Into the unknown [Amas Mu Vuordá]? Listening to Indigenous voices on the meanings of Disney’s Frozen 2 [Jikŋon 2]

Abstract

In 2019, Disney released the animated film Frozen 2 and included depictions of Indigenous Sámi peoples, landscapes, and lifeways. Communication scholars have critiqued relationships between Disney and Indigenous cultures. However, with Frozen 2 Sámi consultants initiated a new mode of collaboration with Disney to combat cultural appropriation, linguistic erasure, and misrepresentations. This resulted in almost unanimously positive media praise by Sámi individuals and communities in Scandinavia. By drawing upon an Indigenous listening methodology, we articulate ways Sámi communities discuss the degree to which Disney's Frozen 2/Jikŋon 2 is a transformative agent (or not) in treatment of Indigenous communities in film. Jagis 2019 Disney almmustahtii animerejuvvon guhkes filmma Frozen 2, masa lei váldán mielde Sámi álbmoga, sin duovdagiid ja eallinvugiid govvemiid. Kommunikašuvnna dutkit leat guhká kritiseren Disney vuogi giehtadallat eamiálbmogiid kultuvrraid. Frozen 2 dahkama oktavuođas sámi ráđđeaddiid joavku álggahii guittotge ođđalágan vuogi bargat ovttas Disneyin. Ovttasbarggu ulbmilin lei dáistalit kultuvrralaš rievideami ja giela jávkama vuostá ja njulget dan boastto gova, man vuosttas Frozen attii sápmelaččain. Ovttasbargu oaččui goasii ovttamielalaš rámi medias sihke ovttaskas sámi olbmuin ja sámi servošiin. Geavahemiin vuogádaga, mainna gullat eamiálbmogiid mii buktit ovdan sámi servošiid oainnuid das, man olu Disney Frozen/Jikŋon 2 rievdada (dahje ii rievdat) dan mo eamiálbmotvuohta ja eamiálbmotservvodagat čájehuvvojit filmmas. Sámiid ulbmilin ovttasbarggu álggaheamis lei buktit sámi áššiid oidnosii, lasihit iežaset álbmoga olbmuid bargovejolašvuođaid, ja dahkat sámegielat Disneyfilmma skeaŋkan sámi mánáide.

Beyond Queering Elsa: The Erotics of Touch in Disney's Frozen Series

“… 11 11 Trine Kvidal‐Røvik and Ashley Cordes write that “Noteworthy aspects of Frozen 2 include depictions of Indigenous Sámi peoples and that it is the first Disney film to be dubbed into a Sámi language launching at the same time as other Scandinavian versions” (17–8). This is significant, as they mention that “In the past, Indigenous peoples, ethnic minority communities, and media scholars criticized how Disney interacted with Indigenous groups and represented them in their films” (18).…”