Abstract

Sámi/Finnish artist Marja Helander’s lyrical short film Eatnanvuloš lottit (Birds in the Earth, 2018, 10′ 40″, single channel) captures two young ballerinas as they glide through the Nordic landscape and eventually arrive at the Parliament in Helsinki. Without dialogue and thoroughly visual and musical, Helander’s film raises the voices of the Indigenous Sámi peoples yearning for self-determination and land rights in Sápmi, their lands crossing the northern regions of Finland, Russia, Sweden, and Norway. The film juxtaposes Western and Indigenous sounds and images, using the singing tradition of yoik and the Sami garments worn known as gákti. Indigenous signifiers and myths confront Western meaning-making, especially the tourism industry in Finland. The article argues that the film disobediently escapes Western co-optation by opening spaces for Sámi identities and remembrance. Birds in the Earth points to contested political sites and insists on local land rights and the political rights of the Sámi.

摘要

萨米语/芬兰艺术家 Marja Helander 的抒情短片Eatnanvuloš lottit（《地球上的鸟》，2018 年，10' 40'''，单声道）捕捉了两名年轻的芭蕾舞演员在北欧风景中滑行并最终抵达赫尔辛基议会的场景。没有对白，没有完全的视觉和音乐，赫兰德的电影提高了萨米土著人民渴望在萨米的自决和土地权利的声音，他们的土地横跨芬兰、俄罗斯、瑞典和挪威的北部地区。这部电影使用yoik的歌唱传统和被称为gákti的萨米人服装并列西方和土著的声音和图像. 土著的能指和神话与西方的意义建构相抗衡，尤其是芬兰的旅游业。文章认为，这部电影通过为萨米人的身份和记忆开辟空间，不听话地逃避了西方的收编。地球上的鸟类指向有争议的政治地点，并坚持当地的土地权利和萨米人的政治权利。