“We Are Still Here”: Sofia Jannok’s Vision for Indigenous Resistance with a Touch of Pop
Sofia Jannok was only eleven years old when she shared her yoiking一the traditional Sámi vocal style一to an outside audience. Hailing from the Sápmi region, Sofia Jannok’s work is characterized by fans as transcending soul pop. Jannok swears by her creative process, which involves writing songs in Sámi, Swedish, or English under different themes, atmospheres, and instrumentations. Her song We Are Still Here is a part of her album ORDA: THIS IS MY LAND which was released on April 8, 2016. The album explores the themes of Indigeneity, environmentalism, and the everlasting evolution of Indigenous song. She blends contemporary pop with electronic and folk elements, creating a unique sound with emotive lyrics:
Kill the bison, dig out the reindeer’s land
Gold and iron, blood on greedy hands
Drown the lávvu, burn the tipi down
We raise new ones, survivors we are now
We are still here (x4)
100 years back in the USA
Killed my sisters, cut their breasts away
In Peru, my brothers always stayed
Shot down at home, but this was yesterday
We are still here (x4)
Steal our mother, thieves are not to blame
That’s when laws are written by the same
We are still here (x4)
The song’s lyrics do not shy away from violent depictions of resource extraction. The Sámi peoples of the Arctic have had their homelands impacted by activities such as mining and land encroachment. Amidst a storytelling of struggle and loss, the song emphasizes resilience shared across Indigenous communities: We are still here. A defiant declaration, Jannok’s message is supported by the paintings of Indigenous activistsーand anthropomorphic mining executives and Swedish officialsーtransposed behind a snowy Sápmi.
While watching the music video, I could not help but notice the recordings at the beginning of the music video. They are recordings from a court case between the Sámi community of Girjias and the Swedish State. The speaker is denying the existence of the Sámi as an ethnic group using colonial, legal definitions. This contrasts with her previous music video, Viellja jearra (“Brother asks”), where she reveals biological studies (based on ethnicity) done in Sámi communities in the 1940s. This reveals how the Swedish State will reframe colonial labels, borders, and thought to suit its political agenda.
Jannok’s music ascertains that a traumatic past does not constrain a hopeful present. In an interview with British Vogue, Sofia describes the importance of Indigenous voices:
Our language reveals how essential the surroundings are to us. There are countless descriptions of the reindeer, the snow and the varieties of landscape. We never mention the word ‘nature’. We are nature.
– Sofia Jannok
Jannok has paired her musical career with activism, establishing the Árvas Foundation to support cultural revitalization in Indigenous communities. From being on the frontlines of Standing Rock to donating revenue to the Vaajmoe Sámi choir, Jannok hopes to sing a new world into existence.
Works Referenced
Chan, Emily. “Meet the Indigenous Activist Campaigning to Protect the Reindeer in Sápmi.” British Vogue, British Vogue, 19 Dec. 2020, www.vogue.co.uk/arts-and-lifestyle/article/reindeer-activist-sofia-jannok.
Johnson-Groh, Mara. “Songs for Decolonization: A Q&A with Saami Singer Sofia Jannok.” The New Humanitarian, Arctic Deeply, 1 Sep. 2017, https://deeply.thenewhumanitarian.org/arctic/community/2017/09/01/songs-for-decolonization-a-qa-with-saami-singer-sofia-jannok.
Savage, Maddy. “Reindeer Herders Fear Arctic Industry Boom.” BBC News, BBC, 22 Dec. 2022, www.bbc.com/news/business-63901217.
The artist I looked at, Elle Márjá Eira, is also Sámi. She joiks as well, so it was cool to listen to Sofia Jannok’s music and draw comparisons. I love Jannok’s quote, “Our language reveals how essential the surroundings are to us.” It really conveys how joiking and singing are not done just for entertainment’s sake, but in an effort to preserve and convey their culture.
It’s also really cool to see how Jannok combines music with activism. This is clear through the way she uses her music videos to fight back against unfair policies put into place by the Swedish State.
The artist I chose, Mari Boine is also an Sámi artist. Before choosing her song, I actually listened to a song by Jannok and was interested in how overlapping their themes were. I found the music video really interesting and think that the court recordings included are such an important and unique piece of history for her to choose. It almost starts out with techno beats, but still combines those important aspects of folk and traditional culture. I love the message she shares about their culture, and how many Sámi artists are working not only for self-respect but also to share the appreciation of Sámi heritage. The quote you included is also interesting to me as Boine said a similar quote surrounding nature, where she sings of the pain of oppression and struggle but also the joy of growing up in a culture that has such a close bond with nature.
Sofia Jannok is an absolute gem in the music world! 🌟 Her work, deeply rooted in her Sami heritage, is a powerful blend of traditional yoik singing with contemporary sounds. It’s so refreshing to see an artist who not only celebrates her indigenous roots but also addresses important issues like indigenous rights and environmental activism through her music. Her voice is not just melodious; it carries a message that resonates far beyond her own community. Plus, the way she seamlessly switches between languages in her songs is truly impressive. Sofia’s passion for her culture and her land shines through every performance, making her music an inspiring experience. #SofiaJannok #SamiCulture #MusicWithAMessage 🎵🌍✨
In watching the video you linked and reading the description of Sofia Jannok, I was also incredibly drawn to the recording from the court case juxtaposed with the imagery in the video. The language used by the Swedish state is robotic and horrific. Directly translated, the state is saying “it’s important to know that the state has not discriminated against the Sami,” and “the question is, what exactly is an ethnicity,” which undermines the centuries of trauma the state has inflicted upon the Sami people. From a dialectic standpoint, the state’s phrasing of “the question is, what exactly is an ethnicity,” weaponizes the Swedish language and erases indigenous identity. The artist’s choice to cover the trees with protest art in English subverts the harmful message the government is promoting, and reclaims Sami autonomy. Also, the song rocks. Thank you for bringing Sofia to my attention; I will definitely be listening to more of her music!