NordenBladet – Thirteen Nordic novels, short stories, and poetry collections have been nominated for the 2020 Nordic Council Literature Prize. The winner will be announced at an awards ceremony for the Nordic Council prizes in Reykjavik this autumn. The following works are competing for the prize.
The works have been nominated by the national members of the adjudicating committee for the 2020 Nordic Council Literature Prize.
Winner to be announced on 27 October 2020!
The winner of the 2020 Nordic Council Literature Prize will be announced on 27 October at an awards ceremony in Reykjavik in conjunction with the Session of the Nordic Council. The winner will receive the Northern Lights statuette and DKK 350,000.
About the Nordic Council Literature Prize The Nordic Council Literature Prize was first awarded in 1962. It goes to a literary work written in one of the Nordic languages, such as poetry, prose, or drama that meets high literary and artistic standards. The purpose of the Nordic Council’s five prizes is to raise interest in the Nordic cultural community and Nordic co-operation on the environment, as well as to recognise outstanding artistic and environmental efforts.
Featured image: Thirteen nominees for the 2020 Nordic Council Literature Prize (Norden.org)
NordenBladet – Yesterday, on 8th February, ERM opened a new exhibition. Hundreds of fairy tales, dozens of magical objects and numerous strange encounters – the Estonian National Museum exhibition ‘Once Upon a Time…’ takes visitors on a journey through a magical forest and the underworld to meet holograms of heroes in the exhibition hall and guides them out of hell via an eight-metre laser corridor.
“By autumn of the year before last,” said Katrin Sipelgas, Head Curator and originator of the exhibition concept, “I had thought about fairy tales for so long that I finally decided to turn them into an exhibition. The original versions of the same stories that have become popular thanks to contemporary fairy tale films were told in our farmhouses 100 years ago or even earlier. This is why the Estonian National Museum is the perfect place for fairy tales.” Several creatives have contributed to making this exhibition a reality, incl. film director Jaak Kilmi, writer Andrus Kivirähk, folklorists Risto Järv and Ülo Valk, animator Priit Tender and historian David Vseviov.
No fairy tale is complete without magical objects. But where can we find them? Coincidentally, Katrin Sipelgas’ travels have taken her to faraway lands from South America to Indonesia. “I have travelled back with Aladdin’s lamp, a magic mirror and seven-league boots in my suitcases,” said Sipelgas. Moreover, a few months ago, a shipping container arrived at the museum full of decorations that did not fit into a suitcase – giant twisted tree roots to serve as the roof of the underworld and a number of flying carpets.
The Estonian National Museum’s collections include fairy-tale items that have now been moved from the depths of the storage room into display cases. The most exciting of these is a pot of money that was dug up by Nikolai Bergwald in 1933 when clearing a field at Ugametsa farm in Viljandi County. The copper cauldron was filled with jewellery and coins. The exhibition also features a peculiar bearded mask that was made 80 years ago in Hiiumaa. The Estonian Literary Museum contributed a dozen exciting books.
‘Once Upon a Time…’ will take visitors on a journey along which they encounter everything a hero might in a fairy tale; heroes are represented in the exhibition hall by holograms. As in any fairy tale, visitors will face trials and find resolutions. Be it a card came with devils in the underworld or a fight with a dragon. In order to escape hell, visitors must pass through an eight-metre laser corridor.
The fairy tale exhibition ‘Once Upon a Time…’ will remain open in the Estonian National Museum temporary exhibitions hall (A-entrance) from 8 February to spring 2021. More information on the exhibition can be found on the Estonian National Museum Website.
“The term fairy tale seemingly refers to a time long past,” explains Risto Järv, Folklorist and Curator (Estonian Literary Museum), “but the contents of these stories can be easily transferred to the present day. The poetry of fairy tales allows listeners and readers, adults and children alike, to easily relate to fairy tale heroes and heroines. These are current stories about the problems and struggles of contemporary people and how to overcome them.”
NordenBladet – What were gender roles like during Viking times? A Norwegian archaeologist Marianne Moen thinks we often misinterpret the past based on our current cultural assumptions. Men and women had more similarities than differences, she says. Moen studied the contents of Viking graves for her doctoral dissertation. “I think we need to move away from distinguishing between men’s and women’s roles during the Viking times,” she said. Moen has completed her PhD on Viking Age gender roles at the University of Oslo. Her research shows that upper-class men and women generally were buried with the same types of items — including cooking gear.
Moen went through the contents of 218 Viking graves in Vestfold*, a county on the southwest side of Oslo Fjord, and sorted the artefacts she found according to type. Many of the graves were richly equipped with everything from cups and plates to horses and other livestock. Archaeologists often assume that Viking women were responsible for the house and home, while men were merchants and warriors. However, tools and items associated with housekeeping were fairly equally distributed between men and women in the Vestfold graves. “The key is a good example. It is often considered to be the symbol of a housewife,” Moen said. Nonetheless, almost as many men’s graves had keys as women’s graves. “It might be time to change the story a bit,” she said.
Men were just as likely to be buried with cooking equipment as women. Ten graves containing cookware were men’s graves, while eight were women’s. Moen likes that fact. It means that men also made food, she thinks. “My interpretation is that cooking equipment indicates hospitality. This was very important during Viking times,” she said, although others interpret it differently.
The Gokstad Ship**, the large ship displayed at the Viking Ship Museum in Oslo, was part of a man’s grave and also contained a large array of cooking equipment. “These finds were often excused as being because men needed to make their own food on long voyages,” Moen says.
Not everyone agrees with Moen’s interpretation. Just because men chose to bring cookware into the afterlife doesn’t necessarily mean that they did the cooking in their own home, says archaeologist Frans-Arne Stylegar. Stylegar was previously the county conservator for Vest-Agder, the southernmost county in Norway. He currently works with cultural preservation and urban planning at the consulting firm Multiconsult. “It is difficult to translate the persona who is idealized in burial customs into actual historical reality. It’s almost a philosophical question,” he says.
Moen also thinks there is a stark difference between life and death when it comes to gender roles. But she also thinks that the items that people were buried with have some relation to what real life was like during those times.
She reminds us that tools and equipment aren’t just something that Vikings were buried with. These items were also found in houses, although without the ability to determine who used them.
Stylegar thinks that Moen’s PhD thesis was well done and that she makes a convincing case that there wasn’t much difference between the way upper-class Viking men and women were buried. He has studied several Viking graves in Vestfold previously, and isn’t very surprised by this conclusion. “I’ve gotten this impression previously, but she shows it very clearly,” he said.
However, from his own work in Vestfold, he had the impression that farmers were much more concerned with marking gender in their graves than the upper-class citizens, although he points out that this was not the focus of his research.
There are still a few clear differences between genders for the elite. Men generally have weapons in their graves, while women have jewellery and textile tools, as Moen’s work shows.
Here’s what Vikings were buried with
Viking men and women still had more similarities than differences in their graves, Moen said. More than 40 per cent of the male graves contained jewellery such as brooches and beads. The men also have what seem to be toiletries in their graves, including tweezers and razors likely used for personal grooming.
Interpreting the past through a modern lens Moen wonders where the idea that there was clear gender differentiation in the past comes from. Other researchers have pointed out that many of the items retrieved from graves in the early 1900s were interpreted based on the cultural perspectives of those times, in the same way that Moen now sees the artefacts from her modern perspective. She calls herself a gender archaeologist, and wants to challenge other archaeologists’ interpretations of Viking culture. But entrenched perceptions among experts can be difficult to change, she says. “I encounter quite a bit of scepticism. There are quite a few researchers who are very set in their opinion on gender when it comes to work-related roles,” Moen said.
She thinks part of the reason for this is that it is much easier to relate to a version of history that is in keeping with our modern expectations, “a version of history where men and women have specific roles in society,” she said. “In general, in Viking Age studies, artefacts found in graves are interpreted as being connected to the person buried in the grave. This shouldn’t change for cases where artefacts don’t meet modern expectations of what a man or woman would have in their grave,” Moen said.
Photos: The Viking Museum, Stockholm, Sweden. 4x NordenBladet/Helena-Reet Ennet
What people ask about the death and funeral of the Vikings
What is a Viking funeral called?
A Norseman could also be buried with a loved one or house thrall, or cremated together on a funeral pyre. The most sumptuous Viking funeral discovered so far is the Oseberg Ship burial, which was for a woman (probably a queen or a priestess) who lived in the 9th century.
What is a Viking boat grave?
Two Viking boat graves have been uncovered in Sweden in what archaeologists are describing as a “sensational” discovery. One grave, which was intact, contained the remains of a man, a horse and a dog, according to archaeological service Arkeologerna (The Archaeologists), which announced the finds.
Why would a viking be buried?
When it comes to the burial, the Vikings would bury the ashes of their dead in graves or even under piles of rocks. Goods and belongings would be buried with the deceased, suitable to match their life.
Is a Viking funeral legal?
Burial at sea is legal under certain circumstances, subject to various rules. … Scattering ashes at sea is perfectly legal though people might want to inform the coastguard that they’re sending a small burning vessel into open water…just in case! Real Viking funerals, however, are perfectly legal.
Did Vikings burn their dead in boats?
The dead were burnt or buried in their daily clothes, and are usually buried along with his or her personal belongings. Sometimes the dead were buried lying in a boat or a wagon. Cremation was the more common of the two burial practices in the early Viking Age.
What happens when a Viking dies?
Vikings: Afterlife and Burial. When Vikings died they believed they would go to Valhalla***, where they would spend their afterlife. Warriors who had died bravely would be carried by the Valkyries to Valhalla. There they would be welcomed to the afterlife by the god Odin, with whom they would feast every night.
What is a funeral boat?
A ship burial or boat grave is a burial in which a ship or boat is used either as a container for the dead and the grave goods, or as a part of the grave goods itself. If the ship is very small, it is called a boat grave.
When was the Oseberg ship discovered?
1904. The famous Norwegian Viking ship, the Oseberg ship, was built in AD 820, buried in a grave mound 14 years later, and excavated in 1904. Shortly after the excavation, the 21.5m long and 5.0m wide ship was re-assembled and exhibited at the Viking Ship Museum, in Bygdøy, Oslo.
How did Vikings honor their dead?
How Did The Vikings Honor Their Dead? Most Vikings were sent to the afterlife in one of two ways—cremation or burial. Cremation (often upon a funeral pyre) was particularly common among the earliest Vikings, who were fiercely pagan and believed the fire’s smoke would help carry the deceased to their afterlife.
How did Vikings say goodbye?
Etymology. Originally a Norse greeting, “heil og sæl” had the form “heill ok sæll” when addressed to a man and “heil ok sæl” when addressed to a woman. Other versions were “ver heill ok sæll” (lit. be healthy and happy) and simply “heill” (lit. healthy). The Norwegian adjective heil (also hel) is related to the English adjective whole/hale. The Norwegian verb heile (also hele) is related to the English verb heal through their common origin, the Germanic word stem haila-, from which also the German verb heilen and the adjective „heile“, i.e. functioning / not defect descends. The Norwegian adjective sæl, meaning happy or glad, is in Old English documented only in the negated variant unsǣle, meaning evil.
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* Vestfold is mentioned for the first time in a written source in 813, when Danish kings were in Vestfold to quell an uprising amongst the Fürsts. There may have been as many as six political centers in Vestfold. At that time Kaupang, which was located in Tjølling near Larvik, had been functioning for decades and had a chieftain. Kaupang, which dates from the Viking Era, is believed to be the first town in Norway, although Tønsberg (which dates from ca. 900) is the oldest town in Norway still in existence. At Borre, there was a site for another chieftain. That site held chieftains for more than one hundred years prior to 813.
The stone mounds at Mølen have been dated to the Viking Age. The mounds at Haugar in present-day Tønsberg’s town centre have been dated to the Viking period. At Farmannshaugen in Sem there seems to have been activity at the time, while activity at Oseberghaugen and Gokstadhaugen dates from a few decades later.
An English source from around 890 retells the voyage of Ottar (Ottar fra Hålogaland) “from the farthest North, along Norvegr via Kaupang and Hedeby to England”, where Ottar places Kaupang in the land of the Dane – danenes land. Bjørn Brandlien says that “To the degree that Harald Hårfagre gathered a kingdom after the Battle of Hafrsfjord at the end of the 9th century – that especially is connected to Avaldsnes – it does not seem to have made such a great impression on Ottar”. Kaupang is mentioned under the name of Skiringssal (Kaupangen i Skiringssal) in Ottar’s tales.
By the 10th century, the local kings had established themselves. The king or his ombudsman resided in the old Royal Court at Sæheim i Sem, today the Jarlsberg Estate (Jarlsberg Hovedgård) in Tønsberg. The farm Haugar (from Old Norse haugr meaning hill or mound) became the seat for Haugating, the Thing for Vestfold and one of Norway’s most important place for the proclamation of kings. The family of Harald Fairhair, who was most likely the first king of Norway, is said to have come from this area.
The Danish kings seem to have been weak in Vestfold from around the middle of the 9th century until the middle of the 10th century, but their rule was strengthened there at the end of the 10th century. The Danish kings seem to have tried to control the region until the 13th century.
** The Gokstad ship is a 9th-century Viking ship found in a burial mound at Gokstad in Sandar, Sandefjord, Vestfold, Norway. It is currently on display at the Viking Ship Museum in Oslo, Norway. It is the largest preserved Viking ship in Norway. The site where the boat was found, situated on arable land, had long been named Gokstadhaugen or Kongshaugen (from the Old Norse words konungr meaning king and haugr meaning mound), although the relevance of its name had been discounted as folklore, as other sites in Norway bear similar names. In 1880, sons of the owner of Gokstad farm, having heard of the legends surrounding the site, uncovered the bow of a boat while digging in the still frozen ground. As word of the find got out, Nicolay Nicolaysen, then President of the Society for the Preservation of Ancient Norwegian Monuments, reached the site during February 1880. Having ascertained that the find was indeed that of an ancient artifact, he liaised for the digging to be stopped. Nicolaysen later returned and established that the mound still measured 50 metres by 43 metres, although its height had been diminished down to 5 metres by constant years of ploughing. With his team, he began excavating the mound from the side rather than from the top down, and on the second day of digging found the bow of the ship.
*** In Norse mythology, Valhalla (Old Norse Valhöll “hall of the slain”)is a majestic, enormous hall located in Asgard, ruled over by the god Odin. Chosen by Odin, half of those who die in combat travel to Valhalla upon death, led by valkyries, while the other half go to the goddess Freyja’s field Fólkvangr. In Valhalla, the dead warriors join the masses of those who have died in combat (known as the Einherjar) and various legendary Germanic heroes and kings, as they prepare to aid Odin during the events of Ragnarök. Before the hall stands the golden tree Glasir, and the hall’s ceiling is thatched with golden shields. Various creatures live around Valhalla, such as the stag Eikþyrnir and the goat Heiðrún, both described as standing atop Valhalla and consuming the foliage of the tree Læraðr.
Valhalla is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, in the Prose Edda (written in the 13th century by Snorri Sturluson), in Heimskringla (also written in the 13th century by Snorri Sturluson) and in stanzas of an anonymous 10th century poem commemorating the death of Eric Bloodaxe known as Eiríksmál as compiled in Fagrskinna. Valhalla has inspired various works of art, publication titles, and elements of popular culture, and has become a term synonymous with a martial (or otherwise) hall of the chosen dead.
NordenBladet – The Vasa Museum (Swedish: Vasamuseet) is a maritime museum in Stockholm, Sweden. Located on the island of Djurgården, the museum displays the only almost fully intact 17th century ship that has ever been salvaged, the 64-gun warship Vasa that sank on her maiden voyage in 1628. The Vasa Museum opened in 1990 and, according to the official web site (vasamuseet.se), is the most visited museum in Scandinavia. Together with other museums such as the Stockholm Maritime Museum, it belongs to the Swedish National Maritime Museums (SNMM).
Visiting address:
Galärvarvsvägen 14, Stockholm
(The Vasa Museum is situated a few hundred meters from the temporary museum Wasavarvet wich is now the Aquaria museum and a tram garage. The new Vasa Museum lies in the royal parkland, Djurgården, in Stockholm.)
Admission:
Adults: SEK 150
18 years and under: Free of charge
Photos: 20 x NordenBladet/Helena-Reet Ennet
Planning your visit:
The Vasa Museum personnel suggest that you view the Vasa Film and then go on a guided tour explaining the ship. The times of film screenings and guided tours are displayed at the information desk on Level 4 (entrance level). MP3 guides are available in different languages. Please contact the information desk. Exhibitions located around the ship tell of Vasa and her times. Explore the exhibitions in whatever sequence you choose. All of them have explanations in Swedish and English. If you would like to delve more deeply into Vasa´s history there is a number of quality publications, on sale at the museum shop.
If you are short of time, you can either watch the film about Vasa (17 minutes) or take the guided tour around the ship (25 minutes). If you are bringing children along to the Vasa Museum, there is a “on board” model gun deck in the exhibition Life on Board. Don´t miss the diving bell in His Majesty´s Ship, and watch out for the model topgallant in The Sailing Ship. There is a game on the 6th floor where you can try to sail a ship as it was done during Vasa´s time. There is a family trail that you can do on your own, for children accompanied by adults. It is available in different languages.
The Museum Shop
The Museum Shop has a wide range of facinating goods on sale for all ages and interests – from copies of objects found on board Vasa, through models and catalogues, to postcards and posters. Most credit cards are accepted and also notes in the following currencies: GBP, USD, DKK, NOK and EUR. All change is given in Swedish kronor. The shop is on Level 4.
The Vasa Restaurant
The Vasa Restaurant serves Swedish- style plain fare, coffee, open sandwiches and pastries. The restaurant is on Level 4, alongside the stern of Vasa.
History:
From the beginning of 1961 to 1988, Vasa was housed in a temporary structure called Wasavarvet (“The Vasa Shipyard”) where she was treated with polyethylene glycol. Visitors could only view the ship from two levels and the maximum distance was only 5 m (17 ft). In 1981, the Swedish government decided that a permanent Vasa museum was to be constructed and a competition for the design of the museum building was organized. A total of 384 architects sent in models of their ideas and the final winners were Marianne Jakobbäck and Göran Månsson with Ask (“box”). The construction of the new building began on and around the dry dock of the old naval yard with an inauguration ceremony hosted by Prince Bertil on 2 November 1987. Vasa was towed into the flooded dry dock under the new building in December 1987, and during the summer of 1989, when visitors were allowed onto the construction site, 228,000 people visited the half-finished museum. The museum was officially opened on 15 June 1990. So far, Vasa has been seen by over 25 million people. In 2017, the museum had a total of 1,495,760 visitors.
The main hall contains the ship itself, and various exhibits related to the archaeological findings of the ships and early 17th-century Sweden. Vasa has been fitted with the lower sections of all three masts, a new bowsprit, winter rigging, and has had certain parts that were missing or heavily damaged replaced. The replacement parts have not been treated or painted and are therefore clearly visible against the original material that has been darkened after three centuries under water.
The new museum is dominated by a large copper roof with stylized masts that represent the actual height of Vasa when she was fully rigged. Parts of the building are covered in wooden panels painted in dark red, blue, tar black, ochre yellow and dark green. The interior is similarly decorated, with large sections of bare, unpainted concrete, including the entire ceiling. Inside the museum the ship can be seen from six levels, from her keel to the very top of the sterncastle. Around the ship are numerous exhibits and models portraying the construction, sinking, location and recovery of the ship. There are also exhibits that expand on the history of Sweden in the 17th century, providing background information for why the ship was built. A movie theatre shows a film in alternating languages on the recovery of the Vasa.
The museum is in the process of publishing an 8-volume archaeological report to commemorate the 50th anniversary of the salvage. Vasa I: The Archaeology of a Swedish Warship of 1628 was published at the end of 2006. Subsequent volumes will be published annually.
The museum also features four other museum ships moored in the harbour outside: the ice breaker Sankt Erik (launched 1915), the lightvessel Finngrundet (1903), the torpedo boat Spica (1966) and the rescue boat Bernhard Ingelsson (1944).
Questions and answers: What wood is the Vasa made of?
Vasa was almost exclusively built from oak, chosen of course for its exceptional strength and resistance properties. Decks not carrying any canons – the weather and orlop decks – were built from pine, except for the aft section on orlop deck where two canons were placed and oak was used to take the load. As for the sculptures and other decorative elements, these are often linden which is a softer wood species, easily worked and formed into shape.
What is the Condition of Vasa?
Considering that Vasa is nearly 400 hundred years old and has been resting in polluted water for more than 300 years, she is doing pretty well. But like every other material, Vasa’s wood is slowly deteriorating with time. At the museum we are constantly trying to find solutions for this problem and find a way to keep Vasa as she is today for as long as possible. That is why we make sure to keep a stable temperature and humidity level inside the museum at all times, constantly improve and maintain the way the ship is supported and do research for new effective treatments of the ship’s objects.
How much of Vasa is original?
Vasa is actually 98% original. The Vasa Museum´s head of research Mr Fred Hocker did a new calculation a few years ago and it came to only 2% is done in modern time. Deck plants are new. When it comes to the stern castle, the inside is new and then they attached the sculptures after they had been preserved with PEG.
When were the color pigments retrieved?
Paint and gilding were noticed on many of the sculptures when they were first recovered during the salvage work in 1956-1961, and one famous bit of painting, a life-size image of a king,was seen on the foremast by divers before the mast was recovered. Samples were taken as objects were recovered, but these proved difficult to analyze. A separate project in the 1990s, led by Peter Tångeberg (a conservator), collected samples of paint and gilding and subjected them to chemical analysis in order to identify the pigments. We have continued this work in our recent documentation of the interior panelling and furniture from the cabins, and it has been one of staff conservators, Emma Hocker, who has carried out the work of cleaning and sampling surfaces.
How much did it cost to salvage the Vasa and what would that equate to today?
It is impossible to say what the salvage cost, except to say that it cost the people of Sweden next to nothing. All of the preparatory diving work, digging the tunnels under the ship, rigging the lift, etc. was carried out by the divers of the navy and coastal artillery as part of their annual proficiency training, which was already budgeted by the navy. The lift itself was carried out by the Neptune Salvage Company at no cost (they were allowed to use the project in their advertising). The project spent a small amount of money on a handful of salaries and the purchase of incidentals, but the majority of the cost was never accounted.
Modern estimates of what it would take to raise a similar ship from a similar depth typically range between 50 and 100 million euros, but no one really knows what it would take until someone tries it!
Featured image: The Vasa Museum is one of Scandinavia’s most visited museums. It is here that you will find in all its glory, the unique and well preserved warship Vasa from 1628, embellished with hundreds of wooden sculptures. Around 1.5 million visitors every year enjoy the exhibitions in the museum, which describe the warship Vasa’s history and life at the time; how, after 333 years at the bottom of Stockholm bay, the ship was rediscovered and salvaged; and the research which is now underway to preserve Vasa. (NordenBladet/Helena-Reet Ennet)
NordenBladet – For those, who are interested in Norse mythology and wish to experience the Viking age, I recommend to visit The Viking Museum in Djurgårdsvägen 48, 115 21 Stockholm. In the exhibition, several guided tours are held daily in Swedish and English. Audioguide and adventure ride is available in English, Russian, Finnish, Italian, French, Spanish German, Chinese and Swedish.
In the vivid exhibition you will meet the Vikings through movies, scenery, projections and sound effects as well as archaeological objects. Knowledgeable guides in Viking gear will answer all your questions and the many replicas let you explore life as a Viking with all your senses. You will learn about the Viking raids, journeys and mastery in ship building as well as the everyday life at the farm. The Norse mythology is present everywhere and here myth meets truth.
Estrid Sigfastsdotter (Old Norse: Æstriðr, Ástríðr) was a rich and powerful 11th-century Swedish woman whose long family saga has been recorded on five or six runestones in Uppland, Sweden. This Estrid was the maternal grandmother of the chieftain Jarlabanke of the Jarlabanke clan. The family were rich landowners and belonged to the higher echelons of Swedish society, and she was probably named after Estrid of the Obotrites, who was the queen of Sweden, and the consort of Olof Skötkonung, at the time Estrid was born. Her family saga has been the centre of a dramatisation at the Stockholm County Museum.
It is safe to assume that five of the 11 runestones that mention an Estrid in eastern Svealand refer to this Estrid because of the locations of the runestones and the people who are mentioned on them.
A sixth runestone, U 329, deals with an Estrid who is only mentioned as the sister of a Ragnfast and a Gyrid. This Ragnfast appears on the Hillersjö stone and the Snottsta and Vreta stones as the husband of Inga and the son-in-law of Gerlög. Since Fot, the runemaster of U 329, also made runestones for the Jarlabanke clan, and Gerlög and Inga also belonged to the same regional elite, it is probable that U 329 refers to the same Estrid as the five other runestones. This would mean that Estrid was born in Snottsta (also spelled Snåttsta) as the daughter of the rich landowner Sigfast.
The Broby bro Runestones tell that Estrid and her husband Östen had a son by the name Gag, who died while Östen still was alive, and three other sons named Ingefast, Östen and Sven. The runestones further tell that a barrow and a bridge were built and that two of the runestones were raised by the brothers Ingefast, Östen and Sven in memory of their father Östen, who had gone to Jerusalem and died in the Byzantine Empire.
The story of her life is continued on the Hargs bro runic inscriptions, where we learn that Estrid had married a man named Ingvar, and this Ingvar had a son prior to marrying Estrid whose name was Ragnvald. It also appears that Estrid and Ingvar had three sons named Sigvid, Ingvar and Jarlabanke. We further learn that Estrid had a bridge constructed, which apparently was a tradition in her family.
She appears to have become quite old and moved back to Täby where she had family, because the last chapter of her life is documented on two runestones in south-western Täby. They tell that Estrid cleared a road and built bridges together with her grandson Jarlabanke (by her son Ingefast) and his family, and she dedicated the constructions to her sons Ingvar (her son with Ingvarr at Harg) and Ingefast (her son with Östen at Broby bro).
When Stockholm County Museum made an archaeological excavation at Broby bro, in 1995, they found three graves. The three were buried in Christian manner, i.e. with the head towards the west, they were not burned and there were few gifts. Some coins that were found helped to date the graves to the 11th century. One of the graves was located just beside Östen’s barrow and it was for a rich and very old woman. The buried woman was probably Estrid.
Photos: 13x NordenBladet/Helena-Reet Ennet
More info about Vikings:
The period from the earliest recorded raids in the 790s until the Norman conquest of England in 1066 is commonly known as the Viking Age of Scandinavian history. Vikings used the Norwegian Sea and Baltic Sea for sea routes to the south.
When did the Vikings begin and end?
Why does the Age of the Vikings start in 793 and end in 1066 ? The 793 raid on the monastery at Lindisfarne on the northeast coast of England was the first Viking attack that was written about, and it was a big shock to all of Europe.
When did the Vikings die out?
The Viking age ended when the raids stopped. The year 1066 is frequently used as a convenient marker for the end of the Viking age. At the Battle of Stamford Bridge, the Norwegian king Haraldr harðráði was repulsed and killed as he attempted to reclaim a portion of England.
Photo:NordenBladet/Helena-Reet Ennet
Do Vikings still exist?
So do Vikings still exist today? Yes and no. No, to the extent that there are no longer routine groups of people who set sail to explore, trade, pillage, and plunder. However, the people who did those things long ago have descendants today who live all over Scandinavia and Europe.
How long did Vikings live?
For women, the risks were in pregnancy and childbirth and 35% of them did not survive beyond 30 years. The 31 to 40 year olds were the ‘middle-aged’ people of the Viking Age and 50 years of age would be thought of as ‘old’.
How tall was the average Viking?
How tall were the Vikings? The average Viking was 8-10 cm (3-4 inches) shorter than we are today. The skeletons that the archaeologists have found, reveals, that a man was around 172 cm tall (5.6 ft), and a woman had an average height of 158 cm (5,1 ft).
Was Ragnar Lothbrok real?
Ragnar is the first real Viking personality to emerge from the hazy accounts of the period but in many ways he still belongs more in the fable-filled pages of the sagas than amongst the sober entries in the chronicles.
Who is the most famous Viking of all time?
There are so many badass Vikings that it’s tough to narrow it down, but these ten who made their peers soil their breeches.
Sweyn Forkbeard.
Harald Hardrada.
Bjorn Ironside.
Gunnar Hamundarson.
Erik the Red.
Ragnar Lodbrok.
Ivar the Boneless.
Egil Skallagrimsson.
Who killed all the Vikings?
When Cnut the Great died in 1035 he was a king of Denmark, England, Norway, and parts of Sweden. Harold Harefoot became king of England after Cnut’s death, and Viking rule of England ceased. The Viking presence dwindled until 1066, when the invading Norsemen lost their final battle with the English at Stamford Bridge.
Was there a real Ivar the Boneless?
Ivar the Boneless (Old Norse: Ívarr hinn Beinlausi; Old English: Hyngwar), also known as Ivar Ragnarsson, was a Viking leader who invaded Anglo-Saxon England. According to Tale of Ragnar Lodbrok, he was the oldestson of Ragnar Loðbrok and third wife Aslaug.
How does Ivar the Boneless die in history?
Ivar and his brothers Halfdan and Hubba invaded Great Britain in the year 865 at the head of a large Viking force described by fearful Christians as the “Great Heathen Army.” The brothers’ motivation was to avenge their father, who had died after being captured while raiding the kingdom of Northumbria.
Did Vikings have blue eyes?
A team at the University of Copenhagen have tracked down a genetic mutation which took place 6-10,000 years ago and is the cause of the eye colour of all blue-eyed humans alive on the planet today.
Did Vikings have blonde hair?
Red- or blonde-haired Vikings? Genetic research has shown that the Vikings in West Scandinavia, and therefore in Denmark, were mostly red-haired. However, in North Scandinavia, in the area around Stockholm, blonde hair was dominant.
Photo:NordenBladet/Helena-Reet Ennet
Did Vikings wear horned helmets?
The popular image of the Vikings is one of fearsome warriors wearing horned helmets. Many depictions of the Vikings display this particular attribute. However, there is only one preserved helmet from the Viking Age and this does not have horns.
What Did Vikings really wear?
The inner layer usually consisted of a linen kirtle – a long shirt which the men pulled over their heads. On the outside, the typical Viking man wore a woollen coat. Like today’s men, Viking men wore trousers. These could be either short or long, and they were usually sewn in the style of pantaloons.
Was King Olaf a Viking?
Olaf Tryggvason. … Olaf Trygvasson (960s – 9 September 1000) was King of Norway from 995 to 1000. He was the son of Tryggvi Olafsson, king of Viken (Vingulmark, and Rånrike), and, according to later sagas, the great-grandson of Harald Fairhair, first King of Norway.
Was there a Viking king?
Who was Ragnar Lothbrok? According to medieval sources, Ragnar Lothbrok was a Danish king and Viking warrior who flourished in the 9th century. There is much ambiguity in what is thought to be known about him, and it has its roots in the European literature created after his death.
What do you call a female Viking?
A shield-maiden (Old Norse: skjaldmær), in Scandinavian folklore and mythology was a female warrior. They are often mentioned in sagas such as Hervarar saga ok Heiðreks and in Gesta Danorum.
How old was the oldest Viking?
Ribe emerged as a town in the early 8th century AD. Previously, the oldest evidence of Norwegian society in Ribe was from broken pots dated to between 800 and 820 AD. “The Viking Age becomes a phenomenon in Western Europe because the Vikings learned to use maritime mobility to their advantage.
What is the viking ride? Ragnfrid’s saga is a Viking ride where you get to follow along on a trip to the Viking Age. The journey begins at Frösala Farm with Ragnfrid and her husband Harald. Then you get to follow on a journey and witness plundering in the west and slave trade in the east. With sound, light and atmospheric environments you travel through the 11-minute journey that is told by Ragnfrid herself.
The adventure ride Ragnfrid’s saga takes you along on a captivating journey through Viking age Europe. You will follow Harald and his crew on a dramatic quest for silver. The story told by an ageing Ragnfrid is built on historical characters and events and is recommended from 7 years.
Is Ragnfrid’s saga included in the entry price? Yes. Ragnfrids saga is included in the entry price.
Is the viking ride scary? The viking ride can be perceived as scary by some, therefore we recommend children under the age of 7 to go with an adult.
Can you take the ride multiple times? Absolutely!
Photos: 22xNordenBladet/Helena-Reet Ennet
What is the entrance fee at Vikingaliv?
Prices:
159 SEK Adult
495 SEK Family ticket (2 adults, 2 children)
119 SEK Children 7-15 years
0 SEK Children 0-6 years
139 SEK Senior
139 SEK Student
Can you pay with cash in the entrance on Vikingaliv? No, they do not take cash. In the entrance, the shop, and the restaurant you can pay with card or Swish.
Can you buy tickets to Vikingaliv in advance? Yes. You can buy your tickets to Vikingaliv in advance. After your purchase you will get the tickets sent to you digitally.
Is Vikingaliv located indoors or outdoors? At Vikingaliv all activities are indoors.
Can you go on the ride with a wheelchair? Wheelchairs are not available to be brought onboard the ride, but one of the carts has a foldable side which makes it easier to move from the wheelchair to the wagon. In the wagon you must sit with bent legs.
How wheelchair-friendly is it at Vikingaliv? An elevator is available to move between floors.
Opening hours 2019:
10 am – 5 pm every day
Vikingaliv is located on Djurgården in Stockholm. In Wasahamnen on Djurgårdsvägen 48.
Tram No. 7 – Get off at Liljevalchs/Gröna lund and then walk down to Wasahamnen.
Bus 67 – Get off at Liljevalchs/ Gröna lund and then walk down to Wasahamnen.
Go to Karlaplan, here you can either take bus 67 or walk. The walk approximately takes 15 minutes.
The Djurgårds ferry – Get off at Allmänna gränd and then walk towards Wasahamnen/ Galärvsparken.
Ressel (M/S Emelie) – Get off at Allmänna gränd and then walk to Wasahamnen / Galärvarvsparken.
Walk – Walk along Strandvägen and turn right onto Djurgårdsbron. Continue past the Nordic museum.
Unfortunately, Vikingaliv has no parking spaces. Djurgården offers a few parking spaces. Instead, we recommend going by bus/ferry/tram or walk out to Vikingaliv. Click here for further instructions on how to get to us at Vikingaliv.
Featured image: The Viking museum, a museum entirely dedicated to the Viking Age, through an exhibition and a Viking Journey – Ragnfrid´s Saga. Vikingaliv is based on historical facts combined with the most recent discoveries of Viking history. Here is also restaurant Glod overlooking the inlet to Stockholm, and a museum shop. The Viking Museum is situated at Djurgarden. (NordenBladet/Helena-Reet Ennet)
Read also: EXHAUSTIVE OVERVIEW: who were the ancient Scandinavian origin Vikings and when was the time of the Vikings?
NordenBladet – The Vikings were ancient Scandinavian origin seafarers whose characteristic culture flourished around the 8th until the 11th century (the so called Viking Era). The name “Viking” apparently stems from ancient Nordic word vik that stands for gulf; viking therefore is someone from the gulf, a seafarer. Although the vikings have given their name to an entire era, these warrior-seafarers made up a relatively small proportion of the population of those times, the majority of the people were peaceful farmers. According to yet another theory the name viking comes from old English word wic that stands for a merchandising settlement. Besides the conquering missions the vikings were also engaged in handicraft and trade.
NordenBladet – The Medieval Museum is situated on the Helgeandsholmen island between the Royal Palace and the Opera. Entrance under Stockholm’s oldest stone bridge Norrbro. The exhibits tell of Stockholm’s emergence and the town’s development in the Middle Ages. The exhibition describes with compassion how people lived and made a livelihood.
The Medieval Museum (Stockholms Medeltidsmuseum) focuses on people and retells stories from the everyday life of medieval Stockholmers. Encounter the tales of Jöns Skomakare, Sketna Gertrud Syltekona, and many others. The museum includes Stockholm’s city wall from about 1520 preserved as a fixed ancient remnant 55 meters (180 feet) long. You will find the entrance to Norrbro, Stockholm’s oldest stone bridge. Free admission.
Getting to museum: Photo: Google maps Photo: Helgeandsholmen (Jan Ainali, CC BY-SA 3.0) Photo: Helgeandsholmen with the Riksdagen, aerial view (Arild Vågen, CC BY-SA 4.0)
Opening hours:
Monday: CLOSED
Tuesday: 12.00-17.00
Wednesday: 12.00-20.00
Thursday-Sunday: 12.00-17.00
Stairs and elevator leads down to Strömparterren, and the Museum’s entrance. The easiest way to get here is by foot or by public transport.
Public Transport:
Metro to Kungsträdgården or Gamla stan.
Bus 2, 43 and 76 to the Kungsträdgården. Bus 62 and 65 to Gustav Adolfs torg.
Parking:
There is no car parking near the museum.
Cloakroom and toilets:
Cloakroom and toilets are located to the right behind the reception desk.
Photography:
Photography is permitted without flash and tripod. Exceptions can be made for non-commercial use.
Stroller:
Strollers are welcome in the museum. No stroller parking available.
Eat and drink:
There is no cafe or restaurant in the museum. The café Kerstin och Britt at Strömparterren, outside the museum, is open during the summer season.
Smoking:
Smoking (including e-cigarettes) is not allowed in the museum or at the entrence.
Mobile Phones:
Please use your cell phone with consideration to other visitors.
Free WiFi:
Free WiFi is available in the musuem.
Foto: NordenBladet/Helena-Reet Ennet
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About the museum:
The Medieval Museum is built around the findings from a major archaeological investigation during the 1970s. The museum is a part of the City of Stockholm.
History The museum came into existence after a major archaeological investigation which took place in advance of the rebuilding of the Riksdag (Swedish Parliament) and the building of garages under the present-day gardens of Riksplan. Among all the remains which came to light were parts of the Town Wall which Gustavus Vasa had built in the 1530s as well as the churchyard of the medieval Helgeandshuset (House of the Holy Spirit), which originally gave its name to the island.
The County Administrative Board decided that these remains should be preserved as permanent heritage monuments. This was how the Medieval Museum came about. The State bore the building costs while the City of Stockholm dealt with the fittings and fixtures, displays and running costs.
The “National Pit” The archaeological investigations on Helgeandsholmen from 1978—1980 are the most comprehensive so far undertaken in the inner city area of Stockholm. The investigations were carried out in connection with the rebuilding of the Riksdag in preparation for moving back to the island. Altogether an area of 8,000 square metres was investigated and when the project was completed a volume of some 50,000 metres of earth had been dug through and carried away. The excavations made it possible to follow the development of settlement in the area from the mid thirteenth century to the present day.
Most eye catching were the foundations of buildnings, above all from seventeenth century palaces, which had already come to light in the early stages of the work. Among the most remarkable finds, however, were the medieval churchyard of Helgeandhuset with some 7 metric tons of skeletons, and Gustavus Vasa’s town wall from around 1530. No less than 11 boats were also found. The excavations aroused great attention and debate in the press and were soon christened “Riksgropen” (the National Pit).
Photo from the air showing the dug out area in front of the Riksdag building.
The debate was mainly a matter of what one was to do with the cavity and the remains of the buildings after investigations had been completed. Originally the idea had been to have a garage for the Riksdag with a reception area for goods and workshops. Now it ended up with the most remarkable remains — the Vasa Wall and the churchyard wall — being preserved, and an underground museum being built around them.
The Medieval Museum opened for the first time in 1986. It was renovated and reopened in 2010.
Look also videos about The Medieval Museum: Just walking around Stockholm gives you a very clear glimpse into its medieval past, but in order to understand how the city thrived, prospered and defended itself, you will do no better than have a quick visit at this lovely free museum. We are sure you’ll walk right next to it while you’re walking around town on your first day really so, why not just walk in?!
NordenBladet – Icelandic performer and multi-instrumentalist Gyða Valtýsdóttir (also known as Kría Brekkan) was awarded the 2019 Nordic Council Music Award at a formal ceremony in Stockholm, Sweden, last night. She was awarded the prize for her distinctive vocals, instrumental inventiveness and dignified craftsmanship.
37-year-old Valtýsdóttir is the sixth Icelander to receive the award – a monetary award of DKK 350,000 (USD 52,000; EUR 47,000)
“Gyða Valtýsdóttir is an Icelandic musician who is classically trained but unbound by genre. At an early age she was a founding member of the lauded electronic experimental band múm. A multifaceted performer, she has since been a prominent part of Iceland’s music scene.
Fundamentally a classically trained cellist, Gyða has in recent years been performing her own music as well as collaborating with other musicians across genres. She has used her training to fulfil her visions and delivers her holistic approach to music in an organic way and with admirable technique. Gyða’s music and performance is highly unique and captivating, demonstrating a special sense of phrasing and timing. She is a particularly distinctive performer with a fascinating, earthy presence in live performance – a presence that is fragile and subtle, yet powerful and temperamental. Her deeply personal and organic performance is eminent throughout, whether playing the cello, singing, using her distinctive vocals, or playing other instruments, and has a fundamental originality to it.
Gyða crosses and bridges the gap between musical genres in a unique way, not least by dismissing any notion of their differences. Whether performing her own music or the music of others she brings her personal originality to the music through her instrumental inventiveness.”
Gyða Valtýsdóttir at Nordic Council Awards Ceremony 2019 in Stockholms konserthus, Hötorget 8 (29. october 2019)
Photos: NordenBladet / Helena-Reet Ennet
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Gyða Valtýsdóttir (G Y D A) was one of the 13 artists nominated for the Nordic Council Music Prize 2019.
Gyða Valtýsdóttir came to prominence with lauded electronic experimentalists múm in the early ‘00s. In 2017 Gyða released the album Epicycle, a constellation of pieces by the likes of Schubert, Schumann and Messiaen, but also more experimental composers like Harry Partch and George Crumb. Gyða went into the core of the music, swaying it instinctively to her unique interpretation. In 2018 she released the aptly named Evolution, an exquisite affair, building on her forays into the classical world but weaving experimental and modern strands into the tapestry. Strings swirl, electronics hum gently, voices enter – and then exit – gracefully. A sturdy yet elegant album – delicate and powerful at the same time. Gyða’s career is growing by leaps and bounds at the moment, her first soundtrack (to the film Mihkel/Undir halastjörnu) was released last year and her live performances have been ecstatically received, where her distinctive vocals, instrumental inventiveness and highly personal charm underline a dignified craftsmanship.
NordenBladet – Estonia has a rich cultural heritage of folk song and dance, colourful handicrafts, wooden saunas and rustic food. Experience the traditional and modern sides of Estonian culture first hand at these markets, workshops, museums and festivals.
Historical traditions
Estonia has had its own distinct culture for thousands of years. In medieval times, the streets of Tallinn were buzzing with merchants, conducting trade to the far corners of Europe. Check out the Bastion Passages and Tallinn City Museum to see how life in old Tallinn was. Rakvere, Kuressaare and Narva also have fortresses the whole family will love. For an even more ancient tradition, visit a wood sauna like at Saunaküla (Sauna Village), where you can cleanse your body and mind like Estonians have for centuries.
Expressive song and dance
Estonia has one of the largest known repertoires of folk songs in the world. They demonstrate the poetic and age-old beauty of the Estonian language and are often accompanied by dances. The Tallinn Song Festival is the ultimate place to hear Estonian folk choirs, but is held only once very five years. Check out the Song and Dance Celebration 2019 or any of the annual song and dance festivals taking place all over Estonia. Another example of Estonian folklore is Kalevipoeg, Estonia’s national epic, which tells the story of a young man who battles foes and becomes King of Estonia. Visit to the Kalevipoeg Museum to learn about the tale and its connections to real places in Estonia.
Hands-on handicrafts
The Estonian aesthetic is vibrant, yet earthy and practical and can be seen in all kinds of crafts, from woodwork to textiles. Estonian national clothes are made of a striped, woven wool and colour combinations are indicative of the county, while baskets To try making your own creations, attend a workshop at the Estonian Open Air Museum or Avinurme ‘Way Of Life’ Centre. At the Maarja Magdalena Guild in Pärnu you can attend workshops or buy pieces from local artists. The Estonian Applied Art and Design Museum showcases modern items from Estonian designers where traditional influence is apparent.
Featured image: Hand made ceramic soap holder made by Estonian journalist, painter and ceramic Helena-Reet Ennet (ElishevaShoshana.com) Source: VisitEstonia.com
NordenBladet – In 2019 Estonia will festively celebrate the 150th anniversary of the song celebration – the first song celebration was held in Estonia in 1869. This summer the song celebration will take place for the 27th time and dance celebration for the 20th time.
The Estonian Song Celebration is a tradition, also listed in UNESCO listed treasures, that dates back to the year 1869. In almost 150 years, the song celebration has had a significant effect on the development of Estonian identity and politics. The tradition has enriched the Estonian language and culture. More than once has it encouraged the population to oppose the occupying forces while pursuing the wish for freedom and self-determination.
The 27th song and 20th dance celebration My Fatherland is My Love will take place in Tallinn from July 4–7, 2019
The title of the song and dance celebration that will take place this summer My Fatherland is My Love is a verse from a song of the same name that has become the hymn of the song celebrations; the piece was written by Lydia Koidula and published at the time of the first song celebration. The guiding principle of song celebration conveys important values – the keeping of one’s culture and traditions and the love of the Estonians towards their fatherland.
The celebrations start with a festive procession on July 6th at 1 p.m. that will proceed from the Freedom Square in the centre of Tallinn to the opening concert of the song celebration at the Tallinn Song Festival Grounds. The procession is 5 kilometres long and the roads in the centre of Tallinn and around the Song Festival Grounds are closed to traffic at the time of the procession. All of the participants of the song and dance celebration will take part in the procession divided by counties and everyone can watch the procession free of charge.
The festive opening concert of the 27th Song Celebration with the title To the Teacher will take place on July 6th at 7 p.m. The concert will begin with the opening ceremony during which the flame of the celebrations will be lit in the tower of the flame and the President of the Republic of Estonia will give a speech. Selected choirs that will perform choral and orchestral music of high artistic level entwined into a programme arranged by the different schools of Estonian composers will take the stage. The concert that will last about three hours will give an overview of the history of Estonian music of 150 years and will finish with songs that will be sung jointly by both the audience as well as the choirs. The concert will be held at the Song Festival Grounds in the open air. The audience will have to take into account the weather conditions and in the event of rain we kindly ask the audience to wear waterproof clothes – umbrellas are not permitted as they impede the other audience members’ visibility. The entrance to the concert is subject to a fee or invitation.
The Song Celebration will take place at the Tallinn Song Festival Grounds on July 7th at 2 p.m. Different types of choirs will take the stage one by one (children’s choirs, boys’ choirs, mixed choirs, orchestras etc.). The concert will last about six hours. The concert will be held at the Song Festival Grounds in the open air. The audience will have to take into account the weather conditions and in the event of rain we kindly ask the audience to wear waterproof clothes – umbrellas are not permitted as they impede the other audience members’ visibility. The entrance to the concert is subject to a fee or invitation.
The year 2019 is the year celebrating the anniversary of the song and dance celebrations. Throughout the year various events that involve choral music and folk dance will take place. Information about the song and dance celebration can be found on the internet at www.laulupidu.ee
Join the celebrations! Spread the word and buy your tickets now (piletilevi.ee)!
NordenBladt – The Medieval Days are one of the most important annual events of the Estonian Folk Art and Craft Union* since the year 2000. The Medieval Days take place in Tallinn’s Old Town every year on the first full week of July from Thursday to Sunday.
During the Medieval Days you are able to feel the atmosphere of the flourishing Hanseatic era. A large medieval market is set up in the Town Hall Square with merchants and workshops. Musicians and dancers from near and far take the stage. A medieval procession opens the event followed by various workshops, excursions and theatre performances. The children’s area is situated on the Niguliste hill where children are able to participate in workshops, knight tournaments and other exciting activities.
Medieval Days will take place from 11h to 14th of July AD 2019
MEDIEVAL VILLAGE
KNIGHT TOURNAMENT
MASTERS COURT OF St. CATHERINES CHURCH
MEDIEVAL MARKET
11 July 5 p.m. The opening procession starting from the Viru Gate
12 July 2 p.m. Award ceremony for the best craftsmen On the Town Hall Square
13 July 11:30 The start of tournament of Reval on the Town Hall Square
12 p.m.–6 p.m. The tournament of Reval on the Niguliste hill. Swordfighters will find out who is the best.
14 July The programme may change. Handicraft market is open and workshops take place at the Town Hall Square every day. Mediaeval village on the Niguliste hill.
Organiser – Estonian Folk Art and Craft Union
The cultural programme is organised by the Hopner House
______________________________ * Estonian Folk Art and Craft Union is established in 1929 (abolished during the Soviet occupation) and re-established 1992. Estonian Folk Art and Craft Union is a non-profit organization that brings together regional folk art and craft organisations as well as individual craftsmen and craftswomen. The aim of the Union is to value, preserve and develop the traditions of Estonian handicraft and to treasure the regional characteristics of these traditions. The Union works to preserve folk craft as a cultural phenomenon as well as a source of subsistence.
In order to reach these objectives the Estonian Folk Art and Craft Union:
– represents and unites individuals and organisations connected to handicraft in Estonia and in the rest of the world; – organises handicraft fairs and workshops, including Estonia’s largest traditional handicraft event, the St. Martin’s Day Fair in November and the Medieval Market in July; – organises courses for the regional coordinators, small handicraft entrepreneurs and others; – organises handicraft competitions and exhibitions; – publishes a newsletter twice a year and various other information materials and books on handicraft traditions; – various other activities.
