«Undertrykkelsen har vært motbydelig for meg»

Abstract

Med utgangspunkt i den samiske aktivisten Ingolf Kvandahls familiefotografier, diskuterer denne artikkelen hvordan Kvandahl-familien bruker fotografiet til å etablere sin historie. Den viser hvordan fotografiene i albumet manifesterer historiske prosesser som dels griper inn i hverandre, dels løper parallelt og dels kan stå i motsetning til hverandre: fornorskning, modernisering, samepolitisk aktivisme. I albumet presses spenningene i disse prosessene opp til overflaten i en estetikk ladet med kontraster og kontradiksjoner.

Colourising the past: Digital visual repatriation of colourised Sámi photography

“…Most older photos of Sámi people, as products of asymmetrical encounters in colonial contact zones, represent an external and controlling gaze, but historical photos taken by non-Sámi outsiders often have complex social biographies. Such photos were used to racialise and exoticise Sámi people in postcards or research publications, but prints of the same photographs also became cherished heirlooms within Sámi families (Dobbin 2013; Lien and Nielssen 2021c; Öhman 2021).…”

“…The term visual repatriation refers to the practice of bringing archival photos produced by outsiders (i.e. anthropologists) back to the so-called source communities represented in the photos (Dudding 2005; Edwards 2003; Lien and Nielssen 2021c). Visual repatriation projects have typically implied offline collaboration but may also be set up through digital platforms (Marselis 2017; Marselis and Schütze 2013).…”

“… 5 For research on visual repatriation that makes use of the concept of postmemory , see Dobbin (2013), Lien and Nielssen (2021c), Marselis (2017), and Öhman (2021). …”