The characteristics of arctic countries such as isolation, extreme weather, small communities do not affect the quality of art production, on the contrary art in these countries has maintained throughout the years certain specificities related to the particular history of those populations, characteristic which make it highly valuable.<\/span> It is hard to define what arctic art is, to whom or what the term applies and how strict this definition should be, however we can assume that arctic art generally addresses indigenous and non-indigenous cultures in the nordic region. Thanks to their similar characteristics and histories, the arctic countries constitute the perfect ground for arctic artists to share their works, and for communities to establish horizontal orientated bonds which would disrupt the north-south movement of art. Creating microcenters outside of the traditional international art routes would counter the conglomeration of art in the big European or American capitals.<\/span>\u00a0<\/span><\/p>\n In a thoughtful speech, Dieter K. M\u00fcller, professor in Human Geography at the Ume\u00e5 University, Sweden, highlighted that the arctic circle is \u201c<\/span>moving south<\/span><\/i>\u201d: more and more countries want to identify themselves as part of the Arctic region because that denomination would make them look more attractive to tourists\u2019 eyes; \u201c<\/span>the Arctic is hot, in many senses<\/span><\/i>\u201d he said. The Arctic is hot because it represents the promise of adventures, stunning landscape, and exotic populations, therefore tourism has been on the rise in this part of the world during the last decade. Global warming is affecting the North faster than other parts of the world, the Arctic is literally hot and environmentalists look at what is happening up here in order to predict the trajectory of climate change throughout the world.<\/span><\/p>\n M\u00fcller expressed his concerns that this interest in the Nordic countries from the rest of the world might instill\u00a0 misrepresentation of those countries\u2019 identities: Arctic populations need to define themselves by themselves, their image shouldn\u2019t be shaped by the rest of the world. These beautiful lands so attractive to tourists are in fact inhabited by people, sometimes indigenous people, and instead of stereotyping them to attract more tourists we should learn from them, and leave them free to define themselves and to share their understanding of the lands they have engaged with for generations.\u00a0<\/span><\/p>\n In the publication<\/span> What is the imagined North?<\/span><\/i> presented during the last edition of the Arctic Art Summit in Harstad, Norway, author Daniel Chartier, professor at the <\/span>Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al<\/span>, Canada,<\/span> wrote that there are two visions of The North: the one from the outside, the representation of not-Nordic people, who arrived one hundred years ago, but have been imagining The North for many hundreds of years, and the one from the inside, the actual culture of the Arctic, which stems from the indigenous or native populations\u2019 understanding of their lives in these lands, a knowledge passed through generations of inhabitants, shaped through years of living there and adapting their lives to the geography and environment. <\/span>The indigenous framing, experience and definition of landscape and the Arctic has long been ignored by colonial history, and as such the idea of an uninhabitable Arctic took hold. The colonial voice dominated.<\/span>\u00a0<\/span><\/p>\n The management of cultural institutions and museums which gives more space to internationally recognised curators was raised as a concern by M\u00fcller, the implication of this is that they are more skilled and capable of representation in major institutions then local practitioners.<\/span> M\u00fcller highlighted that it is fundamental to value local art professionals and to develop a stronger awareness of local culture and art, focussing effort on studying and researching them, to provide artists\u2019 with platforms and opportunities to show their work. The main goal should be to reach a balance for local and international professionals who both have something to offer and the reciprocal benefit that can manifest. Cultural products from both sectors should be presented on the same level, to pursue post-colonialist values and restore a balance of power between dominant and marginalised communities.\u00a0<\/span><\/p>\n 2019 is the United Nations\u2019 year of indigenous languages, <\/span>this was acknowledged by Arctic Art Summit through giving prominence and focus on indigenous art, culture and language. Recurrent conversations asserted the importance and understanding indigenous language in order to understand indigenous art and culture. <\/span>Gunvor Guttorn, <\/span>professor in Duodji (S\u00e1mi arts and crafts, traditional art, applied art) at the S\u00e1mi University College in Guovdageaidnu\/Kautokeino, Norway, highlighted the importance of keeping S\u00e1mi languages alive since they are key to understand the development of S\u00e1mi culture for they are strongly intertwined with the history and lifestyle of these communities. <\/span>The S\u00e1mi University College, in facts, offers education in Sami languages, providing Sami people with the opportunity to be educated in their own language, a right of which everyone should be entitled.<\/span> Tiina Sanila-Aiko, president of the S\u00e1mi Parliament of Finland, emphasised the importance of indigenous languages by giving a speech in S\u00e1mi language, an interesting experience for those in the public who didn\u2019t speak the language, the particular sound of Sami words <\/span>did however<\/span> unveil certain characteristics of the culture itself. She stressed that language constitutes a mirror of a culture, it reveals the philosophy of existence, the values, and the perception of things. Language is a powerful tool giving insight into a culture, and for too much time indigenous\u2019 languages have not been heard. <\/span>At this year\u2019s Summit, David Chartier empathized that \u201c<\/span>we have to preserve languages for ecological reasons, if we lose languages we lose ideas<\/span><\/i>\u201d. He explained that we are all connected within the world, and ecology is not just about nature and environment, but it is also about preserving humans\u2019 cultural heritage. We need an ecology of the real, which takes into account everything existing around us.<\/span><\/p>\n <\/p>\n People from different Arctic indigenous communities and people from dedicated art and cultural institutions which support indigenous\u2019 art and culture took part to the summit, discussing the situation of the communities they work with and sharing how they operate with respect to indigenous communities, raising consciousness and discussing better ways to valorise indigenous art and promote an understanding of it from inside the community, avoiding displaying such works from a western standpoint, as mere exotic object. Indigenous\u2019 art requires specialized engagement, and at the same time it\u2019s important to open these dialogues to the world and placing them in conversation with mainstream art. Such works demand a presence global art community and to be engaged with at an international level.\u00a0<\/span><\/p>\n The situation of indigenous art is delicate, in fact in order to understand and connect with their art one needs to be familiar with their culture and the way they live, indigenous art is often inseparable from indigenous people\u2019s lives, their art is often expressed through objects used in everyday life, art research and functionality are often combined. Therefore, indigenous people should be included and consulted when art from their communities is the subject. Indigenous art professionals exist, and art institutions who wish to work with objects from indigenous communities need to have members from that specific communities operating on all levels of the institution. This falls within the process of de-colonisation, a hot topic in every cultural and non-cultural sector. Giving opportunity to those who had been deprived of any kind of powership over their own land, culture, image, of taking back their histories and validating their specialised knowledge and skills is important to re-establishing a balance between powers in the world.<\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2019\/07\/Dieter_K_Mu\u0308ller2.jpg\")
Dieter K. M\u00fcller giving a speech on the second day of the Arctic Art Summit. Photo credit: Kaisa-Reetta Sepp\u00e4nen.<\/strong><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2019\/07\/20190604-DSC00600.jpg\")
Panel discussion Sustainability through Art and Culture in the Arctic.<\/em> From left to right: Tuuli Ojala, Jan Borm, Gunvor Guttorm, Daniel Chartier. Photo credit: Janne Jakola.<\/strong><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2019\/07\/IMG_4141.jpg\")
Panel discussion Decolonizing Research Practices<\/em>. Speakers: Krista Ulujuk Zawadski, Charissa von Harringa, Pia Lindman . Moderator: Heather Igloliorte. Photo credit: Kaisa-Reetta Sepp\u00e4nen.<\/strong><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2019\/07\/20190605-DSC03268.jpg\")
Panel discussion Duodji in Contemporary Context.<\/em> From left to right: Irene Snarby, Duoj\u00e1r Katarina Spiik Skum, Svein Aamold, Gunvor Guttorm, Anniina Turunen.\u00a0Photo credit: Janne Jakola.<\/strong><\/p>\n
![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2019\/07\/solju.jpg\")
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