The European core nations have colonised the world. This system is not only based on the unequal exchange of land and labour—as the anthropologist Alf Hornborg has shown in Global Ecology and Unequal Exchange—it is also on the verge of making the planet uninhabitable. So the world must be decolonised. But what would it mean to decolonise Europe? How do we decolonise the core of the world system—the area of the world that gave birth to colonialism itself?
Another world exists
In the north of Scandinavia, there is an Indigenous culture that has persisted against colonisation. The land is called Sápmi. The Sámi, like all Arctic Indigenous peoples, are experiencing the severe effects of rapid global warming and decolonisation is now more than ever a matter of survival.
Sofia Jannok is a songwriter, yoiker (yoik is a traditional Sámi vocal style), and pop singer; activist, environmentalist thinker, and reindeer owner. Through her words, melodies, activism, and existence, Jannok pushes for decolonisation. The title of the last song on her latest album ORDA: This Is My Land is “Noaidi,” a Northern Sámi word that means shaman but that she also translates as “Decolonizer.” The noaidi drives out the colonisers and their mentality. The noaidi reveals another world, a story that has been silenced in the history of the Swedish nation state.
For me, the encounter with Sofia Jannok’s music and stories opened the door to a new world-view. I am an urban middle-class Swede brought up to think that industrialisation is necessary and that this mode of production combined with better welfare distribution means progress for all. I have always had a nudging feeling of something being wrong with the story I have been told but other narratives are rarely given space in the media, nor in the academic contexts or political organisations I have been part of.
I was able to interview Jannok to explore the connection between her music, the decolonisation of Sápmi and of Europe, and the necessity of Indigenous rights and Indigenous peoples’ perspectives for all of humanity. This article tells the story of the other world that already exists in Jannok´s Sápmi. I weave a pattern of our conversation, her songs, images of what her stories make me feel, and examples of colonisation past and present.
Jannok and I begin by talking about music. I ask her about the role of music in Sámi decolonisation work and she emphasises that the increased focus on Sámi musicians and artists in the Swedish media often misses the historical ties between artistic expression and political struggle in Sápmi.