Ghosts, Holes and Hybrid Spaces

Imagining Sámi-Owned Futures Through Sámi Creative Practices


  • Alessia Marzano USN- University of South-Eastern Norway



Indigenous Futures, decolonization, Indigenization, Sámi Creative Practices, Elina Waage Mikalsen, Joar Nango


Identifying colonialism as the “dispossessor of Sámi futures,” the research on which this paper draws investigates the role of Sámi creative expressions in decolonizing/ indigenizing Sápmi and imagining possible futures through a decolonial framework encompassing decolonizing methodologies and critical arts-based research. The artistic practices of Sámi artists Elina Waage Mikalsen and Joar Nango were discussed through in-depth conversations held with them and in light of decolonizing theories seeking to de-link artistic expressions from the “colonizing gaze of authenticity” fostered by Western modernity and coloniality.

Furthermore, the paper argues for considering decolonization and indigenization as complex and interlaced processes, part of a global-local spectrum. While Sámi creative expressions are political in a transformative and healing way, they can foster the creation of Sámi-owned spaces, where to discuss both local and cosmopolitical concerns while considering Sámi sovereignty as the right to pursue Sámi’s self-determined futures.


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Author Biography

Alessia Marzano, USN- University of South-Eastern Norway

Born in Italy in 1988, Marzano has a background in religious studies, anthropology, and human and Indigenous rights. For hermaster’s project, Alessia Marzano held conversations with six Sámi artists between 2021 and 2022, using decolonizing methodologies inspired by Indigenous research. The thesis title was: ‘Art puts questions in all directions’: Sámi Creative Expressions and Self-Determined Futures. The article in this issue is based on her research. Marzano resides and works as a researcher and academic writing advisor in Norway.


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How to Cite

Marzano, A. (2023). Ghosts, Holes and Hybrid Spaces: Imagining Sámi-Owned Futures Through Sámi Creative Practices. ARCHIVO PAPERS, 3(1), 13–32.