In Nuuk, the capital of Greenland, there have been a significant number of musical events in rece ... Read more
In Nuuk, the capital of Greenland, there have been a significant number of musical events in recent years that have been called ‘underground’. These have formed an underground scene that offered a cosmopolitan alternative to established ‘greenlandificated’ popular music. This paper accounts for the building of this underground scene by Nuuk youth, and asks why these young people valued musical change informed by a cosmopolitan outlook, while at the same time holding firmly to the conviction that their activities were a part of the dominant Greenlandic nation-building project. Social agents, which played key roles in building the Nuuk underground scene, described their activities as attempts to come to terms with a history in which Greenland has been perceived as a subaltern nation. This enquiry explains the nationalist logic behind a concern with performing similarity with Western nations in the Nuuk underground scene, as opposed to the more widespread romantic nationalist logic concerned with expressing a distinguishable national character. This further leads to an expansion of a position of cosmopolitan nationalism.
Certain Greenlandic popular music artists use the Greenlandic nation brand as a co-brand for thei ... Read more
Certain Greenlandic popular music artists use the Greenlandic nation brand as a co-brand for their music when attempting to gain attention on the international music mar- ket. By examining various strategies for co-branding music together with the Greenlandic nation, this article discusses how the two bands Nive Nielsen and the Deer Children, and Nanook, articulate connections between their music, and Greenland and the Arctic, through narratives, symbols and sounds. Using existing narratives and stereotypes means acting within existing discursive fields, as well as the expectations of international music audiences, and though this may open up new opportunities for the artist, it may also limit the artist’s agency, because the artist may then be expected to act in accordance with these expectations. But in terms of changing the Greenlandic nation brand image, which is very much caught up in narratives from the past, co-branding Greenland and modern popular music could be a strategy with great potential.
Grønlandiseringen under Hjemmestyret har resulteret i forestillinger om en essensbaseret ’rigtig’ ... Read more
Grønlandiseringen under Hjemmestyret har resulteret i forestillinger om en essensbaseret ’rigtig’ grønlandsk identitet i identitetsdiskursen i Grønland. Igennem mit feltarbejde i populærmusikscenen i Nuuk har jeg oplevet en anden identitetsdiskurs basseret på forestillinger om grønlandsk identitet som noget mere inkluderende, komplekst og erfaringsbaseret. Med fokus på rockbandet Chilly Friday og sangerinden Nina Kreutzmann og med referencer til anden forskning indenfor området forsøger jeg her at identificere denne diskurs, for at påvise at essensbaserede forestillinger om grønlandsk identitet bliver udfordret i populærmusikscenen i Nuuk.