Jérémie McGowan (BAD 2001) is a Fulbright Fellow with the Giellagas Institute for Saami Studies at the University of Oulu. McGowan's work, inspired by travels in Circumpolar Norway, Sweden and Finland, will be exhibited through October 2002 at the Fulbright Center. Photographs of arctic landscapes are displayed with artworks created by the artist's intimate connection with arctic mythology. Unifying the diverse range of media is the theme intrinsic to McGowan's works: What is the relationship between the modern artist and the ancient shaman? The following essay by McGowan was published in the Fulbright Center News of March 2002.
Design Mythology
Beaivvás is the Sun, and his daughter is Akanidi. Once long ago, Akanidi grew restless, tired of her life in the heavens. Akanidi begged leave of her father, wishing to live among mortals. Beaivvás asked, “What is upon earth? Here you have clouds as play-mates, sun rays to dance with, and you sing with the wind!” But Akanidi persisted, and the next morning awoke in the goahti of an old man and woman, who possessed no children of their own. It was a desolate place, that barren island where Beaivvás had sent his daughter. The Sun drove his sled through the skies, and so years passed, and Akanidi was soon a beautiful maiden, full of love and joy. Akanidi’s ancient guardians said to her, “You must go now, daughter, and visit other lands.” The old man accompanied Akanidi to the nearest siida, and Akanidi entered the first goahti she found. She asked the people dwelling there to join her by a riverbank, where she danced and sang. Then the Sun Daughter taught people how to embroider cloth with beads and magnificent colors. Akanidi taught people patterns for the stars, sun, moon, and birds’ tracks. In every goahti people began making beautiful objects. Akanidi told stories and sang, teaching people the joiks for the hunt, the sea, and the sun. But there were the jealous ones who despised Akanidi and the joy she was spreading. So one day these envious people threw a large rock upon Akanidi while she was sitting with some children in a goahti, fashioning buttons from mussel shells. The Sun Daughter let out a sigh, and sang her final song. When she finished singing, Akanidi returned to the heavens through the smoke hole in the goahti. The Sun Daughter never returned to earth, but her songs, dances, and patterns remain. Akanidi’s ways have been taught to children after children, whose eyes and ears are open. Their hearts become warm, and happiness finds them. This story is a true account of the first time Sámi men and women met Akanidi, the Sun Daughter, Beaivvás’ girl.
Indigenous peoples’ knowledge is a powerful resource for the designer. This story describes how joy and happiness came to the Sámi. Equally interesting in this oral tradition is the idea that the Arts are of divine origin. Sámi mythology continues to be markedly collective. This is because the oral tradition is more important than a specific narrator, the individual. Obviously, this contrasts with the idea of the Artist found in the Western world.
Problems arise the moment mythology is used. Yet myths can and should be used by designers, understanding that the use of icons, symbols, and set visual vocabulary does not necessarily render a designer’s work mythological. The power of mythology is the system, not the material byproduct. The designer utilizing mythological thought patterns generates valid mythological creations.
The indigenous view of mythology can be combined with a personal approach to art, synthesizing collectivity and individuality. Illustrating this is Sámi joik. Joik is a Sámi art form deeply rooted in cultural heritage and mythological traditions, a communal creation where the actual performer is secondary to the joik. Linguistically, in joik, the subject and the action are identical- the performer remains anonymous. Anonymity is a lesson many modern designers could benefit from learning. Often, a designer’s personality, or ego, drowns the collective voice.
The challenge for any designer inspired by mythology is to create a personalized mythological system that is capable of affecting collective public consciousness. The truly mythological design is not a recreation of ancient mythology’s visual languages. Myths can continue to be of social importance when mythological imagery is made relevant for today’s world. “Design Mythology” is intended as a personal call to action, instructing creative people to actively design mythology.
The designer who sacrifices her/his individuality, and chooses to favor the creation over the creator, will make creations that are vital to life. Designers must create myths, not designs about mythology.
Notes:
“How Joy and Happiness Came to the Sámi,” traditional story by Elina Helander.
Translated and abbreviated by Jérémie Michael McGowan.
Goahti - the traditional tent or dwelling of Sámi nomads
Siida - the “place,” or “home,” the social structure in Sámi society Joik - Sámi art form, singing based in oral traditions
