Environmental Art for Tourism in the Arctic

Huhmarniemi, Maria; Jokela, Timo

doi:10.54916/rae.119274

Cited by 4 publications

(1 citation statement)

References 9 publications

(12 reference statements)

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“…Mire art is a diverse and long-established field of art that is constantly taking on new forms (Laurén et al 2020;Laurén 2006;Latvala-Harvilahti 2021;Kaukio 2022). 1 The background informing this current trend is that, ever since environmental art first began to enjoy success in Europe in the 1970s, mires along with other outdoor areas have been used for artistic purposes (Huhmarniemi & Jokela 2019). Environmental art is art made in nature or in the cultural environment, and it can take the form of a work, a process or a single event.…”

Section: Introductionmentioning

confidence: 99%

Experiencing a Lament Performance in a Mire

Latvala-Harvilahti

2023

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The article addresses the topical issue of environmental emotions from the perspective of individual experiences of environmental art reception. The research focuses on how the audience experienced lament performances by singer and musician Noora Kauppila in natural mires in Finland, and it asks the research question: What kinds of environmental emotions have laments in the mire provoked, and how are emotions contextualised in audience interviews? Art performances in the mire have become part of a growing international mire trend in the 21st century. I understand mires as a living heritage that reflects the diversity and inter-connectedness of heritage elements (e.g. practices and knowledge concerning nature) experienced by community members and individuals. The effectiveness of art (lament performances) is linked to reception research, which has not previously been applied to mire art performances. In the debate on the impact of art, the experiential perspective has been marginal. In the interview material, individuals’ experiences reveal strong emotions about the endangered environment. The lament performance transformed a mire into a culturally appropriated space for the collective and individual processing of emotions regarding a fragile natural environment. The interviewees reported unwanted changes in their own surroundings, and their feelings about the changes were reflected in the observed decline in the habitats of birds and other mire animals. In a broad sense, the article offers insights into the meanings and changes of an individual’s relationship with nature. The research evidence suggests that a communal context is needed to deal with environmental emotions, especially negative emotions like sorrow, hatred and grief. Likewise, the individual accounts reveal a need for a communal change in abandoning unsustainable lifestyles. The article is based on research that has been undertaken as part of the ‘Mire Trend’ research project at the University of Eastern Finland.

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Section: Introductionmentioning

confidence: 99%

Experiencing a Lament Performance in a Mire

Latvala-Harvilahti

2023

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Experience With the Action Art in the Course of Life of Person: From Experience to Therapy

KOVÁČOVÁ¹,

Ševčovič²,

VALACHOVÁ³

2021

AD ALTA: Journal of Interdisciplinary Research

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The paper describes the real possibilities of using the action art in the course of one’s life from an early age to the old age. The paper presents specific artistic outputs called situational-art-action-models designed for different age groups. These models prompt the participants themselves to action, in particular to tell (re-create) a story, regardless of whether the story was finished or not. The ways in which the participants express themselves are different, as are the different environments in which the art takes place. Unambiguous action art blurs the boundaries, breaks rules, and gives the participants the opportunity to present a person in different forms and looks. The paper is supplemented by photo documentation of art-action models.

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Arctic Arts with Pride: Discourses on Arctic Arts, Culture and Sustainability

Huhmarniemi

Jokela

2020

Sustainability

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There has been growing interest in Arctic arts and culture as well as in sustainability among artists, researchers, and policy makers. However, until recently, the comprehension of Arctic arts and culture within the framework of sustainable development has remained vague. In this study, by analysing diverse debates from the Arctic Arts Summit 2019 in Rovaniemi, we investigate how the arts and culture sector promotes Arctic sustainability. An analysis of abstracts, conclusions, blogs and newspaper articles reflecting the presentations, art events, exhibitions and dialogues showed that the discourse on sustainability is organised around five themes: (1) global politics and ecological crises as part of the cultural politics of the Arctic; (2) indigenous and non-indigenous Arctic arts and culture; (3) ‘handmade’ and the material culture of the Arctic; (4) place-making, revitalisation and regional development; and (5) economy and sustainability. These partly interlinked themes have relevance for policy making, defining principles for arts and culture funding, artistic practice and research on the Arctic. In addition, education and artistic training are important for all of the five themes; therefore, resources for educational institutions are crucial for the sustainable future of the Arctic. Arts, culture and education have the potential to empower people in the Arctic, increase cultural pride, educate and inform global audiences and create connectedness between the past, present and future. Arts, culture and education contribute to Arctic sustainability.

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Environmental Art for Tourism in the Arctic

Cited by 4 publications

References 9 publications

Experiencing a Lament Performance in a Mire

Experiencing a Lament Performance in a Mire

Experience With the Action Art in the Course of Life of Person: From Experience to Therapy

Arctic Arts with Pride: Discourses on Arctic Arts, Culture and Sustainability

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