THE NINE REALMS of Norse Mythology: Exploring the Ancient Norse

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June 13, 2024

NordenBladet – Norse mythology is a rich and complex web of beliefs, gods, and creatures that played a significant role in the lives of the Scandinavian people. The Norse cosmos was divided into nine different realms, each with its own unique characteristics, inhabitants, and stories. In this article, we will explore the nine realms of Norse mythology and gain a deeper understanding of the ancient Norse worldview.

In Norse mythology, the nine realms were not just physical places but also represented different aspects of the universe and the human experience. For example, Midgard represented the human world and the experiences of humans, while Asgard represented the divine and the experiences of the gods.

The Norse cosmos was also believed to be constantly in motion, with the realms constantly interacting and influencing each other. For example, the events in Midgard would affect the gods in Asgard, and vice versa.

The Norse gods were not immortal, and their fate was ultimately linked to the fate of the cosmos. In the end, the Norse believed that the world would come to an end in a great battle called Ragnarok, where the gods would fight the giants and the forces of chaos.

Another important aspect of Norse mythology was the concept of fate, known as the Norns. The Norns were three goddesses who were said to spin the thread of fate and determine the course of individual lives and the world as a whole.

The Norse people also believed in reincarnation, and that after death, the soul would be reincarnated into another body. This cycle of reincarnation was seen as a way for the soul to continue learning and growing until it was finally able to reach Valhalla and live with the gods.

The nine realms of Norse mythology were not just physical places, but also represented different aspects of the universe and the human experience. The Norse worldview was rich and complex, encompassing ideas of fate, reincarnation, and the interaction between the gods and humans. These beliefs and myths continue to captivate and inspire people to this day.

The nine relams:

Image depicting Norse mythology, showcasing the nine distinct realms interconnected by the ash tree Yggdrasil (Illustrations by NordenBladet)

Asgard:
Asgard (Old Norse: Ásgarðr) is the realm of the gods, the home of Odin, Thor, and the other Aesir gods. It is located in the highest part of the cosmos and is said to be surrounded by a rainbow bridge called Bifröst. Asgard was a place of great beauty and prosperity, where the gods lived in magnificent halls and feasted on the flesh of the goat Heidrun.

Valhalla (Valhǫll) is the great hall of the god Odin, located in Asgard. It is where the bravest and most honored warriors who died in battle would go after they died, and where they would train and prepare for the final battle of Ragnarok.

In Valhalla, the warriors would live a life of constant feasting, fighting, and revelry, forever honored and remembered by the gods and other warriors. The idea of Valhalla was a source of great comfort and inspiration for the Norse people, who valued bravery and honor in battle above all else.

It was also believed that the warriors who went to Valhalla would be chosen by the Valkyries, female warriors who would ride over the battlefield and select the bravest warriors to bring to Valhalla. This idea was a source of great fascination and inspiration for the Norse people, and the Valkyries remain an important part of Norse mythology and culture to this day.

Valkyrie (Illustrations by NordenBladet)

Viking (Illustrations by NordenBladet)

Folkvangr is a hall in Norse mythology, often associated with the goddess Freyja. It is believed to be located in Asgard and is said to be one of the nine realms of Norse cosmology.

In Norse mythology, Freyja was the goddess of love, fertility, and war, and was considered to be one of the most powerful and beloved of all the gods and goddesses. Folkvangr was her dwelling place and was said to be a place of great beauty and splendor, where Freyja would receive half of the souls of those who died in battle.

The idea of Folkvangr was a source of great fascination and inspiration for the Norse people, and Freyja remains one of the most popular and beloved figures in Norse mythology to this day. Folkvangr was seen as a place of honor and reward for the brave warriors who died in battle, and as a place of comfort and solace for their loved ones who remained behind.

Vanaheim:
Vanaheim was the home of the Vanir gods, a different tribe of gods than the Aesir. The Vanir were associated with fertility, the harvest, and the natural world. The goddess Freya was one of the most famous Vanir, known for her love of beauty and her ability to control the minds of men. Vanaheim was a peaceful realm, where the Vanir lived in harmony with nature and each other.

Svartalfheim (Nidavellir):
Svartalfheim was the realm of the dwarves, a race of skilled craftsmen who lived underground. The dwarves were said to be able to forge magical items and were often sought after by the gods for their talents. The dwarves were also known for their love of gold and their great wealth.

Midgard (Miðgarðr):
Midgard was the realm of humans, located in the center of the Norse cosmos. It was said to be surrounded by an ocean and was the only realm accessible to humans. Midgard was a place of great turmoil and change, where humans lived and died and the forces of nature were constantly at work.

Alfheim:
Alfheim was the realm of the elves, a race of beings known for their beauty, grace, and magic. The elves were said to be light and joyful creatures, who lived in harmony with nature and were the guardians of the natural world. Alfheim was a place of great beauty, where the elves lived in peace and prosperity.

Jotunheim (Jǫtunheimr):
Jotunheim was the realm of the giants, a race of beings known for their great size and strength. The giants were often in conflict with the gods, who saw them as a threat to their power and control. Jotunheim was a place of great danger, where the giants lived and plotted against the gods.

Muspelheim (Múspellsheimr):
Muspelheim was the realm of fire, a place of great heat and light. The giant Surt was said to rule over Muspelheim, and it was believed that the fire of Muspelheim would eventually consume the world. Muspelheim was a place of both destruction and creation, where the flames gave birth to new life and consumed all that was old.

Niflheim (Niflheimr):
Niflheim was the realm of ice, a place of cold and darkness. The goddess Hel was said to rule over Niflheim, and it was believed that the dead who did not die in battle would end up in this frozen underworld. Niflheim was a place of death and decay, where the cold winds and ice forever chilled the souls of the dead.

Hel (Helheim):
Helheim was the underworld, a place of darkness and decay, where the dead who did not die in battle went after. In Norse mythology it is associated with death, the underworld, and the afterlife. It was believed to be located in the far northern regions, beyond the realm of Midgard.

In Norse mythology, Hel was the daughter of Loki and the giantess Angrboda. She was depicted as a half-dead, half-alive figure with a pale complexion and was said to rule over the dead in the underworld. The souls of those who did not die in battle and did not go to Valhalla or Folkvangr were believed to go to Hel after they died.

In Norse cosmology, Hel was considered to be a place of punishment for the wicked and the damned, where they would spend eternity in cold and darkness. However, it was also believed that some souls could be redeemed and eventually leave Hel and go to a better afterlife.

The idea of Hel was a source of great fear and fascination for the Norse people, who believed that death was not the end, but rather a journey to the afterlife. Hel remains an important part of Norse mythology and continues to be a symbol of death, the underworld, and the afterlife to this day.

Image: In Norse mythology, the structure of the universe is organized into nine distinct realms that are interconnected by the ash tree Yggdrasil. The nine worlds were Asgard, Midgard, Jotunheim, Niflheim, Muscenters, Helheim, Alfheim, Svartalfheim, and Vanaheim. (Illustrations by NordenBladet)

Norwegian writer Nina Lykke’s unexpected Literary Successes

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Helena-Reet Ennet

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June 20, 2023

NordenBladet – Nina Lykke, a Norwegian writer, has a knack for expecting failure despite consistently achieving success with her books. Her latest novel, “We are not here to have fun,” (Vi är inte här för att ha roligt) continues this trend. Although Lykke doesn’t intentionally aim for humor and the story revolves around a cultured man accused of sexual harassment, the novel has garnered praise.

Lykke expresses gratitude for achieving breakthrough success as a writer after the age of 50. Previously a graphic designer, she experienced literary recognition with her novel “No, a Hundred Times No” in 2016. It sold well, was translated into Swedish and Polish, and earned her a five-year work grant from the Norwegian government.

Surprisingly, her subsequent novel, “Next!,” achieved even greater success a few years later. It was sold in 20 countries and received the prestigious Brage Prize, Norway’s equivalent of the August Prize. However, Lykke maintains her pessimistic mindset and approached her latest work, “We are not here to have fun,” with the belief that it would face complete failure. Contrary to her expectations, the book received positive reviews upon its release in Norway last fall and is now available in Swedish.

Reviewers consistently highlight Lykke’s humor and her ability to dissect and expose various aspects of society, particularly the middle class. Her novels candidly reveal societal truths and challenge preconceptions. In “We are not here to have fun,” she delves into the world of literature and the man of culture. The story engages readers with amusing descriptions while meandering through unexpected paths. Lykke refrains from dividing the world into simple categories of good and bad people, portraying her characters, including the 60-year-old former bestselling author Knut accused of sexual harassment, with their flaws and vulnerabilities.

Lykke explains that she didn’t set out to write a novel solely about the negative aspects of the man of culture. She acknowledges that misunderstandings between men and women often occur, where a minor misstep can be blown out of proportion, generating excessive pity for women. Simultaneously, she emphasizes the importance of men understanding the impact of their actions when it comes to physical contact with women.

Throughout the novel, Lykke skillfully criticizes various phenomena within the cultural world, drawing from her extensive experience as a graphic designer in Norwegian cultural projects for over two decades. Her journey in the cultural hierarchy, from being overlooked to becoming a celebrated author, informs her writing.

Lykke rejects the notion that her work is purely satire. Instead, she believes that the absurdities she portrays in society and the cultural world are not exaggerated but rather reflect the strange behavior prevalent today. She finds humor in observing the peculiarities that surround her, allowing her to craft narratives that strike a balance between reality and fiction.

Aside from exploring class differences, the cultural elite, superficial goodness, and anti-racism, Lykke takes a critical stance against writers who claim to depict reality using real names, akin to Karl Ove Knausgård.

As a Professor Emerita of Gender Studies with a specialization in Gender and Culture at Linköping University, Sweden, Lykke remains actively engaged in research. Her current interests include cancer cultures, critical patienthood studies, geopolitics of cancer, queer widowhood, and postdisciplinary feminist studies.

Nina Lykke’s writing reflects her keen eye for social observations and her ability to find humor in the peculiarities of everyday life. Her unexpected success as a writer continues to defy her own expectations and establishes her as a prominent voice in Norwegian literature.

Feature image: Nina Lykke(YouTube)

The beloved tradition of QUILT MAKING in Scandinavia

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NordenBladet

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June 20, 2023

NordenBladet – Quilt making is a cherished tradition in Scandinavia that combines the elements of hygge, high quality craftsmanship, and a deep connection to nature. This innovative art form showcases the region’s rich culture and design sensibilities. Making a quilt requires a lot of effort, but the result is undoubtedly worth it.

Scandinavians have embraced quilt making for several reasons. Firstly, quilts provide practicality and warmth, especially during the region’s cold winters. These high-quality creations are renowned for their ability to retain heat, making them ideal for cozying up on beds, sofas, or even enjoying outdoor activities. Quilts not only serve a functional purpose but also enhance the overall ambiance of a space.

The cultural significance of quilt making cannot be overstated. It has become an integral part of the Scandinavian cultural heritage, passed down through generations. The tradition strengthens familial bonds and fosters a sense of identity. As individuals engage in the craft, they find joy in expressing their creativity and unique artistic visions. Combining different fabrics, patterns, and colors, quilt makers infuse their work with personal touches, resulting in truly one-of-a-kind masterpieces.

Quilting blocks are any units you sew together. To create your quilt, you assemble all your quilt blocks together to form a pattern or design. (Photos: 4x Elisheva & Shoshana)

Quilt making in Scandinavia is also closely intertwined with the region’s commitment to sustainability and eco-consciousness. By repurposing fabric remnants and old garments, quilt makers contribute to reducing waste and promoting a more sustainable way of life. This environmentally-friendly approach aligns perfectly with the Scandinavian appreciation for nature and the desire to minimize their ecological footprint.

Photos: 2x Elisheva & Shoshana

The innovative design techniques employed in quilt making showcase the artisans’ skill and attention to detail. Each quilt is a testament to the dedication and patience of its creator. From meticulous fabric selection to precise cutting and sewing, the process demands time and effort. However, the result is a remarkable quilt that not only provides warmth but also serves as a work of art, celebrating the blend of tradition and modernity.

? HISTORY: Quilting originated in Sweden in the fifteenth century with heavily stitched and appliquéd quilts made for the very wealthy. These quilts, created from silk, wool, and felt, were intended to be both decorative and functional and were found in churches and in the homes of nobility. Imported cotton first appeared in Sweden in 1870, and began to appear in Swedish quilts soon after along with scraps of wool, silk, and linen. As the availability of cotton increased and its price went down, quilting became widespread among all classes of Swedish society. Wealthier quilters used wool batting while others used linen scraps, rags, or paper mixed with animal hair. In general, these quilts were simple and narrow, made by both men and women. The biggest influence on Swedish quilting in this time period is thought to have come from America as Swedish immigrants to the United States returned to their home country when conditions there improved.

The beloved tradition of quilt making in Scandinavia represents the essence of hygge, high quality craftsmanship, and a deep connection to nature. This art form is rooted in cultural heritage, inspiring individuals to unleash their creativity and create meaningful heirlooms. The commitment to sustainability and innovative design techniques further enhance the appeal of quilt making. Undoubtedly, making a quilt requires a lot of effort, but the end result is a testament to the passion and craftsmanship of the artisans, making it truly worthwhile.

Questions and answers:

Why is it called a quilt?
The word quilt comes from the Latin culcita meaning a stuffed sack, but it came into the English language from the French word cuilte.

Is quilt making an art?
Quilt art, sometimes known as art quilting, mixed media art quilts or fiber art quilts, is an art form that uses both modern and traditional quilting techniques to create art objects. Practitioners of quilt art create it based on their experiences, imagery, and ideas, rather than traditional patterns.

How hard is learning to quilt?
Quilting is a skill that is easy to learn, and there are many reasons why you should invest your time in it. Making your first quilt should not be as hard as it might look, as some quilts looks like a real puzzle to make or really hard to make, but if you make your first quilt with an easy pattern and in a small size, you will learn new sewing and quilting skills and soon you will be making your next quilt.

What is the easiest quilt to make?
One of the easiest quilts for a beginner to make is a simple patchwork quilt. A square patchwork quilt is made from fabric squares that are sewn together in a simple grid pattern. You can cut squares from your own fabrics, or start with a precut fabric bundle called a “charm pack” or “layer cake”.

Why use 100% cotton for quilting?
Cotton has a distinct texture and non-reflective matte finish that allows it to blend into the fabric better. It also carries zero stretch to the thread, which is ideal for quilts, as the thread won’t cause the quilt to pucker after it’s been used or washed. A thread that doesn’t stretch is also easier to sew with

What makes a good quilt?
Some quilts look good asymmetrical while others need the symmetry to be balanced and eye pleasing. Lines – a mixture of lines whether they are straight, curved, vertical, diagonal or horizontal that complement each other and create an eye pleasing effect.

Can you quilt with any fabric?
All that being said you can make quilts with any fabric. Bedsheets, pillow cases, denim, old clothes… The key to making your life easy when making your quilt is choosing cotton fabrics with the same weight. Using the right needle for the weight of the fabric and also a good quality cotton thread.

Is making a quilt expensive?
If you purchase all of your supplies brand new, you can expect your initial investment to be anywhere from $250 to $850. Once you have the basic supplies, making quilts will be as expensive as the cost of your fabric and batting.

Is patchwork the same as quilting?
Quilting is the process of stitching layers of a quilt (the top, batting, and backing) together. However, the quilt top is usually sewn together from a variety of fabrics, and that part of the process is called patchwork or piecing.

What is the hardest part of making a quilt?
In the beginning, the hardest part is getting the fabric cut properly so that it wouldn’t go all wonky while sewing. Take your time while cutting so that you can avoid having uneven pieces. It takes practice. Lots and lots of practice to perfect the skill of cutting.

What are the types of quilts?
There are four basic types of quilting, though there are all sorts of patterns that use more than one of these techniques. Our four basic types of quilts are: Pieced, Appliquéd, Paper Pieced, and English Paper Pieced.

Why is quilt so expensive?
Quilts are expensive because of the labor required to make them. Quilts require pieces of fabric to be evenly cut and sewn together to get the basic shape of a blanket. Then that piece must be sewn together with batting, backing, and binding to create a finished blanket.

What are the main quilt making steps?
Decide on your quilt pattern. If this is your first quilt, go for a simple pattern for a small quilt.
Collect your materials and tools.
Prewash your fabric.
Iron your fabric.
Measure and cut your patchwork.
Lay your quilt out.
Sew your patchwork into rows.
Iron your rows.
Bind the quilt
Enjoy Your Quilt!

Featured image: Children’s blanket made by Helena-Reet (Elisheva & Shoshana)

Berlin International Film Festival’s European Film Market (EFM): The “Baltic Countries in Focus”

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Helena-Reet Ennet

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February 17, 2023

NordenBladet – The 73rd Berlin International Film Festival’s European Film Market is set to return as an in-person event in 2023, with Estonia, Latvia, and Lithuania being the focus of the “Countries in Focus” program.

It is the first time that several countries have joined forces since the program’s inception in 2017. The “Baltic Countries in Focus” program aims to provide a platform for the three countries to showcase their filmmaking, network with producers, distributors, and financiers, and present their extensive film history, recent films, and media content. The initiative was signed by Edith Sepp, CEO of the Estonian Film Institute, Laimonas Ubavičius, Director of the Lithuanian Film Centre, and Inga Blese, Deputy Director of the National Film Centre of Latvia, among other officials.

“In the history of the Berlinale, films from Estonia, Latvia and Lithuania have consistently added interesting perspectives to the Berlinale programme. The three Baltic countries have consolidated their individual strengths by joining forces and thus have set a great example in Europe and beyond. Especially in times of increased collaboration, artists and industry professionals alike can learn from the innovative and collaborative Baltic approaches to culture,” says Mariette Rissenbeek, Executive Director of the Berlinale.

The event will take place from February 16 to 22, 2023, during the European Film Market of the Berlin International Film Festival.

Denmark: Icelandic artist Haukur Halldorsson unveiled his latest sculpture “Skydbladir” at his gallery in Tønder

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Helena-Reet Ennet

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February 16, 2023

NordenBladet — Icelandic artist Haukur Lárus Halldórsson (85) has unveiled his latest sculpture design, “Skydbladir,” at his gallery in Tønder, Denmark. The piece is a modern interpretation of the ancient Norse ship of the same name.

In Norse mythology, “Skydbladir” was the name of the magical ship belonging to the god Frey. The ship was said to be able to fold up like a cloth and fit in a pocket and could be sailed on both land and sea. Halldorsson’s sculpture captures the sense of movement and fluidity associated with the ship. The material used will be shaped and manipulated to create the impression of waves and wind, and the overall effect is one of dynamic energy and power.

“I wanted to create a sculpture that would be both timeless and modern. I believe ‘Skydbladir’ achieves that balance, and I am thrilled to share it with the public.” said Halldorsson. “

The exhibition will be on view at the Reykjavik Art Museum until April 30th. Admission is free.

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Haukur Halldórsson (born 1937 in Reykjavík) is an Icelandic artist and illustrator. After beginning his career as a graphic designer and illustrator he developed into a visual artist. Halldórsson’s work also includes sculpture. He is a co-author of the Yggdrasil Divination Deck together with his daughter Gunnhildur Hauksdóttir.

His first art exhibition was in Gallery Djúpið in Reykjavík in 1978 with Einar Þorsteinn Ásgeirsson. His first solo exhibition was in Reykjavík in 1980 in Gallery Torg run by the composer Jóhann G. Jóhannson. Since then he has made numerous exhibitions in Europe, China and the United States. Allthough his main medium is drawing and illustrations, he works in, and explores various mediums such as painting, sculpture, and jewel making.

Halldorsson’s main subject matter revolves around themes of folklore of his home country Iceland, the Brothers Grimm, Celtic mythology and Nordic mythology. He has created numerous drawings and illustrations on the subjects. Halldórsson has travelled widely to research art, to China, various countries in Europe, and the United States. In New Mexico he encountered Navajo Indians, and observed the art of sand-casting, which he later applied in his own art practice.

His selection of works from 1978 to date combines disparate elements from the worlds of fantasy, myth and everyday experience. His artwork often contains mythical and magical entities as much of his practice revolves around North-European mythology and Nordic mythology. He has gathered information about historical pagan European calendars and myths associated with different parts of the year, which has been the basis for some of his works.

One of his most famous works is the Arctic Henge (Heimskautsgerðið), a series of circles and basalt columns that began its construction in 2004 at the village Raufarhöfn in northeastern Iceland. It has a diameter of 52 meters, functioning as a pagan calendar with numerous references to Norse mythology particularly the Dvergatal of the Poetic Edda.

Featured image: Haukur Lárus Halldórsson at work (Wikipedia / CC BY-SA 4.0)

From Finland to the forests: THE STORY and the legacy of the Forest Finns

By

Helena-Reet Ennet

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February 9, 2023

NordenBladet – The Forest Finns were Finnish migrants who settled in forested areas of Sweden and Norway in the late 16th and early-to-mid-17th centuries. They were known for their use of slash-and-burn agriculture, a method of turning forests into farmlands, and their strong cultural connection to the forest environment. The Forest Finns also had a rich musical heritage, unique language, and close-knit communities. Over time, the term “Forest Finns” has also come to refer to a broader group of Finnish people with similar cultural heritage, including those who remained in Finland.

There is a growing appreciation for the close relationship between the Forest Finns and the forest environment, and this is inspiring people to explore the forest in new ways and to rediscover its importance for our well-being and spiritual connection.

While it is unlikely that the Forest Finns’ traditional lifestyle will be fully revived, their legacy and cultural heritage will continue to live on and influence future generations.

Forest Finns* (Finnish: Metsäsuomalaiset, Norwegian bokmål: Skogfinner, Norwegian nynorsk: Skogfinnar, Swedish: Skogsfinnar), also known as Finnish Tavastians (Finnish: Hämäläiset, Swedish: Tavaster), are a Finnish ethnic group with historical roots in the Häme region of Finland. Savonians (Finnish: Savolaiset, Savonian: Savolaaset, Savolaeset) are descendants of Tavastian and Karelian peasants who, during the Middle Ages, had settled in the areas that would later become known as Savonia in order to find new lands suitable for slash-and-burn agriculture. They have a distinct cultural identity that sets them apart from other Finnish groups, and their traditions and way of life have been influenced by the forested landscape in which they live.

The Forest Finns have a long history in Finland, with evidence of their presence in the Häme region (Swedish: Tavastland, Latin: Tavastia) dating back to the Middle Ages. They are thought to have originated from the Tavastian people, an ancient Finnish tribe that lived in the area. Over time, the Forest Finns developed a unique culture and traditions that were shaped by their close relationship with the forest environment.

One of the key features of Forest Finn culture is their traditional way of life, which revolves around the use of the forest for subsistence. Forest Finns have a long history of hunting, fishing, and gathering wild plants for food, as well as using the forest for building materials and fuel. This close relationship with the forest has also shaped their spiritual beliefs and practices, with many Forest Finns having a strong connection to nature and the environment.

Another important aspect of Forest Finn culture is their musical tradition. They have a rich heritage of traditional music and dance, which is an important part of their cultural identity. Many Forest Finns are accomplished musicians and play a variety of instruments, including the fiddle, accordion, and harmonica. Their music is often played at community gatherings and celebrations, and it is an important way for Forest Finns to preserve their cultural heritage.

Despite their distinct cultural identity, the Forest Finns have faced challenges in maintaining their traditions and way of life. The modernization of Finland in the 20th century brought new economic and social pressures, and many Forest Finns were forced to move to urban areas in search of work. This led to a decline in the number of Forest Finns living in the Häme region, and a loss of traditional skills and knowledge.

Flag of Forest Finns as adopted by several cultural associations

In recent years, however, there has been a resurgence of interest in Forest Finn culture, and efforts are being made to preserve and promote their traditions and way of life. Several organizations in Finland, Sweden, Denmark, and Norway have been established to support the Forest Finn community, and to raise awareness about their cultural heritage.

In conclusion, the Forest Finns are a unique and important part of Finnish cultural heritage. Their close relationship with the forest has shaped their way of life, and their traditional music and dance are an important part of their cultural identity. Despite the challenges they have faced, the Forest Finns are working to preserve their heritage and promote their cultural traditions.

What set Forest Finns apart from other Finnish groups?

There are several things that are characteristic of Forest Finns and set them apart from other Finnish groups. Some of the most notable include:

Slash-and-burn agriculture: The Forest Finns were known for their use of slash-and-burn agriculture, a method of turning forests into farmlands by cutting down trees and burning the brush. This was a key part of their way of life, and set them apart from other Finnish groups who practiced more traditional agricultural methods.

Close relationship with the forest: The Forest Finns have a strong cultural connection to the forest environment, which has shaped their way of life and beliefs. They have a long history of hunting, fishing, and gathering wild plants for food, and their spiritual beliefs are closely tied to the forest.

Traditional music and dance: The Forest Finns have a rich musical heritage, and their traditional music and dance are an important part of their cultural identity. Many Forest Finns were accomplished musicians, and their music was often played at community gatherings and celebrations.

Unique language: The Forest Finns spoke a unique dialect of Finnish, known as Värmland Savonian, which was distinct from the standard Finnish language. Although the language is now extinct, it was an important part of their cultural heritage.

Close-knit communities: The Forest Finns were known for their close-knit communities, and for their strong sense of community and family. This was an important part of their way of life, and helped to sustain them as they established themselves in their new homes in Sweden and Norway.

These are just a few of the things that are characteristic of Forest Finns and set them apart from other Finnish groups. Their unique cultural identity and traditions, as well as their close relationship with the forest environment, are what make the Forest Finns a distinct and important part of Finnish cultural heritage.

The Legacy of the Forest Finns: A Cultural Treasure

The Nordic forest has always been a magical and mythical place and the Forest Finns were believed to have magical powers. They believed in nature and with spells, sacrifices and rituals they kept friends with the forest gods.

There has been a recent resurgence of interest in the Forest Finns and their cultural heritage, and there are efforts underway to preserve and promote their traditions. It is unlikely, that the time of the Forest Finns will return and that their traditional lifestyle will be completely revived but some communities have started to practice traditional slash-and-burn agriculture once again, and there are initiatives to preserve the Forest Finns’ musical heritage and traditional dances.

It is difficult to determine a specific “golden age” for the Forest Finns, as their history is characterized by both challenges and triumphs. However, their migration to Sweden and Norway in the late 16th and early-to-mid-17th centuries was a significant period of growth and expansion for the group – a group of Finnish people with a shared cultural heritage and close connection to the forest environment. During this time, they established themselves in their new homes and made important contributions to the local communities and economies.

Painting Berry Pickers by Finnish painter Eero Järnefelt (Wikipedia / Public domain)

A Forest Finn handmade backpack, or kontti. (Wikipedia /CC BY-SA 4.0)

Forest Finns migration from Finland to Sweden and Norway

The migration of the Forest Finns from Finland to Sweden and Norway in the late 16th and early-to-mid-17th centuries was driven by a variety of factors. One of the main reasons was the pressure to find new land to support their growing population. In Finland, the slash-and-burn agriculture practiced by the Forest Finns was becoming increasingly difficult due to the limited available land and the increasing competition for resources.

Another factor that contributed to their migration was the political situation in Finland at the time. During the late 16th century, Finland was under Swedish control, and many Finns felt oppressed by the Swedish authorities. This, combined with the search for new land, led many Forest Finns to look beyond the borders of Finland for opportunities.

The Forest Finns were drawn to the forested areas of Sweden proper and Norway because they were familiar with the forest environment and knew how to make use of the resources it provided. They established themselves in these areas and continued their traditional slash-and-burn agriculture, which involved cutting down trees and burning the brush to clear the land for farming. Over time, the Forest Finns became well established in these areas and made significant contributions to the local communities and economies.

Despite their successful migration, the Forest Finns faced challenges in maintaining their cultural identity and traditions. The process of assimilating into the local cultures was gradual, but over time the Forest Finns became largely assimilated into the Swedish and Norwegian cultures. As a result, their language, a variety of Savonian Finnish, became extinct, although it survived among a tiny minority until the 20th century.

Today, the Forest Finns are remembered as a significant part of the history and cultural heritage of Sweden and Norway. Their legacy can be seen in the customs and traditions that they passed down, as well as the way they shaped the local landscapes through their slash-and-burn agriculture. Despite the challenges they faced, the Forest Finns are an important part of the Nordic cultural heritage, and their migration story is a testament to their resilience and determination in the face of adversity.

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* The term “Forest Finns” originally referred to the Finnish migrants who settled in forested areas of Sweden and Norway, but over time, the term has also been used to refer to a broader group of Finnish people with a similar cultural heritage. This group includes not only those who migrated to Sweden and Norway, but also those who remained in Finland and continued to practice slash-and-burn agriculture and maintain the Forest Finn cultural traditions.

In Finland, the Forest Finns are often considered to be a subgroup of the larger Finnish population, and their cultural heritage is an important part of the country’s national identity. While the exact definition of the term “Forest Finns” can vary depending on the context, it is generally understood to refer to a group of Finnish people with a shared cultural heritage and close connection to the forest environment.

Featured image: Painting of forest-burning by Finnish painter Eero Järnefelt (1863-1937) (Wikipedia / Public Domain)

Preserving Heritage and Identity: Finns in Sweden (sverigefinländare) – the Finnish-speaking minority in Sweden

By

Helena-Reet Ennet

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February 9, 2023

NordenBladet – The Finns in Sweden, also known as the Finnish-speaking minority in Sweden, constitute a significant portion of the country’s immigrant population. Although the exact number of Finns in Sweden is not known, estimates suggest that there are approximately 150,000 to 200,000 Finns living in the country.

The history of the Finns in Sweden dates back to the late 19th and early 20th centuries, when significant numbers of Finns immigrated to Sweden for economic reasons. This trend continued throughout the 20th century, with many Finns choosing to settle in Sweden for better job opportunities and a higher standard of living.

Finns in Sweden are primarily concentrated in the cities of Stockholm, Gothenburg, and Malmö, although there are also significant Finnish communities in other parts of the country. These communities are usually made up of both first- and second-generation Finnish immigrants, and they work hard to preserve their cultural heritage and identity.

It is difficult to determine the exact number of Swedish Finns living in Northern Sweden as there is no official data on the exact number of Finnish-speaking individuals in the region. However, according to estimates by the Swedish-Finnish Cultural Association of Northern Sweden, there are approximately 5,000 Finnish-speaking individuals living in Northern Sweden. This number may be higher or lower, depending on various factors such as migration patterns and demographic changes.

Forest Finns (Finnish: Metsäsuomalaiset, Norwegian bokmål: Skogfinner, Norwegian nynorsk: Skogfinnar, Swedish: Skogsfinnar) were Finnish migrants from Savonia and Northern Tavastia in Finland who settled in forest areas of Sweden proper and Norway during the late 16th and early-to-mid-17th centuries, and traditionally pursued slash-and-burn agriculture, a method used for turning forests into farmlands. By the late 18th century, the Forest Finns had become largely assimilated into the Swedish and Norwegian cultures, and their language, a variety of Savonian Finnish (Värmland Savonian dialect), is today extinct, although it survived among a tiny minority until the 20th century.

It is important to note that the Finnish-speaking minority in Northern Sweden is a small but active community, and they work hard to preserve their cultural heritage and identity. Through cultural organizations, community events, and language classes, the Finnish-speaking minority in Northern Sweden is able to ensure that their heritage and culture continue to thrive in the region.

Map of areas with Finnish speaking population in southern Sweden, 2005. Original version created by Mikael Parkvall 2005. Photo: Wikipedia /CC BY-SA 4.0

Today Finnish is an official minority language of Sweden. The benefits of being a “minority language” are however limited to Finnish-speakers being able to use Finnish for some communication with local and regional authorities in a small number of communities (Borås, Borlänge, Botkyrka, Degerfors, Enköping, Eskilstuna, Fagersta, Finspång, Gällivare, Gävle, Göteborg, Gislaved, Hällefors, Håbo, Hallstahammar, Haninge, Haparanda, Hofors, Huddinge, Järfälla, Köping, Kalix, Karlskoga, Kiruna, Lindesberg, Ludvika, Luleå, Malmö, Mariestad, Motala, Norrköping, Nykvarn, Olofström, Oxelösund, Pajala, Söderhamn, Södertälje, Sandviken, Sigtuna, Skövde, Skellefteå, Skinnskatteberg, Smedjebacken, Solna, Stockholm, Sundbyberg, Sundsvall, Surahammar, Tierp, Trelleborg, Trollhättan, Trosa, Uddevalla, Umeå, Upplands-Väsby, Uppsala, Västerås, Norrtälje, Upplands-Bro, Älvkarleby, Örebro, Örnsköldsvik, Österåker, Östhammar, Övertorneå) where Finnish immigrants make up a considerable share of the population, but not in the rest of Sweden.

Despite the challenges that come with immigration, the Finnish-speaking minority in Sweden has worked hard to preserve its cultural heritage and identity. This is achieved through various means, including the following:

Cultural Organizations: The Finnish-speaking minority has its own cultural organizations, such as the Finnish Cultural Association in Sweden, which promote and preserve Finnish language and culture in the country.

Media: The Finns in Sweden have access to Finnish-language media, including Finnish-language newspapers and radio stations, which provide a platform for the community to express their views and share information about their heritage and culture.

Education: There are Finnish-language schools in Sweden, offering education in Finnish from early childhood education to upper secondary education. This helps to ensure that the Finnish language and culture are passed down from generation to generation.

Community Celebrations and Festivals: The Finnish-speaking minority in Sweden participates in community celebrations and festivals that promote and celebrate their heritage and culture. This helps to keep the community connected and strengthen their sense of identity.

Political Representation: The Finnish-speaking minority in Sweden has a voice in the political system, with representatives from the community serving in local and national government bodies. This helps to ensure that the community’s interests and concerns are heard and addressed.

In conclusion, the Finns in Sweden form a significant and vibrant part of the country’s immigrant population, and they work hard to preserve their cultural heritage and identity. Through their cultural organizations, media outlets, education system, community celebrations and festivals, and political representation, the Finnish-speaking minority is able to ensure that their heritage and culture continue to thrive in Sweden.

Finns in Sweden (Swedish: sverigefinländare) and Sweden Finns (Swedish: sverigefinnar, Finnish: ruotsinsuomalaiset)

Regarding the distinction between “Finns in Sweden” and “Sweden Finns,” it is important to note that the English language sometimes lacks the distinction between these two terms. The term “Finns in Sweden” emphasizes nationality rather than linguistic or ethnic belonging and thereby includes all Finnish heritage regardless of language. On the other hand, the term “Sweden Finns” emphasizes linguistic and ethnic belonging rather than nationality and usually excludes Swedish-speaking Finns.

In other words, “Finns in Sweden” refers to all people of Finnish descent who live in Sweden, regardless of the language they speak or their ethnic background. “Sweden Finns,” on the other hand, refers specifically to Finnish-speaking individuals and communities in Sweden who identify with the Finnish language and culture, and who may or may not have a Swedish-speaking background.

This distinction is important because it helps to clarify the different identities and experiences of Finnish-speaking individuals and communities in Sweden. While some Finns in Sweden may choose to fully assimilate into Swedish culture, others may choose to maintain a strong connection to their Finnish heritage and identity. By understanding the distinction between “Finns in Sweden” and “Sweden Finns,” it is possible to gain a deeper appreciation for the rich cultural heritage of the Finnish-speaking minority in Sweden.

Sweden Finns’ Day
Sweden Finns’ Day (Finnish: Ruotsinsuomalaisten päivä; Swedish: Sverigefinnarnas dag) is an anniversary celebrated in Sweden on 24 February. The anniversary was approved by the Swedish Academy in 2010, and was held for the first time in 2011. 24 February was chosen as the date of the anniversary, as this was also the birthday of Carl Axel Gottlund, a collector of folk poetry and a defender of the status of the Finnish language. The purpose of the day is to celebrate the Sweden Finns and to recognize their history, language and culture as a part of Sweden’s cultural heritage.

Featured image: Unofficial flag of Sweden Finns

Preserving Heritage and Identity: Swedish Finns (finlandssvensk) -the Swedish-Speaking Minority in Finland

By

Helena-Reet Ennet

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February 9, 2023

NordenBladet – The Swedish-speaking minority in Finland, also known as the Swedish Finns (finlandssvensk), constitute about 5% of the Finnish population and have a long history of settlement in the country. The Swedish Finns are one of the two official minority languages in Finland, along with the Sami language.

The Finnish Swedes have a rich cultural heritage and a strong sense of identity, and they work hard to preserve these traditions for future generations. Through their education system, cultural organizations, media outlets, political representation, and community celebrations and festivals, they are able to ensure that their heritage and culture continue to thrive in Finland.

The Swedish-speaking population in Finland has its roots in the Middle Ages, when Swedish settlers arrived in the coastal regions of Finland. The settlement of Swedish-speaking people in Finland increased significantly during the late Middle Ages and early modern period, when Finland was part of the Kingdom of Sweden*. During this time, the Swedish language became the dominant language in many parts of Finland, particularly in the coastal areas and on the islands.

After Finland gained independence from Russia in 1917**, the status of the Swedish-speaking minority became a significant political issue. The Swedish-speaking Finns have maintained their cultural identity and language throughout the 20th century, and their rights have been protected by the Finnish constitution. The Swedish-speaking minority has its own cultural organizations, such as the Swedish Cultural Foundation in Finland (Svenska Kulturfonden or Stiftelsen för utbildning och kultur på svenska i Finland sr), and its own media, including several Swedish-language daily newspapers.

The Swedish-speaking minority*** in Finland is concentrated in certain areas, particularly in the archipelago of the Åland Islands, where Swedish is the sole official language. The Swedish-speaking minority is also well represented in other coastal areas, such as the Helsinki metropolitan area and the Turku region.

More than 17,000 Swedish-speaking Finns live in officially monolingual Finnish municipalities, and are thus not represented on the map. Finland is a bilingual country according to its constitution. This means that members of the Swedish language minority have the right to communicate with the state authorities in their mother tongue.

In terms of education, the Swedish-speaking minority in Finland has its own comprehensive school system, which provides education in Swedish from early childhood education to upper secondary education. Swedish-speaking students also have the option to study in Finnish-language schools if they so choose.

In terms of employment, the Swedish-speaking minority is well represented in a range of professions, including the public sector, where many Swedish-speaking Finns work as civil servants. Swedish-speaking Finns are also well represented in the private sector, particularly in areas such as commerce and industry.

Overall, the Finnish Swedes have a long history of preserving their heritage and identity in the country. This is achieved through various means, including the following:

Education: The Finnish Swedes have their own comprehensive school system, providing education in Swedish from early childhood education to upper secondary education. This helps to ensure that the Swedish language and culture are passed down from generation to generation.

Cultural Organizations: The Swedish-speaking minority has its own cultural organizations, such as the Swedish Cultural Foundation in Finland, which promote and preserve Swedish language and culture in the country.

Media: The Finnish Swedes have their own media outlets, including several Swedish-language daily newspapers, which provide a platform for the community to express their views and share information about their heritage and culture.

Political Representation: The Finnish government and society have a long-standing commitment to protecting the rights and interests of the Swedish-speaking minority. This includes ensuring that the community is represented in government and other political institutions, and that their voices are heard in important decisions that affect their community.

Community Celebrations and Festivals: The Finnish Swedes participate in community celebrations and festivals that promote and celebrate their heritage and culture. This helps to keep the community connected and strengthen their sense of identity.

The Swedish-speaking minority in Finland plays a significant role in the country’s cultural and linguistic diversity, and its members are proud of their heritage and identity. The Finnish government and society have a long-standing commitment to protecting the rights and interests of the Swedish-speaking minority, and efforts are ongoing to promote and preserve the Swedish language and culture in Finland.

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* Finland was part of Sweden for almost 700 years from around 1150 until the Finnish War of 1809 after which Finland became an autonomous part of the Russian Empire as the Grand Duchy of Finland.

** Finland declared its independence on 6 December 1917. The formal Declaration of Independence was only part of the long process leading to the independence of Finland.

*** About 5.2 percent of Finland’s population are part of the Swedish-speaking minority, but the population has steadily declined since the 18th century, when nearly 20 percent spoke the language. However, Swedish remains one of the country’s official languages.

Featured image: An unofficial flag of the Swedish-speaking minority of Finns

Scandinavian history & Norse culture: Viking-era longhouses and burial mounds

By

Helena-Reet Ennet

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February 7, 2023

NordenBladet – Viking-era longhouses and burial mounds are important archaeological artifacts that provide insight into the Viking way of life.

Viking-era longhouses and burial mounds are an important part of Viking history and provide valuable insight into the way of life of this fascinating and powerful civilization. These artifacts are an important part of the cultural heritage of Scandinavia, and they are preserved today through archaeological excavations and museum displays. Many of these sites are also open to visitors, offering a unique opportunity to experience the history and culture of the Viking era.

In addition to providing information about daily life, longhouses and burial mounds also offer insight into Viking religious and cultural beliefs. For example, some burial mounds were constructed in specific patterns, such as in the shape of a ship, which suggests that the Vikings believed in the afterlife and the importance of a proper send-off for the dead.

Longhouses: Viking-era longhouses were large, rectangular buildings that were used as homes and community spaces by Viking families. These houses were often built using wooden poles and thatched roofs, and they could be up to 80 feet long and 20 feet wide. Longhouses were typically divided into several rooms, including a central hearth room and several smaller rooms for sleeping and storage. Viking longhouses were an important aspect of Viking society and were used for both living and working, serving as the center of daily life for families and communities.

14 questions with answers and facts about Viking Longhouses:

Why did Vikings live in longhouses?
One end of the Viking longhouse was used to house cattle and other animals as well as stored crops and other tools. The opposite end of the longhouse was often set up for the Vikings to create artisanal crafts. The center of the longhouse hall was reserved for living, sleeping, cooking, and eating.

What is a Viking longhouse called?
Throughout the Norse lands, people lived in longhouses (langhús), which were typically 5 to 7 meters (16 to 23 ft) wide and anywhere from 15 to 75 meters (49 to 246 ft) long, depending on the wealth and social position of the owner.

How long did a longhouse take to build?
It depends on what resources and materials were available. A possible estimate is one to two years (the reconstruction took one year to build), but we must also consider that the house seems to have been continually added to and maintained.

What are the disadvantages of a longhouse?
Longhouses were notoriously smoky as the fumes from cooking and fires could only escape through small holes in the ceiling. Villages of longhouses were built in the forest, usually near water. They were surrounded by tall palisades or sharpened logs stuck vertically in the earth.

How many fires were in longhouses?
Fireplaces or hearths were spaced down the length of a central corridor in the house (an average of 1-6 fires), and were flanked with two platforms: the lower for sleeping, and the upper for food and storage.

Who lives in a Viking longhouse?
A Viking family—often an extended family—all lived in the Viking longhouse, where they ate, worked, talked and slept with little or no privacy.

What is inside a longhouse?
Dried meats and corn, as well as other food and personal belongings, were stored on platforms built high up on the walls of the longhouse. Firewood was stacked in areas near the entrances at either end of the structure. Covered pits dug inside the house also stored food.

Why did Vikings cover their houses in grass?
The Vikings, however, had brought with them a solution: turf homes, something already popular in Norway and many places in Scandinavia. For the next millennium or so, these grass-roofed dwellings protected Icelanders from blistering winds, rains, and even earthquakes.

What was the purpose of longhouses?
Longhouses have another thing in common besides their shape: they were built to serve as a home for a large extended family. An extended family includes a number of family units consisting of parents and children, plus grandparents, aunts, uncles, cousins, etc.

What are some facts about Viking longhouses?
Despite the harsh living conditions, the Norse who occupied longhouses tried to make the longhouses as comfortable as possible. Viking houses were built of wood. The longhouses had bowed walls in plan, forming a ship-like outline. The walls were lined with clay or consisted of wooden planks placed vertically into the ground, which supported the roof, along with two rows of internal posts. Outside the house was often supported by sloping posts.

How long was the longest/largest longhouse?
The biggest longhouse ever found was excavated in 1983 in Lofort, Norway. It was most likely a chieftain´s house, and it was initially 22ft. (67 meters) long. It was built around 500 AD and upgraded around 700, extending it to 83 meters.

Did Viking houses have toilets?
Interesting enough, according to the BBC Primary History site, there were no bathrooms in the Viking home. Most people probably washed in a wooden bucket or the nearest stream. Instead of toilets, people used cesspits, which are holes dug outside for toilet waste

How many rooms are in a Viking longhouse?
Interior: On the inside, the Longhouse was just one long room. But Viking families found a way of dividing up the space for better use using rows of wooden posts.

Do any Viking longhouses still exist?
In Garðabær town, which is a part of the Great Reykjavík Area, a Viking Settlement Age farm was discovered back in 1986. This large Viking longhouse dates back to around 870-930 and is 8 x 30 meters on the outside, but the inside floor surface is 170 sq. m.

7 questions with answers and facts about VikingBurial Mounds:

Burial Mounds: Viking-era burial mounds are another important aspect of Viking society. These mounds were built to honor the dead and were typically located near the longhouses where the deceased lived. Viking burial mounds were usually constructed using stone and earth, and they were often topped with a large stone or wooden marker to commemorate the dead. The burial mounds themselves were also an important part of Viking culture, with some mounds being used as communal graves for entire communities, while others were used to honor important leaders or warriors.

What are Viking burial mounds called?
Tumuli are also known as barrows, burial mounds or kurgans, and may be found throughout much of the world.

What is a burial mound?
Burial mound, artificial hill of earth and stones built over the remains of the dead. In England the equivalent term is barrow; in Scotland, cairn; and in Europe and elsewhere, tumulus.

Why are graves mounded?
Before burial vaults, when coffins were made of wood, the coffin would eventually collapse in on itself, leaving a depression at the grave site. Mounding was protection against that.

Why were Vikings buried with horse heads?
Why the Vikings were buried with male horses is unclear, although it may have had to do with an association between stallions and virility, according to zooarchaeologist Albína Hulda Pálsdóttir of the University of Oslo. However, she notes, horse burials were not reserved for men.

Did Vikings get buried with their wives?
So it must have been some kind of comfort for a relatively important Norseman to know that, when they died, they’d be shuffling off this mortal coil through a grave crowded with friends, wives, slaves, pets, and livestock—all dead, of course.

Have any Viking graves been found?
Many of the 60 or so Viking Age graves discovered in Oslo have been found by construction workers. Many of these were found at the very beginning of the 20th century when Oslo underwent rapid expansion, including areas such as St. Hanshaugen, Grünerløkka, Bjølsen, Tåsen and Sinsen.

How did Vikings bury their deceased?
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. Once cremated, the remains also might be buried, usually in an urn.

In conclusion, Viking-era longhouses and burial mounds are an important part of the cultural heritage of Scandinavia, and they offer a unique and fascinating look into the daily life, religious beliefs, and cultural practices of the Viking era.

All images: The pictures were taken at the Viking Museum in Sweden (NordenBladet/Helena-Reet Ennet)

Estonian Literature Day: President Karis emphasized the importance of preserving one’s own language and culture

By

Helena-Reet Ennet

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January 30, 2023

NordenBladet – Estonian President Alar Karis emphasized the importance of preserving one’s own language and culture in a speech marking Estonian Literature Day, which is celebrated annually on January 30th. He recognized literature as one of the core pillars of Estonian culture and a vital source of Estonian spirit and thought. The birth anniversary of Anton Hansen Tammsaare, a notable Estonian writer, is also celebrated on this day.

“January 30 marks a momentous day in Estonia’s cultural history – we celebrate Estonian literature, one of the core pillars of our culture, as a national holiday. On December 7, 2022, our parliament (Riigikogu) found literature to be important enough to be the wind under this popular initiative’s wings. And with good reason. Only through Estonian literature are the spirit and thought of Estonia born, developed and retained; the things around us named and what is happening inside us, our story, told. It takes place nowhere and speaks of no one else,” president said.

The Estonian Literature Day is celebrated as a flag day for the first time today – 30.01.2023. The day kicked off on Toompea Hill with a speech by President Alar Karis and the literature teacher of the year award.
Tall Hermann Tower , 2015 (Photo: Riigikogu / Paul Kuimet)

President Karis emphasized the universal appeal of specific, personal experiences, feelings and stories that are expressed through literature. He also stressed the importance of reading, especially in one’s own language, for personal growth, self-expression and understanding others.

In a world dominated by headlines and slogans, the President encouraged people to delve into literature to gain true knowledge and broaden their perspectives. Literature, especially Estonian literature, holds timeless truths that are often lost in the fast-paced world of social media and news portals.

The President concluded by urging the care of Estonian culture and its creators, reminding that language and culture are not a given for small nations.

Featured image: Estonian president Alar Karis (Riigikogu /Erik Peinar)

Literature, culture and art