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The epic yoiks among the Sami from the beginning of the 19 century contain obvious political points of view about the colonization process that the Sami had been and were subjected to from Sweden/Finland, Norway and Russia. There are several examples of yoik texts of this type where the Sami are either referred to as forest people or “noaiddit” – shamans. The shamans were the ones the missionaries most strongly went after, a point that the Sami exploited in their use of the oral mode of double communication expressing resistance to the ongoing theft of land and water. In the songs they slandered the noaidis, evidently to “pacify” the clergymen, at the same time as they allowed the noaidi to be the caretaker of Sami values and as such represent an oppositional power in the texts. This tradition expresses an early awareness about art’s potential as a bearer of several messages at the same time – a purely entertaining and narrative aspect of the story being told as well as an underlying, more serious and insistent layer as a statement of the will to internal resistance and a challenge to resist the pressure from without.

When the Thieves Became Masters in the Land of the Shamans