Rupmaša lihkadeapmi – duddjoma ja vásáhusa estehtalaš mearkkašupmi
Gunvor Guttorm (Sámi allaskuvla)
Viečča artihkkala: Rupmaša lihkadeapmi – duddjoma ja vásáhusa estehtalaš mearkkašupmi (pdf).
Duddjon lea doaibma mas duojár geavaha iežas máhtuid maid lea oahppan, vásáhusaid bokte, duddjodettiin ja go lea hárjánan geavahit duoji. Go geahččat mo duodji lea áddejuvvon sámiid gaskkas, de doaimmat ja dagut hábmejit muhtun muddui dan mo oaidnit duoji estehtalaš beliid. Dán artihkkalis digaštalan mo dagut, vásáhusat ja lihkastagat váikkuhit duddjoma estetihkkii. Sámegielas leat doahpagat maid vuođul sáhttá áddet dan maid omd. vuogas, cieggat varrii ja gamus dovdan sáhttet mearkkašit. Go duojis lea sáhka, de dat lea oassin olbmuid eallimis, iige sirrejuvvon eret das. Muitu, ja čiekŋalis muitu duddjomis, leat rupmašis, ja mii duddjot buoridan dihtii dávviriid ja oažžut maid buorre dili. Olmmožin mii lihkadit máŋggalágan vásáhusaid siskkobealde, sihke jurdagiin ja rumašlaš sirdimis. Dakkár beliid oaidná maiddái duoji oktavuođas.
Artihkkalis geahčan mo mii duddjodettiin geavahat rupmaša, ja mo dat váikkuha olles duojárii. Geahčan álggus duddjoma árgabeaivvi dilis, ja dasto mo das sáhtášii hukset áddejumi sámi ja duoji estetihkas, ja mo dát heive eará eamiálbmotestetihkkaságastallami idda. Geavahan duddjonovdamearkkaid maid ieš lean ja eará duojárat leat vásihan. Dasto iskkan pragmáhtalaš ja rumašestehtalaš lahkonanvugiin mo dahku ja rumašlaš lihkadeami váikkuha duddjomii ja olbmui.
Fáddásánit: duddjon, duojár, vásáhus, pragmatisma, somaestetihkka, lihkadeapmi
The moving body – the aesthetic significance of duodji and experience
Duodji is a task where the craftsperson uses the knowledge that s/he has acquired as well as experiences from prior work on and use of duodji. Considering how duodji is understood among the Sami people, these activities will to some extent shape their understanding of aesthetics. In this article I discuss how duddjon activities, experiences, and movements affect our understanding of aesthetics in duodji. In the Sami language, there are terms that convey an understanding of what this means through concepts like vuogas (pleasant), and the expressions cieggat varrii (enter into the veins) and gamus dovdan (instinctive feeling). When we talk about duodji, it is part of people’s everyday life, not a separate activity. Deep memory resides in the body, and we make duodji to improve our possessions and our way of life. As human beings, we move through a multitude of experiences, both in mind and body. This is also true for duodji.
In the article I elaborate how we use our body while creating duodji, and how this experience affects the craftsperson. Firstly, I look at duddjon (the act of creation) in an everyday context, and then I address the aesthetic understanding one can find within duodji, and how this in turn can be understood in a wider indigenous context. I present examples from my own and others’ experiences of duddjon practices. By using a pragmatic and somatic aesthetic approach, I discuss how the creative process and the movements of the body affect both the duddjon and the duojár (the creator of duodji).
Keywords: duddjon, duojár, experience, pragmatism, somatic aesthetics, movement