Mon. Jan 24th, 2022


Better in the 20th century, Christian missionaries and state-sponsored biologists have carefully documented Sami customs and dress, They even wanted to suppress them. Even the church and the state The Sami conspired to desecrate and desecrate holy places and tombs, Measuring their skulls and skeletons in search of evidence for a “barbaric” Proto-Aryan race.

Most recently, Sami was featured in a blockbuster movie Klaus And Frozen 2, Where they are usually side characters who assist in the search for settlers. In these paintings, Samira is almost always dressed in historical, formal attire and nomads.

The real Sami identity is much more complex. To begin with, their traditional territory is divided into four colonial powers (Norway, Sweden, Finland and Russia), nine living indigenous languages ​​and four non-indigenous peoples. Forced assimilation program In those countries More partition driven, Among the nomadic reindeer herdsmen and settled “forest” or village Sami, who were More aggressively stripped from their heritage.

Selects a historical installation, Scabma: Snowfall Able to point out these effects without fully depicting them-for example, an evil French naturalist is spending his welcome in the village of Ailur. But even portraying the historical Sami can be fraught with problems.

“Defining what is traditional and what is not is also shrinking the image of the seminis,” Outy Lati, a Sami game researcher and designer, wrote in an email to Wired. Reindeer animal husbandry, traditional crafts and nature worship are all part of the Sami cultural heritage. But most Sami Christians, many do not know traditional crafts and very few people know much about what to do with a reindeer herd. To call these things traditional could mean that these people are a bit less Sami.

This leaves a fine work of Sami artists like Aranen. “There is a fine line between negative stereotypes and stereotypes that are needed,” he said. “People don’t know about Sami culture. They do not know who we are. And in that sense, stereotyping works. “

“But … we’re fighting those stereotypes at the same time we own them,” he said. “People expect us to be in this museum showcase, and they’re disappointed … that we’re not as foreign as they want us to be.”

But one of the advantages of running a game about Sami for Sami people like Aranen is that the creators are free to shape the design based on their point of view. Aranen knows he’s not offering an exclusive version of Sáminess – instead, he’s offering his own interpretation, based on his own experience of growth and discovery.

A crash course in cultural heritage

Courtesy of PID Games

The central theme of Ailu’s journey is “damage and recovery,” Aranen said, and it’s a theme that hits near home. Aranen’s father was a Sami of the “lost generation” who grew up without entering into their traditional language or culture. As a result, Ornen himself was deprived of that education. “All these little details, they never reach me,” he said.



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