<p>This dissertation is an analysis of the cultural meeting between the Church and the Crown on the one hand, and the Sami community on the other, in a lappmark in the north of Sweden during the seventeenth century.</p><p>The authorities viewed and acted towards the Sami from the standpoint of their normative system, incorporating the political/ideological discourse that existed at this time. This was implemented by means of judicial machinery that represented the Sami as indulging in immoral sexual behavior and idolatry. This was due to the fact the authorities nurtured an interest in the different: the Sami became the Other, representing an antithesis of the authorities’ own existence. The authorities’ need to create this antithesis led to a representation of the Sami as sexually immoral and idolatrous that endured throughout the period of this research, with results that have both qualitative and quantitative foundations in two categories of crimes: those against religion, and sexual offences.</p><p>The Sami, for their part, exhibited cultural manifestations that, when detached from the court rolls’ narrative structure, clearly distinguish themselves from the normative system represented and implemented by the authorities. Conciliation in court was common amongst the Sami; their views on theft, murder or manslaughter, and sexual offences never coincided with the perspective maintained by the authorities on these issues, which was based on laws and ordinances. There were two reasons for this: the first was that the Sami did not stigmatize as criminals individuals who had committed unlawful deeds, as was the case with the authorities, who operated within the framework of the Swedish legal system; the second reason was that the Sami had other traditions concerning marriage and religious practice. The Sami interacted not only with each other, but also in relation to other groups of people outside the community, such as visiting farmers, townspeople, merchants and ironworkers. Judicial matters were raised for different reasons: to document the distribution of inheritance; to obtain remuneration for purchases on credit; to obtain a financial settlement with regard to theft; and to establish clearly the sequence of events, in cases of murder and manslaughter. This sheds light on the question of why and how the Sami made use of the possibilities afforded to them by the court, despite instances of repression to begin with, when the authorities used the court system to initiate cases against the Sami, including crimes against religion and sexual offences. The legal cases also shed light upon Sami traditions, morals and cultural expressions, which not only differed from the normative system of the authorities but also from various traditions and morals that were exhibited by the peasantry in other parts of Sweden at this time – we can thus “see into” a seventeenth-century Sami community.</p><p>The authorities represented repression and control, with the result that the Sami became the Other. However, the Sami interacted both within and beyond their own community. This provides us with information about traditions and morals, which seem to have been characteristic in terms of Sami culture, whilst at the same time differing from the type of behaviour the authorities desired.</p><p>The survey includes theoretical perspectives used by sociologist Stuart Hall, philosophers Michel Foucault and Paul Ricoeur, literary scientist and cultural theorist Homi K. Bhabha, and others, as well as theories proposed by literary scientists Ania Loomba and Edward Said, as well as cultural theorist and literary scientist Robert J. C. Young.</p>

This dissertation is an analysis of the cultural meeting between the Church and the Crown on the one hand, and the Sami community on the other, in a lappmark in the north of Sweden during the seventeenth century. The authorities viewed and acted towards the Sami from the standpoint of their normative system, incorporating the political/ideological discourse that existed at this time. This was implemented by means of judicial machinery that represented the Sami as indulging in immoral sexual behavior and idolatry. This was due to the fact the authorities nurtured an interest in the different: the Sami became the Other, representing an antithesis of the authorities’ own existence. The authorities’ need to create this antithesis led to a representation of the Sami as sexually immoral and idolatrous that endured throughout the period of this research, with results that have both qualitative and quantitative foundations in two categories of crimes: those against religion, and sexual offences. The Sami, for their part, exhibited cultural manifestations that, when detached from the court rolls’ narrative structure, clearly distinguish themselves from the normative system represented and implemented by the authorities. Conciliation in court was common amongst the Sami; their views on theft, murder or manslaughter, and sexual offences never coincided with the perspective maintained by the authorities on these issues, which was based on laws and ordinances. There were two reasons for this: the first was that the Sami did not stigmatize as criminals individuals who had committed unlawful deeds, as was the case with the authorities, who operated within the framework of the Swedish legal system; the second reason was that the Sami had other traditions concerning marriage and religious practice. The Sami interacted not only with each other, but also in relation to other groups of people outside the community, such as visiting farmers, townspeople, merchants and ironworkers. Judicial matters were raised for different reasons: to document the distribution of inheritance; to obtain remuneration for purchases on credit; to obtain a financial settlement with regard to theft; and to establish clearly the sequence of events, in cases of murder and manslaughter. This sheds light on the question of why and how the Sami made use of the possibilities afforded to them by the court, despite instances of repression to begin with, when the authorities used the court system to initiate cases against the Sami, including crimes against religion and sexual offences. The legal cases also shed light upon Sami traditions, morals and cultural expressions, which not only differed from the normative system of the authorities but also from various traditions and morals that were exhibited by the peasantry in other parts of Sweden at this time – we can thus “see into” a seventeenth-century Sami community. The authorities represented repression and control, with the result that the Sami became the Other. However, the Sami interacted both within and beyond their own community. This provides us with information about traditions and morals, which seem to have been characteristic in terms of Sami culture, whilst at the same time differing from the type of behaviour the authorities desired. The survey includes theoretical perspectives used by sociologist Stuart Hall, philosophers Michel Foucault and Paul Ricoeur, literary scientist and cultural theorist Homi K. Bhabha, and others, as well as theories proposed by literary scientists Ania Loomba and Edward Said, as well as cultural theorist and literary scientist Robert J. C. Young.

The aim of this essay is to analyze teacher’s thoughts about Sami culture, religion and history. How do teachers shape their teaching in these topics? Teachers in secondary school and the subjects religion and history has been the basis of the survey. To complete this work, these methods have been used; qualitative research interview, surveys and hermeneutics. When you conduct a study that involves people you have to include ethical principles. In this essay, these principals have supported the methods to fulfill the study. The Sami topic has been visible in the field, in different ways. Regarding its visibility in school, it is clear that Sami has been overlooked in teaching materials and by previous research in different school levels and subjects. The supporting theory in this essay is a curriculum-based theory that has looked deeper into the subjects religion and history curricula for elementary school and secondary school. This essay shows that Sami neither takes up a large or a small part in the teaching. Instead the Sami culture, religion and history appear as an example in other areas of these subjects.

The aim of this study is to describe and interpret Anders Sunna's painting "30 km constraint" from a sami and cultural political perspective. In the study, the financial culture support for Sami culture is described and compared via Sweden’s cultural policy, the regions in north Sweden, as well as the Sami Parliament. The study examines which cultural concept one uses when discussing support for the Sami art. The study applies a hermeneutic approach in which the purpose is to see more perspectives and understanding of the Sami culture and art. The method is based on a qualitative approach with content-based idea analysis with the analysis tools ideal types and dimensions. Ideal types are Dorte Skot-Hansen’s three legitimacy grounds and the dimensions “anthropological-wide” and “artistic-narrow”. Through the study it emerges that support for the Sami culture is under-financed, partly because of lack of knowledge of the Sami culture, and that both the national cultural policy and the regions use mainly sociological and instrumental motivations and the artistic-narrow culture concept.

<p>The focus of the dissertation is on the performance of the yoiks, what the yoikers tell the audience and what the yoikers mean with their narratives. The results demonstrate that the verbal art of yoik includes both song and spoken messages. The analysis of the yoik tradition is couched within performance theory. The discussions of the performance give keys to understanding storytelling, oral history, verbal art and a means to recognize when a yoiksong, vuolle, begins or when it stops and why the performer yoiks its vuolle the way he or she does. I argue that an inside perspective in conjunction with performance theory, provides a highly fruitful method to research in yoik tradition. In order to understand the tacit knowledge in the performance, it has been highly relevant to discuss the seminal work by the Sami author Johan Turi and to compare his theories with Sami scholars like Israel Ruong, Nils Jernsletten and Harald Gaski.</p><p>In the 1900s there were three broader documentation projects of yoik tradition in Sweden. The first one was conducted in the 1910s by Karl Tirén, who used the phonograph and wax cylinders. In the 1940s the Institute of Language and Folklore (ULMA/SOFI) undertook a documentation project and in the 1950s the Swedish Radio did so too. Now, it was now possible, with the modern technology, to analyse the yoik tradition in new ways. It enables re-listening to the stories that was told and to see them in a context where the performers’ artistic skill, together with their social background and their relation to their audience is made visible.</p><p>It has been discussed if there was an epic yoik tradition in South Sami areas. One hypothesis says that epic yoik was found only in northern areas in close connection to Finnish culture. However, this study shows that there was an epic yoik tradition in southern Lapland and probably the last of these epic singers passed away in the 1960s. The yoikers presented here are all good representatives of an epic yoik tradition. Sara Maria Norsa, Nils Petter Svensson, Jonas Eriksson Steggo and Knut Sjaunja are my main informants in the archive material, where their performances are described with accuracy. This makes it possible to analyse the events they are participating in. They are all in fact telling their lives’ stories by describing reindeer herding.</p><p>This dissertation demonstrates the yoik tradition in its context, and I show that the vuolle has a structure where one can recognize when it begins and when it ends. The yoik tradition is not only music or song, the story that is told is equally important. The way of presenting a vuolle is also a part of the yoik tradition and one has to consider both the spoken and the sung messages in order to understand what the performer means. In short, yoik must be recognized as verbal art or storytelling.</p>

The focus of the dissertation is on the performance of the yoiks, what the yoikers tell the audience and what the yoikers mean with their narratives. The results demonstrate that the verbal art of yoik includes both song and spoken messages. The analysis of the yoik tradition is couched within performance theory. The discussions of the performance give keys to understanding storytelling, oral history, verbal art and a means to recognize when a yoiksong, vuolle, begins or when it stops and why the performer yoiks its vuolle the way he or she does. I argue that an inside perspective in conjunction with performance theory, provides a highly fruitful method to research in yoik tradition. In order to understand the tacit knowledge in the performance, it has been highly relevant to discuss the seminal work by the Sami author Johan Turi and to compare his theories with Sami scholars like Israel Ruong, Nils Jernsletten and Harald Gaski. In the 1900s there were three broader documentation projects of yoik tradition in Sweden. The first one was conducted in the 1910s by Karl Tirén, who used the phonograph and wax cylinders. In the 1940s the Institute of Language and Folklore (ULMA/SOFI) undertook a documentation project and in the 1950s the Swedish Radio did so too. Now, it was now possible, with the modern technology, to analyse the yoik tradition in new ways. It enables re-listening to the stories that was told and to see them in a context where the performers’ artistic skill, together with their social background and their relation to their audience is made visible. It has been discussed if there was an epic yoik tradition in South Sami areas. One hypothesis says that epic yoik was found only in northern areas in close connection to Finnish culture. However, this study shows that there was an epic yoik tradition in southern Lapland and probably the last of these epic singers passed away in the 1960s. The yoikers presented here are all good representatives of an epic yoik tradition. Sara Maria Norsa, Nils Petter Svensson, Jonas Eriksson Steggo and Knut Sjaunja are my main informants in the archive material, where their performances are described with accuracy. This makes it possible to analyse the events they are participating in. They are all in fact telling their lives’ stories by describing reindeer herding. This dissertation demonstrates the yoik tradition in its context, and I show that the vuolle has a structure where one can recognize when it begins and when it ends. The yoik tradition is not only music or song, the story that is told is equally important. The way of presenting a vuolle is also a part of the yoik tradition and one has to consider both the spoken and the sung messages in order to understand what the performer means. In short, yoik must be recognized as verbal art or storytelling.