as an active member of the band, from its formation in 2003 and through the recording and release of Adjágas' first album in 2005.My main musical role in the band was playing acoustic guitars and related string instruments such as the banjo and a square-neck Dobro lap steel guitar.In addition, I also participated in arranging the music, which was performed with the joiks.The musical arrangements were developed trough multiple rehearsals and sessions over time, combined with periods of individual work at home.The band members were spread over many places in Norway (Tromsø, Kautokeino, Oslo, Nesna), so rehearsals and sessions had to be planned in advance.As a Norwegian, I did not share the same ethnic background, including language, of the two joikers in the band.Therefore, communication was in Norwegian.Furthermore, the two other band members at the time, playing drums and guitar, were from Finland.As student residents in Norway, they could speak Norwegian fluently.Communication in the Sámi language between the joikers was only sporadic -these discussions centered mainly on how to translate certain Sámi words or expressions into Norwegian or English.An internal, or emic, perspective on participating experiences is central to the idea and practice of fieldwork in anthropologically designed research projects.In addition to a more traditional approach with observation and data collection, fieldwork in music anthropology is strongly focused on what Titon suggests as vital: "experiencing and understanding music." 4 Hence, the methodology behind this article is not based on a predefined and organized fieldwork.No formal scientific approach was established between myself and "others" prior to entering the "field."But I did "work" musically in a SMN2014
Diverse Musicological Studies · Folklore, Mythology, and Literature Studies · Music History and Culture
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,11 |
| Citation span | 2017 - 2017 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |