MUSIC IN SCANDINAVIA -SAMI YOIK-

SÁMI YOIK
RESISTANCE AND CULTURAL EXPRESSION
“A yoik is not merely a description; it attempts to capture its subject in its entirety: it's like a holographic, multi-dimensional living image, a replica, not just a flat photograph or simple visual memory. It is not about something, it is that something. It does not begin and it does not end. A yoik does not need to have words – its narrative is in its power, it can tell a life story in song. The singer can tell the story through words, melody, rhythm, expressions or gestures.”
Ursula Länsman






JOSÉ ADÁN CARDONA LÓPEZ
15.11.2007
MUSIC IN SCANDINAVIA
ANNE HAATAJA
OULU UNIVERSITY


CONTENT


1. THOUGHTS ON SÁMI YOIK 2
1.1 MY PERSONAL VIEW 2
2. DEFINITION OF YOIK; URSULA LANSAM VS SOMBY 3
2.1. No beginning, no end 3
2.2. Personal expression 4
2.3. Depth symmetry 4
3. TYPES OF YOIK 4
3.1. LUOHTI 5
3.2. VUOLLE 5
3.3. LEU’DD 5
4. PERSONAL CONNECTION 5
5. CONCLUSION 6
6. SOURCES 6

1. THOUGHTS ON SAAMI YOIK

"The sound of music" could be very appealing for western ears, but as I hear the saami Yoik I grow found in this way to sing which, at first instance, seems not to have predetermined sentences, or recognizable cords. My first contact with this type of lyrical form of singing was the Girls of Angeli, Angeli is a small Sámi community in the far north of Finland, Sámi as the only language, the “girls” described the Yoik as different from the Western (North American and European) lyrics and songs, “the Yoik is not about something, but something itself.” It repeats words or vocals that recall the way of life in the reindeer herding, life in the Lapland valleys and hills.
This is how Ursula Lansman described:
“It does not begin and it does not end. A yoik does not need to have words – its narrative is in its power, it can tell a life story in song. The singer can tell the story through words, melody, rhythm, expressions or gestures.”

Following this description I start listening to Yoik and several thoughts came to my mind; most of them where about love, territory, lost and mourning, the main feeling was the one of being part of a community, as several voices join in the same Yoik and as a rich framework of emotions and subtle changes that aren’t always perceptible for an untrained hear.

1.1. MY PERSONAL VIEW

Considering Yoik as performed within a community I've stated my thoughts as “we”, not because I belong to the sámi group but because this is the feelings that developed as I listen to their songs, their repetitive rhythm and expressions and this is what came across:

“As we sing, we scare bad spirits away.
Our soul rises and our fears disappears as the tones spring from our lips.
We sing with all our body, mind and soul.
We search for love, for safety, for a warm home and a loved one
Those are the basic things in our life; those are ones that have being replaced instead of modern commodities that let us isolated, anguish and alone.
As we sing together we live our love for others.
As our voices are heard our feelings of togetherness, community and goodwill are shared.
Our songs bring happiness, joy and cheerful feelings to those whom in nature listen to them and recall their beloved ones

So the voice of nature and the human voice are heard over as the soft flow of a river that never dries its sources; the one of human curiosity, the need to communicate, to love and to be loved in return.”

This could be view as a very intuitive approach to this cultural expression, I decide to investigate more and not stay within my own intuitive framework so I found several articles that illustrate how an artistic expression, part of the culture in which is embed, survives oppression, territorial issues and mainstream mercantilism among others.

2. DEFINITION OF YOIK

The definition that Ursula Länsman gave us opposes the definition of western music or at lease the comercial pop culture of America and central European music, nowadays music has change and the mainstream is giving, up to certain extend, spaces to more peripheral ways of expressions, like Yoik which has no ending neither begging e.i.:

"The regular concept of a western European song is that it has a start, a middle and an ending. In that sense, a song will have a linear structure. A yoik seems to start and stop suddenly. It hasn't a start or neither an ending. Yoik is definitively not a line, but it is perhaps a kind of circle. Yoik is not a circle that would have Euclidian symmetry although it has maybe a depth symmetry. That emphasizes that if you were asking for the start or the ending of a yoik, your question would be wrong."
(Somby)

From this explanation I found three main points in common with the definition of Ursula Lansman and Somby those are:

2.1. "No beginning, no end"; opposed to the idea of a progression of the tones, and rhythms it seems that the yoik goes in a circular way that fluctuates with an own power
2.2. Personal expression of a story as an abstraction where the songs becomes the person or the object itself as one sings for the memory of a person, the song becomes the person that make company to the yoik. It is a way to bring people together.
2.3. a symmetry that allow changes and improvisation that I understood as the depth symmetry mention by Somby this symmetry enable the yoiker to module the song in a certain way specially understood by others that know the rhythm.

3. TYPES OF YOIK

In contrast with what both Somby and Lansman said, the Yoik has different structures depending the region, and as common tread is the careful mastering of the voice, “The technique used in yoking requires careful breath control, because the vocalizations tighten the throat and place stress on the vocal chords”(Burke), in this way they get their peculiar sonority; Burke spotted three different kinds of Yoik depending on the different breathing styles producing different sounds

3.1 the Northern Yoik (Luohti in Sami) contain pentatonic scales with no half-tones. Focusing in a specific subject, with marked rhythms, syncopations and altering accentuations and vocal timbres. E.i; the luohti, transmits the yoik's content to the listeners In the same manner that any given form of art can be beautiful to observe and a pleasure to behold, a yoik should also be pleasant to listen to, providing one with peace of mind and pride in one's soul on behalf of one's own people.(Gazki)

3.2 the South Sámi Yoik (Vuolle) uses just two or three notes close together on a scale, consisting of long sounds, quick glissandos and falsetto notes, it can be quite repetitive, variation on stress and inprovisation is common.

3.3 the Eastern Sámi Yoik (Leu’dd) consider as a “epic” form contains a more poetic and has a personal narrative. The Leu’dd dialect is unique, playing by improvisation the yoiker could add elements from the vuolle and luohti without trivializing the poetics of his narration never the less this form seems to be one of the rarest.

Whether is the luohti, the vuolle, or the leu’dd, this form of art is a representation of a culture, and has force by itself independent from the producer, the songs belongs to the community, thus aimming the sense of togetherness, and the position of the artist is the one of the bearer of the culture of the siida or community in general.
(a Siida is the nuclear community located in a especific territory, having their own political and administrative dinamics.)

4. PERSONAL CONNECTION

Yoik belongs to a person, it’s a mark as the name this gives the bearer a life in community the power to communicate, and to transfer knowledge, the yoik is linked with the Sámi believes, having power at its own and the person that yoiks should respect this honour and this power.
For several artist is not just a way of work or expression is a way of living and revival of their culture, for example Inga Juuso a norwegian sámi singer vocals of the group Orbina among others, she tells us;
I think that traditional yoiking is now in higher esteem. And when the Sámi people notice that yoiking is being appreciated they begin to yoik more. In the past years the number of yoikers at the Sami Grand-Prix competition has steadily gone up. I don’t belive that it is easy to destroy yoiking. (Juuso, 135)

Mrs Juuso thinks that there’s “personal Yoik” linked to a person, this Yoik characterizes him within the group allowing him to communicate, its permanence and survival denotes the strength of this cultural and community activity that is as personal and intimae as public and ritualistic and all this is possible because the power of interpretation of the surrounding community as a whole.

5. CONCLUSION

Along with shamanism and the drum the Yoik constitutes a crucial aspect of the aesthetics of the Sámi people and its daily life. In the rituals a Noaidi is able to use the Yoik to healing purposes, divinations, and to give reindeer advice, this believes were kept in a personal level, in order to resist to the invasive actions of agriculture in the northern areas and the force Christianization of the north.
Christianity did affect in a serious way the indigenous believes and was integrated to their rituals, for example in the shamanistic drum cross symbols were added. After the World War II the Yoik became “sinful”, and even now some elders still seen it in this way, but thanks to the generational renewal the Yoik became an important part of the cultural “renaissance” of Sámi people.

6. SOURCES
Angelin Tytöt Biography. April 2003. 14.11.2007
Burke, Kathryn; THE SAMI YOIK, 14.11.2007

Juuso, Inga; Orbina, < http://www.kautokeino.com/orbina/> 14.11.2007

Kailo, Kaarina; Helander, Elina; No beginning, No end; The Sámi Speak up; Circumpolar Research Series No 5. and the Nordic Sami Institute, Finland/Canada. 1998
Länsman, Ursula; SÁMI CULTURE AND THE YOIK 14.11.2007

TRIP TO HELSINKI, STOCKHOLM AND TURKU, OCTOBER 13 TO 18

STUDY TRIP TO HELSINKI, STOCKHOLM AND TURKU
13-18 October, 2007
I. DAY ONE HELSINKI, VISIT TO HALOSENNIEMI AND HVITTRASK

“When Helsinki took on the role of national Capital, an elegant frame work was created for its centre by the general town plan draw up by Johan Albrecht Ehrenstrom in 1817.” Salokorpi, 40

1. HVITTRASK

As we arrived to Helsinki we took a bus tour outside the city to a rural location that inspired the pioneer’s work of the Finnish National Romanticism emblematic architects Herman Gesellius, Armas Lindgren and Eliel Saarinen, who lived and work at the Hvttrask.

Hvttrask is a wooded house a great building where work of masonry and timber create its very unique character. Started in 1901 the first part consisted in a lighten spacious studio and workshop, carrying as a dwelling with simple style reminiscent of Karelian vernacular buildings then as the building developed it became a multi leveled house with several staircases, various spaces and hand painted stuccos, every room breath history and make us recall the fight for independency, this house also served as boyhood home to Eero Saarinen, who made his reputation in United States and designed such buildings and monuments as the Getaway Arch in St. Louis Missouri.

2.HALOSENNIEMI

As for the Halosenniemi house as well was dwelling and the studio of painter Pekka Halonen (1865-1933) build it in a severe National Romantic style and situated on the lake Tuusula (ca 30 Km from Helsinki) as we walk thought the spacious atelier and see the nature from the wall to wall windows facing the lake and the forest we understand how two extremes of the National Romantic style converge in this building. Openness, lightness, and the nobility of the materials is visible, naked timbers tainted with tar, stoned based, and small rooms and a fire place which are ornamented with forged iron doors with different illustrations of the rural life i.e. a woman cuddling by the fire, or a pig with its piglets. Right by the water is located the sauna which was used as dwelling for about a year and half before the main house was ready to be used.

3. KIASMA

Kiasma is a lively cultural centre and meeting place for the contemporary and conceptual artist of Finland. Kiama has clearly established its position in the culture landscape of both Helsinki and Finland at large as one of the most interesting places for contemporary arts.
As we walked the city the history unfolds at every step, the Sibelius monument, the Olimpic stadium, the senate square and the esplanade are some of the obligatory places to visit, convening both modern and classical architecture from the national romantic period.

II. DAY TWO HELSINKI, VIST TO SENATE SQUARE AND THE ESPLANADI STREET.

As we walk the city we see widows, and gates that invite us to live the city in a more intimate way. Some of us look up and down to the facades and several faces of buildings that the city offers. We taste the moment to appreciate the flavour of history in the faces of the different buildings that breathe their own story, styles through the century tell their secrets and we as visitors felt enchanted by the perfect mix of modernism and 457 years of history invested on the architecture of this Nordic European Capital.

Helsinki was founded by Swedish King Gustav Vasa in 1550 as the town of Helisgfors, but in 1640 the city was moved from the original location at the mouth of the river Vantaa, later on the Sea-Fortress of Sveaborg or Suomenlinna was erected as the fortification which construction started in 1748, a deep history, an air of aristocracy and a modern western-eastern style had mixed together and made Helsinki the perfect place to start our visit (see image I Helsinki Cathedral and Senate Square with Streetcar)


1. THE SENATE SQUARE;

C. L. Engel designed its main architectural piece in the heart of Helsinki, in the Senate square is resting the Lutheran Cathedral (Church of Nicholas, 1818-1852) Engel start working on this project in 1818 until his dead in 1840, and was completed in 1852, also the main university building was designed entirely by Engel, inaugurated in 1832, and the Palace of the Council of State was completed in 1822, and the University library was completed in 1844, having a impressive hall and a central patio where you can see the glass ceilings that shower with light the whole interior building.(see Image 2 and Image 3 National Library interior)

2. THE PARLIAMENT HOUSE

a. “Parliament House stands by itself on Arcadia Hill, but this was not the intention of the town planners or the architect. Their idea was for a group of public buildings to form a new Independence Square, paralleling the old Senate Square. Nothing came of this plan, however.”
(see Image 4, parliament Interior)

The house of parliament was designed by J.S. Sirén (1889-1961) from the firm Borg-Sirén-Aberg the proposal was called “Oratoribus” –for the Orators- the building finally was constructed under his command in 1926-1931, inaugurated on march 1931.
His impressive and severe façade is a monument for the independence and democracy, with his reddish Kalvola granite and 14 columns with Corinthian capitals, the building is an example of the architecture of the 1920’s, (see image 5, detail from the façade) as for the interiors the décor severely shows the purposes of this building an ascetic yet inviting interior welcomed us in our visit.

3. E. SAARINEN, RAILWAY STATION,

yet the first railway station was planed by Swedish architect Carl Albert Edelfelt in 1860, the up growing city demanded a bigger station, Eliel Saarinen presented a pure National Romantic style where titanic sculptures in granite hold glowing lamps at the central station gates and a impotent clock-tower timely guide us to the city, several renovations and annex had being added to the station as the Helsinki Metro subway station, and the Rautatientori as well the Kauppakuja shopping centre.

4. THE ESPLANADI

Esplanadipuisto which runs between the strees Pohjoisesplandi and Etalasesplanadi, is a great boulevard that runs from the harbour and fish market at Kauppatori to the main shopping district street named after General Mannerheim (Mannerheimintie) located in the park is the Café Kappeli where most of the aristocratic and intellectual elite used to gather. The buildings around are XIX century Neo-Renaissance. As we walk over the Esplanade, we become part of it, it gives us an inside of the cultural atmosphere and rich history of the city and it’s a view of earlier times throw the several sculptures commemorating poetry, history and politics as such as Eino Leino (image 8), and the imponent 8-meter high monument of Johan Ludving Runeberg author of the national theme which is hold by a Muse covered by a bear fur the hymn is written in Swedish 'Vårt land' which is the first poem in “Fänrik Ståls Sägner” (image 7 and image 9)

a. Vårt land

Vårt land, vårt land, vårt fosterland,
Ljud högt, o dyra ord!
Ej lyfts en höjd mot himlens rand,
Ej sänks en dal, ej sköljs en strand,
Mer älskad än vår bygd i nord,
Än våra fäders jord.

Vårt land är fattigt, skall så bli
För den, som guld begär,
En främling far oss stolt förbi;
Men detta landet älska vi,
För oss med moar, fjäll och skär
Ett guldland dock det är.


III. DAY THREE STOCKHOLM

1. THE CITY HALL, Swedish national romanticism. (see image 12)

The building was designed by Ragnar Ostberg (1866-1945) and was build between 1911 and 1923, this is an impressive construction with about 8 million red bricks the most characteristic space is the Blue Hall –Bla Hallen, that exhibits its red bricks walls instead of the blue planned. In the 106 meter tall tower we have the 3 Crowns national symbol of Sweden.

2. GAMLA STAN, The old town of Stockholm; (see image 11)

Staden Mellan Broarna (the city between the Bridges) is the old town of the city of Stockholm and is located at the Island of Stadsholmen. Combined architecture is found in this historical place, where haunted alleys and wandering streets recall the history of the city. For example Marten Trotzigs Grand by No 81; this is Stockholm’s narrowest lane, as well in the old town we found the Kungliga Slottet (Royal Palace), and the Museum Tre Kronor which is located in the palace basement and features the foundations of the 13th Century defense system.

3. NATIONAL MUSEUM OF STOCKHOLM

This building holds the larges collection of art history dated back to the 16th century. The collections begin with Gustav Vasa’s collection of Gripsholm Castle, as well when Queen Christina abdicated in 1654, she brought along with her a number of paintings of Italian Renaissance. Also Carl Gustaf Tessin in 1740 bought contemporary French art. But it was just until 1866 that the present building was inaugurated and named as the National Museum, designed by German architect Friedrich August Stüler.

IV. DAY FORTH STOCKHOLM

1. DROTTNINGHOLM PALACE

The Queen’s Island Palace was ordered by King Johan
III this first one burned and in 1662 Nicodemus Tessin “The Elder” and his son “The Younger” constructed in a early Baroque style; nowadays this is the official residence of the Royal family. (see image 10)

2. DROTTININGHOLM COURT THEATRE

This is the world’s only 18th century theatre still in use, with its original stage machinery and sets worked as a perfect time machine where we find inspiration and leisure. The royal couple –Adolf Fredrik and Queen Lovisa Ulrika- entrusted to architect Carl Fredrik Adelcrantz, on 12 June 1766 Adelcrantz presented the building to the Royal couple. No ostentation or gilt is shown but as we go into the theater we discover marble painted canvas as walls, a falls perspective on the stage and a whole harmony and balance that transport us back in time:

a. “Aldelcrantz’ interior, combining artistic playfulness with strict logic, deceptive illusion with a sense of profound meaning, and aristocratic refinement with great simplicity, provides a kind of programme for theatres in all periods. Not merely artistically, but also humnaistically” Agne Beijer

3. KINA SLOTT,THE CHINESE PAVILION (see image 13)

Swedish Rococo As well designed by architect Carl Fredrik Adelcrantz (1716-1796) as a birthday present for Queen Lovisa Ulrika in 1753, it is located down south of the English gardens at the Queen’s Island Palace, it was inspired by Cantonese and Chinese design. Also we found “La Confidence” (see image 14) as secret dining room with an interesting shelf-elevator where the food was placed. As we go back to the Palace, we walked the French gardens with their severe geometrical lines and its false perspective.

V. DAY FIFTH, TURKU AND THE MIDDLE AGES

Turku is the former Capital of Finland; burned several times it is not strange to find archeological discoveries, even though the acid soil and humid conditions are not favorable for preserved ruins. Running back in time to the 13th Century Turku was an important yet commercial join for Swedish Kingdom; its name comes from an Old East Slavic word, tǔrgǔ, meaning "market place". But After the Finnish War when Sweden ceded Finland to Imperial Russia, Turku became the official capital but not for long since the Emperor Alexander felt that Turku was too far from Russia and to close to Sweden interests, then finally in 1827 with the Great Fire of Turku the city was destroyed and redesigned by Carl Ludvig Engel.

1. TURKU CATHEDRAL (see image 15)

this is the Lutheran Cathedral and a National Sanctuary. The cathedral has 700 years, situated north of the Aurajoki it was build in 1300 and consecrated to the “Saint Vierge” and Saint “Henri”. The cathedral has undergone through many changes, the east wall was located farther on and the ceilings were shorter. As the turn of the XIV century a new chorus was constructed. In 1827 the flames consume most of the building and the building was reconstructed up to 101 meters over the see level and now is the dominant building of the city. In the interior the transfiguration of Christ is the work of Fredrik Westin Swedish artist. But the walls and frescos depict two important events in the history of Finland, the beginnings of Christianism and the delivery of the first New Testament translated to Finnish by Mikael Agricola to the Swedish King Gustave Vasa.

2. TURKU CASTLE (see images 16-17)

Turku castle is the largest surviving medieval building in Finland, and one of the largest medieval castles in Scandinavia. The layout of the castle consists of the Medieval keep (päälinna) and Renaissance bailey (esilinna). The keep consists of a square fort with two square gateway towers; the thickness of the walls at the base is some 5 m. In the Middle Ages the castle was surrounded by a moat conjoining on the River Aurajoki, the castle effectively lying on an island. The keep was completed in the early 1400s. The construction of the bailey was begun in the late 15th century and finished in the 16th. The bailey is not as heavily fortified as the keep, but it has several Turrets. The Renaissance construction work included heavy modification of nearly all the rooms in the older medieval part of the castle. Since the Renaissance no additions have been made to the castle. We can see how the Renaissance uses the same materials and spaces and still in balance with the rest of the building, also it’s worth noting the spaciousness and lightness of this style which is opposite to the heavy walls and darkness of the Middle Ages castles.

3. THE LUOSTARIMAKI HANDICRAFTS MUSEUM

The Luostarimaki museums is a small village reconstructed as an original pre-industrial environment where we can experience the different ‘ateliers” or handicrafts houses, an experience that transport us to the middle ages, from the wooden houses, the stone dirt roads, the grass roofs, and the smoke saunas integrated to the traditional buildings.

VI. SOURCES

Beiger Agne, DROTTNINGHOLMS SLOTTSTEATER, Catalogue
Salokorpi, Asko; Okkonen, Ilpo; HELSINGIN KASVOT; kirjapaino Osakeyhtio Kaleva, Oulu 1999
Runeberg, Johan Ludvig; Vårt land,(1848-1860), Fänrik Ståls sägner, runeberg organization, http://runeberg.org/fstal/1a.html
About the Parliament House of Helsinki, http://web.eduskunta.fi/Resource.phx/parliament/aboutparliament/presentation/parliamenthouse.htx#A%20work%20of%20art%20in%20the%20centre%20of%20the%20city

SCANDIANVIAN FINE ARTS ESSAY ABOUT ENVIROMENTAL ART AND PERSONAL EXPERIENCES

1. INTRODUCTION
How we relate with our surroundings? How environment shape our perception and our thinking? This is a cognitive relation that becomes an intuitive process, as I myself walk into the forest, or on an opened space I discover how I build a relation with the environment that surrounds me, I established a metaphoric relation with the place I’m in, it always makes me revive experiences lived or recall places where I have been, places different from the “no-man’s land” that highways, supermarkets, and city streets of America had became to me. However memories are dared to me; they meant a life in a group such as a family or friends, I treasure those memories as places in my mind where I found a meaning to my personal needs and expectations when facing a new place.

Answering my first question about how we relate to our surroundings I just could said that this relation depends of what the place activate on me. I’m an amateur artist and I cannot talk about building or performing with inspiration found in a place. I like photography and every time I arrived to a place I’m driven by curiosity, I felt energetic, vivid and as I walk I discover a wonderful experience; when I visit a place where to look to small details that call my attention, and they build my relationship with the place.
As I get familiar with the place I start arranging spaces throw my viewfinder, and as I close my eyes I rediscover what I have sought before with a new sight.

2. WORK OF ART AS LOCAL EXPRESION OF AWARNESS
Most of the times at the end of a journey I found myself with a sad feeling because I have to leave something behind, something that has being meaningful to me.
So up to now I have two ways of react and establish a relation with the environment the first objectively, the second subjectively, this two relations work together toward a creation. At this point I’m echoed the words of Timo Jokela as he said:

“I hope that my art sustains a meeting of the three levels of landscape experience mentioned earlier: nature in objective terms, a personal subjective world of experience, and communally produced textual meanings that are often veiled in every day activities”

My experience sustain resemblance with the founding’s in nature as ‘objective terms’ and this is translated to a ‘personal subjective world of experience’ expressed into photography, but in this way I failed to present a contextual work to create a project that involved a group.

I describe this as a single person, not belonging into a group, but when a group is involved then my interaction is with the group and how “we” stand out from the place or the environment around us. The feeling of belong that is built in a group is stronger, clearer and mixed with the feelings of the individuals participating; creation demands a certain level of awareness of the place its history and the different changes that will affect the work of art, most of the times this knowledge is built meanwhile working, discovering and re-shaping the work of art, until the piece is done.

This feeling is one with the feeling of community, a common place shared with others helps to create a sense of togetherness and this feeling helps to work toward a common ground. If the group faces different challenges they will found solutions in their own group, these challenges could be as simple things as trade, or more complex chores as generate the different means to survive. But how environmental art fits into the landscape of community activities?

As a symbolic way of translate the feeling of belonging with a place, maybe I put my memories in the same present instant, a bucket, a statue, a promontory in an open space could trigged the feeling of ‘déjà vu’ and then the sensation of being at home, or strange familiarity that will attach me to a place. This is a phenomenological answer to the environment. Example; a back yard, a bed sheets drying under the sun of May waved by the wind, it’s an impression common to many middle class families that live in the suburbs. But the same image taken to a rural location won’t change the warm feeling of familiarity that aim a daily activity summed up in that very moment.

Reading Wanderer in the Landscape by Timo Jokela, and observing his ever changing art I started to understand how important is the relation of a person and a place, and the feeling of belonging to a place and a group settled in it.

3. GENIUS LOCI
The first thing that called my attentions was the definition of “Genius loci” or the character, ‘Genius loci’ is the spiritual value that we humans tend to give to a place; In the case of the Northern environment the expression of emptiness, openness and barrenness is a strong ultimate experience that is lived in daily basics.
The idea of Genius loci is presented by Tuan Yi-Fu and it is the actual workload offered as a work of art in a daily action, the perception of the environment and finally the attitude toward it and the value granted to a specific place.
Some daily activities, that belong to the sphere or rural work, such as commitment, transportation and display of cattle (were apply in central European countries) demand specific approaches like Rodeo (as entertainment expression) or the relation with the cow skin and its different sub-products linked to a specific location. In Finland reindeer herds or hay cutting and packing becomes part or the everyday life. Daily actions that work toward the survival of a community in every season; i.e. in winter time is marked by activities as snow removal, snow building and mobility on snow and icy condition; knowledge of the thickness of the ice, the dropping temperatures and the wind chill effect are not just necessary but mandatory, they become an important part of the lives of those living in the north, shaping their in views and characters. This last frontier (since the point of view of a westerner, or as simply as an outsider) could be seen as barren and lonely, but increasingly this barren location is seen as a place where to find yourself, and to listen to the voices of the time.
If we look at the work of Timo Jokela ‘Daughters of Paivo’ we could found their talk about migrations, blood links and relation to the place where they are located; As the snow slowly melts it reminds us that we are not permanent, and that every human sign is ephemeral, that our process and thinking is an abstraction partly shaped by the place we live in and the pass of the time.
So there’s three important points that are related with the environmental work of Mr. Jokela:
relation with the space
time, seasonal changing, weather changing, light conditions
symbolic meaning

This phenomenological approached helps to understand the mental landscape of a person belonging to a group ‘the Sami people’, and the Lapland’s inhabitants; As we look at the landscape and feel uplifted by it, the concept of German romanticism pop ups in my mind. As Mr. Jokela “wanderer in the landscape” in 2006, Caspar David Friedrich “wandered in a see of fog” in 1818.
4. ROMANTICISM
Working Physically on an activity is mandatory in order to achieve a mental process toward a creation that will fulfill us with spiritual reward. The Art work can be tell apart from just daily routine because it means a never lasting memento or light or shadow that is depicting all of an experience. This moment tell us how unique we are, where we came from and why we are here, a moment that an artist share with its community. The main point of environmental art maybe is not the landscape, but the universal meaning of our presence there, the way we witness the changing. A thinking that depicted this is the German Romanticism.
An example of it is the German painter Caspar David Friedrich, his work is an expression of mysticism. His landscapes seek blissful joy as the classic concept of art, but also he research in the soul of the artist to connect with the feeling of lonely contemplation in the overwhelming power of Nature. Then elements are depicted in this kind of work, ruins, elements from legendary lost places or history, reminiscence of what it was, a reminder of change itself.

But as well the figure of the human being is present along with this lonely sight. The artist itself produces an individual standing apart from Nature. This dialog between the nature’s powers and the artist reminds us how the human being differentiated himself from the observed object; In this case the Human being still a unit, Un-fragmented and differentiated.
But this world has changed and nowadays invasive art came to colonized “new territories”, so the dwelling deals not just with expected environmental changes but with the expansive power of colonization; the peripheral world has to deal with globalization and oppression of Western mainstream culture, migrations and ever-changing politics could affect their relation with their own environments.

Fragmentation and rupture could happen, but as long as communities and artist are aware of the ground they are standing on it would be possible that the transitions will be as smooth and invigorating as the snow melting on a warm spring day.

The Sami people is a culture immersed in the local environment, they benefit from their natural resources, they understand natural and seasonal changes, cycles and natural materials (snow, ice, water and wind) those materials, and conditions give the work of the land a specific Genius Loci (character).

5. CONCLUSION
“the painter should paint not only what he has in front of him, but also what he sees inside himself.” Friedrich.
What started as a personal experience, in the body of the artist’s work, turned to have new proportions as depicting “inside” oneself could become an extensive work that involves others.
The issue of individual experience then takes new meanings when the artist-painter-sculpture is living and working within the subject depicted. The relation is affected by the work done. My point seems that the knowledge of this experience is important, and transmitting what is inside the artist mind enlightens others peoples’ points of views. The mystical and metaphorical position of the artist takes importance in the people of the North, people/artists are conscious of the changing, being aware of it and knowing how to translate it in a piece of work is demanding and takes time and energy but as well provides with a spiritual reward, in terms of artist-shaman the work of art present healing powers not only for the person performing the rituals, dances, or sculptures, but as well for the surroundings; spirits that are annoyed by humans actions can turn into storms, winds and unexpected weather changes, as folklore believed in the Inuit populations of Northern Canada
Thus, the artist also has the important role of producing elements to heal and compose our fragmented egos, to transcend the boundaries of the mind, from the shamanist-artist believes chart.
It’s not my chore to explain the mystical relations of arts and shamanism in the community; but the knowledge that they depict helps me to explain the way the artist work and specially to answer my starting questions, as an awaked group works they build belonging, awareness and they write their own story and experiences in order to better comprehend their surroundings and implications within the environment that provide them with dwelling, food and materials. Resistance to mainstream pressure is one of various ways to defend local tradition.

6. BIBLIOGRAPHY

Biography of Friedric, Caspar David, German Romanticism, http://en.wikipedia.org/wiki/Caspar_David_Friedrich

Jokela, Timo; Wanderer in the Landscape- Reflections on the relationship between art and the northern environment, http://www.environmentalart.net/jokela/wanderer_in_the_landscape.doc, visited 6th November, 2007

Jokela, Timo; Close to Nature: Marks of the Forest, 1.4.2007, http://www.environmentalart.net/natur/close_to_natur.htm , visited 6th November, 2007