Saqqummersitaq

Blok P makes a great read for people that want to know about more than polar bears and the melting ice cap when it comes to Greenland. The book includes many positive and life affirming messages to those of us that think living in 1960s housing, in any country, was pure torture. The memories collected for this project are both nostalgic and happy - about things such as running water, having a bathtub, forming new friendships and communities and having access to Nuuk’s shops and pubs. On the more serious side, the book is a useful reflection on the role of architecture in the historical and ongoing physical and social violence of Nordic colonialism. But, most of all, the book is an essential reminder about the most important part of the Arctic - the people – and how they actively and continuously adapt and reimagine their worlds. With or without polar bears.

Five and a half years after its first appearance as a printed book in 2014, the transdisciplinary anthology The Postcolonial North Atlantic: Iceland, Greenland and the Faroe Islands, edited by Professor Lill-Ann Körber (Aarhus Universitet) and Associate Professor Ebbe Volquardsen (Ilisimatusarfik), came out in an open-access second edition today. Stored on the document server of Humboldt-Universität zu Berlin, the book can from now on be downloaded free of charge by anyone.

Whereas a new preface, written by the editors, has been added, the articles in the volume have not been changed or amended since the first edition, and thus reflect the state of the art of the first half of the 2010s. Yet, the texts remain relevant and topical in that they provide fundamental insight into negotiations of the postcolonial status of the North Atlantic nations, and into manifestations of their interconnected, often competing, histories in literature, language, politics, art, fashion, and public discourse. They invite to comparative investigations into the region’s past and present as seen from its diverse and distinct viewpoints, and to explorations of this part of the Nordic region from a joint critical postcolonial perspective.

It is the editors’ hope that The Postcolonial North Atlantic will find many curious new readers and re-readers among students, scholars, and the broader public; and we look forward to continued discussions and North Atlantic journeys.

The new research project "The Art of Nordic Colonialism: Writing Transcultural Histories", is funded by the Danish Carlsberg Foundation, and brings together researchers, curators, and artists working on art and visual culture related to Nordic colonial projects in the Caribbean, West Africa, India, Greenland, Iceland, and Sápmi. Organised by the Nuuk Art Museum and hosted by Department of Cultural and Social History at the University of Greenland, the research group held a public one-day conference at the University of Greenland during “Nuuk Nordisk Kulturfestival” 2019.

Artists took actively part in imperialist projects from the 17th century and onwards, either as participants in colonial expeditions, as »tourists« and travelers, or as onlookers from home. At the same time, colonized subjects used aesthetic practices in their resistance to colonial rule. The conference inaugurated a collective examination and discussion of the role colonialism has had on the creation and reception of art and art histories across the Nordic countries and their former colonies from the 1600s up until the present. Responding to three artworks from the Nuuk Art Museum's collection, first and second year students from the Department of Cultural and Social History presented individual "think pieces" on the connections between visual art and colonial history in Greenland to an international audience.

This paper investigates the cultural-historical processes that connect early twentieth century Arctic colonial histories with experiences of coloniality. Ada Blackjack was the only survivor of an expedition that travelled to Wrangel Island in September 1921. An Inupiat from Nome, Blackjack had joined four Anglo-European men recruited by the Canadian anthropologist and explorer Vilhjalmur Stefansson to reclaim the island for the British Crown. Although the only member of the group remotely ‘at home’ in the Arctic environment she was consequently accused of neglecting or even murdering a male colleague, after the rest of the men had disappeared to seek help across the ice in January 1923. As she defended herself in the press, Blackjack was framed either as a heroic ‘female Robinson Crusoe’ or a questionable anti-wife who had failed to assist the endeavor of building “A new Empire of the North”. Linking this micro-historical episode of Arctic colonial history to the macro-historical matrix of imperial power and expansion, the paper exposes the contested nature of Arctic historiography. While illustrating the entangled nature of cultural and social memory it also explores the transformative potential of historical research that both implicates and unsettles established global narratives.

This paper was presented as part of the panel "Varieties of colonial history" at the 12th Annual Conference of the International Society for Cultural History at Tallinn University. It will be submitted for peer-review/publication in 2020.