Tullâcalmaa kirdâccij ´tulisilmillä lenteli´ Inarinsaamelainen 1900-luvun alun musiikkikulttuuri paikallisen perinteen ja ympäröivien kulttuurien vuorovaikutuksessa

Abstract

Suomen saamelaisista musiikkiperinteistä tunnetaan tutkimuksellisesti pohjoisaamelainen joikuperinne ja kolttasaamelainen leudd-perinne. Inarinsaamelainen livde-perinne on sen sijaan jäänyt aiemmassa tutkimuksessa varsin tuntemattomaksi, vaikka se oli vielä 1900-luvun alkupuoliskolla elävä perinne. Suomessa tapahtuneessa kulttuurisessa murroksessa 1960- ja 1970-luvuilla perinne kuitenkin katkesi ja korvautui suomalaisella lauluperinteellä sekä pohjoissaamelaisella joikuperinteellä.

Väitöstutkimus käsittelee inarinsaamelaisen historiallista musiikkikulttuuria sekä kirjallisten lähteiden että runsaan ääniteaineiston kautta. Tarkoituksena on ollut tuottaa etnomusikologisen tutkimuksen metodein kokonaiskuva musiikkikulttuurista. Aineistojen tunnistamisessa inarinsaamelaiseksi on saamelaisten ääniteaineistojen kokonaisinventoinnilla ollut huomattava merkitys.

Tutkimuksessa on keskeisessä roolissa inarinsaamelainen Anna Briitta Mattus, jolta on tallennettu runsaan sadan musiikkiesityksen repertuaari. Aineiston perusteella saadaan varsin kattava kuva siitä, millaisista perinteen osista historiallinen inarinsaamelainen musiikkikulttuuri koostui. Merkittävä tutkimustulos on ollut omaleimaisen liv?e-perinteen löytäminen ja sen ominaispiirteiden määrittely. Inarinsaamelaiset omaksuivat kuitenkin vaikutteita myös naapurikulttuureista, joita olivat suomalaiset, pohjoissaamelaiset, kolttasaamelaiset ja norjalaiset. Musiikkikulttuurissa on ollut siten sijansa myös pohjoissaamelaisilla joiuilla, lauluperinteellä, soitinmusiikilla ja luterilaisella virsiperinteellä.

Tutkimuksena yhtenä tarkoituksena on ollut tuottaa myös sellaista tietoa, jolla olisi merkitys myös nykyisten inarinsaamelaisten sukupolvien kulttuurin elvyttämis- ja vahvistamistyössä.

Interaction of the Local Tradition and Neighboring Cultures in the Beginning of the 20th Century

The district of Aanaar (Finnish: Inari) has been a meeting place of many cultures for centuries. The earliest written sources of Aanaar Sámi can be dated to the 16th century. Sources were produced when the people of Aanaar were taxed by the three neighbouring states, Russia, Sweden and Norway. From the 17th century onwards Finnish priests started converting Aanaar Sámi people to Christianity. Unfortunately, neither the members of the church nor the state officials left any literary information of the pre-Christian music culture of the Aanaar Sámi people.

It was only at the end of the 19th century when sources of the Aanaar Sámi music culture began to appear. In 1886 A. V. Koskimies collected some twenty song-texts from Aanaar and in 1900 Frans Äimä gathered some additional literary material. Finally, in 1904, the first descriptions of the Aanaar Sámi music itself were made. Armas Launis transcribed some 200 melodies from this region. He however defined all the melodies as belonging to the Northern Sámi tradition, because he was not able to separate the Aanaar Sámi music tradition from the Northern Sámi music tradition. The first recordings of Aanaar Sámi melodies were made in Germany in 1911 and in Aanaar in 1913. The most notable collection of Aanaar Sámi music was collected during 1945 1946 when a Finnish collector and researcher A. O. Väisänen recorded with his phonogram nearly a hundred songs performed by Anna Briitta Mattus. After this, only a few recordings were made. Since the 1950s the Aanaar Sámi music was not an essential part of the various projects collecting the Finnish Sámi music traditions.

Thus, the Aanaar Sámi music culture practically disappeared from the knowledge of the Finnish researchers. It was not only the academic society who had difficulties to define the Aanaar Sámi music, but also the Aanaar Sámi people themselves began to believe that their music was lost during the second half of the 20th century. However, archive work of this study has now brought to light more than a hundred performances by Aanaar Sámi tradition holders. This material makes it possible to make a general description of the Aanaar Sámi music culture at the end of the 19th century and the beginning of the 20th century. The aim of my research indeed has been to describe and define the Aanaar Sámi historical music tradition and to understand how and why it was not recognised as a special local music culture. The analysis of the archive data shows that Aanaar Sámi music consisted of several musical genres of which the liv?e-tradition is the most notable. It is a genre of individual songs describing people, related to many other music traditions of Arctic people. The liv?e-tradition was also a communicative form of expression, with which important and personal issues could be commented. It also kept the memory of the local people alive. Animals were also objects of the liv?e texts. There exists a special melody type, which I have called the Aanaar melody , of which many examples can be found. Additionally there was a song tradition, which was a shared with the neighbouring people. This included Lutheran psalms and lullabies. Furthermore, Aanaar Sámi people knew the Northern Sámi luohti yoik -tradition.