DD10 jagi bilde

Dáiddadállu 10 jagi Artworks


Dáiddadállu celebrates art and its unique Sámi artist network by pushing the boundaries of creativity in connection with its 10-year anniversary in 2024. Read more about the exhibition content below.

With visual artists, musicians, dancers, choreographers, authors, scenographers, designers, directors, actors and yoikers, we have created new and long-awaited art for public space in Guovdageaidnu as well as several brand new art works. 

Dáiddadállu 10 jagi will continue into 2025 and we will fill exhibition arenas and stages, hills and mountains locally, nationally and internationally with new Sámi contemporary art. 

Welcome to Dáiddadállu’s big 10-year celebration!

2 Guovdageainnu áhkut Johan Fredriksson

Guovdageainnu áhkut by Hilde Skancke Pedersen. Photo: Johan Fredriksson

Rávnnjit Per Heimly

Rávnnjit by Máret Ánne Sara. Photo: Per Heimly

Guovdageainnu áhkut

Art in public space and visual artwork in the group exhibit

In 2021, Hilde Skancke Pedersen created an installation called Áhkut, consisting of seven gouache paintings on paper. Now the artist has created an outdoor public art version of the installation.

The artwork conveys a tribute to the traditional women who live in Guovdageaidnu and elsewhere in Sápmi. These strong women have a unique history and very special knowledge of Sámi way of life and culture, and are a great inspiration with their strength, their indomitability and their courage. Several people still wear Gákti, Sámi traditional clothes, on a daily basis, effortlessly carrying on the Sámi craft tradition of duodji.

For these women, it is natural to always wear the Gákti, but they may represent the last couple of generations to do this. The artist sees this installation as a cultural-political, historical and feminist statement.

Skancke Pedersen's work is a tribute to women, and not least to Sámi women, who have acted as glue in Sámi society, both within the family, in triple work at home, in reindeer herding and other professional work, and in political life. They have had to navigate the unclear structures between the historical matriarchy and macho society, and they have lived through a hard period of Norwegianisation.

When the artist created the original installation, she wanted the work to radiate warmth, care, gratitude, love, life wisdom and humor, something the work also has been met with where it has been shown. Through the public artwork Guovdageainnu áhkut the work has now been made available to everyone, at all times of the day and in all seasons.


Supported by: Nasjonalmuseet, Nordnorsk kunstnersenter, Dáiddadállu ja RiddoDuottarMuseum.


Art in public space and visual art

Rávnnjit means stream, and the work takes its visual form from the Alta-Kautokeino watercourse, with a map section just above the dam in Čávžu. There is something poetic and meditative in the river current that flows continuously - and the reindeer herds that nomadically move across the landscapes of Sápmi. Both currents are strong primal forces in continuous operation. Thus also a reminder of life and historical presence in landscapes which from centralized circles are considered empty and unused. From a natural perspective, these flows are elementary and infinite resources, but from a national political perspective, it looks very different.

The work does not use naturally felled horns, but only čorvošat or áksánat as they are called; pair of horns still attached to the forehead bone. Sara often works with a closeness to the individual/material and life/death. The same goes for handling whole antlers. It clarifies that each antler is in reality an individual that has been euthanized by either traditional slaughter or natural death and not industrialized slaughter where horns are sawn off larger animals to make room for the animals in slaughter trailers. Čorvošat (the antlers) vary in size, shape and color shades.

Detailed descriptions and recognition of horns are a particularly intricate part of traditional Sámi knowledge of reindeer husbandry. For reindeer herders who specialize in antler recognition and who live so close to their animals, the work will have close, emotional and professional value. For an audience without this knowledge and connection, the work will be a gateway to new knowledge on both a traditional, cultural and political level, Sara says of her herd, which is now streaming down the municipal wall in the reindeer husbandry kingdom's headquarters.


2 katalog redigerad Vuosttaš latnja Johan Fredriksson

Vuosttaš latnja/The first room by Susanne Hætta. Photo: Johan Fredriksson

Formoder Katalog Johan Fredriksson

Formother by Hilde Skancke Pedersen. Photo: Johan Fredriksson

Vuosttaš latnja/The first room

Graphics, sculpture in clay and fur installation

Vuosttaš latnja / Det første rommet / The First Room is an exploration of primordial feminine aspects in the Sámi culture, which touches for example care, warmth, femininity, climate and collectivism. Artist Susanne Hætta is influenced by the Sámi goddesses, religion and mythology. The materials fur, wood and clay are mirroring several thousand years old archaeological findings of pottery and rock art i Sápmi. Hætta wants to come closer to the female values and deities in the Sámi religion.

Care: The title alludes to the embracing qualities of the womb, which in truth is the first room a human experiences.

Warmth: In the arctic and sub-arctic climate zone where Indigenous peoples lives, there is a critical need for warmth and heating. Sufficient warmth and predictable temperatures at the right time of the year are the conditions of life for the nature that Indigenous peoples live from, and live in. Women keep their family warm by providing clothes and materials for shelters.

Femininity: Skins and fur are tactile materials. In Sámi tradition, duodji of fur, skins and textile, dipmaduodji, have been the women’s domain. By using these materials, the artist pays hommage to the adaptation skills in the Sámi culture.

Climate: Indigenous peoples in the arctic need the climate they have adapted to through thousands of years, with seasonal changes. Fur is a material that has made life in the arctic possible. At the same time, they experience climate changes that shifts the balance in Sámi lives, and the conditions for life changes.

Collectivism: Collective methods and ideology have a stronger standing in Sápmi than in the more individually oriented majority society. In the artists work she seeks ancient knowledge both within people, from literature and science.


Funded by: Dáiddadállu, Sámi Dáiddačehpiid ja Girječálliid Buhtadusfoanda (SKFV) ja Bergensensenstiftelsen leat dorjon.


Wall installation

The artist´s great grandmother was taken from her mother when she was eight years old. Her mother was arrested and imprisoned after her involvement in the Kautokeino rebellion. Gunhild was adopted by a family in Talvik, and lost her Sámi identity.


No. 92

Visual art

The artist chooses to show two photographs of an unknown Sámi woman as a symbol of women like her great great grandmother Kirsten Andersdatter Spein Pulk. The photograph is only labeled Kirsten Andersdatter, a common name in Finnmark at the time. Kirsten Andersdatter Spein Pulk was alive at the time when the French count Roland Bonaparte traveled in Sápmi with a photographer, depicting Sámi individuals.




The artist wants to spread optimism with this work, which is based on Sámi duodji, with parts from used Gákti (Sámi traditional clothes), woolen cloth and ribbons wrapped around a traditional Sámi ladder.



Performance and visual art

The project Guoddi represents a unique art performance where dance and music are sculpted through the expression of avant-garde duodji. These elements, deeply rooted in the Sámi craft tradition, move towards highly experimental forms of expression. "Guoddi", a word from the Northern Sámi language that means someone who carries, in this context becomes a metaphor for the role of the dancers. They wear body parts that symbolize pride and strength, but also the weight and burden that carrying an indigenous culture can entail.
is thus a central element in this performance, a bearer of cultural identity and history. Through a creative collaboration between designer and duojár Ann-Sofie Kallok, dancers Ánna-Katri Helander and Sebastian Björkman and composer Anthoni Hætta, a new and exciting artistic landscape is explored, where the body elements not only influence, but determine the direction of the other art forms. The composer and dancers draw inspiration from the expression, movement and temperament of the elements.

In the final product, music and dance are united in a way that elevates the avant-garde elements into a powerful, challenging and multidimensional performance. This performance is not just a dance, but a symbiosis of art forms that together create a unique and memorable experiences.

Visual art: Ann-Sofie Kallok
Composer: Anthony Hætta
Dancers and choreography: Ánna-Katri Helander og Sebastian Björkmann
Costume: Ann-Sofie Kallok
Make-up and hair: Ina M. Tretnes
Sound and light: Tuupa Records Oy

Thanks to jewelers Angelina Clerici and Linn Fahsing, Esben T. Andersen, Beaivváš Sámi Našunálateáhter, Davvi Division, Hilde Skancke Pedersen, Juhls Silver Gallery, Fredrik Prost. Supported by Dáiddadállu, Dáiddafoanda, Directorate of Culture, Konstnärsnämnden and Nordic Culture Contact.

Guoddi foto Anne Katja Gaup

Guoddi performance. Photo: Anne Katja Gaup

26 Suoidnekaboom Elle Norvang

Suoidnekaboom performance. Photo: Elle Norvang

3 katalog redigerad Jietna vuoiŋŋat Johan Mathis Gaup

From Jietnavuoiŋŋat concert. Photo: Johan Mathis Gaup


Performance art and visual art

In Suoidnekaboom, reindeer stomachs and senna grass meet with performing arts and living bodies. The work explores the physical materials in relation to materials' inherent potential, cultural use and context.
Following an invitation to create new works for Dáiddadállu's 10th anniversary, Máret Ánne Sara has invited stage artists Anitta Katriina Suikkari and Anja Saiva Bongo Bjørnstad, Alexandra Wingate and Li Taiga to interact and interpret some of the physical materials and works Sara has worked with recent years, with a particular thematic context for Pile o´Sápmi and the series of works for the Venice Biennale in 2022. Suoidnekaboom is a work where individual artistry and different artistic branches, experiences and expertise, meet in free space. The group has worked closely for over 2 years, both in physical workshops and conversations, to understand what the visual art and materials mean in relation to the performing arts and for us in a collective sense.

From this, a performance art piece has emerged that examines existential durability under pressure. How does prolonged pressure affect the complex inner landscape, in relation to oneself and others? How does the inner life live in sync or out of sync with the external life, and what does this do to people, relationships and society? The work focuses on important discussions related to the work with the Truth and Reconciliation Commission in the wake of the harsh pre-Norwegian treatment of the Sámi, and the ongoing mechanisms of this which are still strongly felt in Sápmi today. Where small societies are often based on dependency relationships in both material and immaterial contexts, at the same time that immaterial values and relationships are put in competition with individual material survival.

Visual art and artistic direction: Máret Ánne Sara
Movement material: Anja Saiva Bongo Bjørnstad, Anitta Katriina Suikkari, Li Taiga, Alexandra Wingate ja Anna-Katri Helander.
On stage: Anja Saiva Bongo Bjørnstad, Anitta Katriina Suikkari ja Li Taiga
Choreography: Alexandra Wingate
Assistant visual arts: Li Taiga

Thanks to Beaivváš Sámi Nášunalteater and Ole Tomas Nilut, Jan Cato Nilut and Olav Johan Eira for technical support. With support from Dáiddadállu, Dáiddafoanda, Arts and Culture Norway and Davvi center for performing art.



With Jietna vuoiŋŋat, musician Bernt Mikkel Haglund and joiker and actor Ingá Márjá Sarre will create a unique musical experience through a fusion of newly created joiks and modern music, with rhythmic danceable elements. And experimental voice use is inspired by natural sounds and the essential elements.

Artists: Bernt Mikkel Haglund ja Ingá Márjá Sarre
Dancers & choreography: Marit Shirin Carolasdotter
Hair & make-up: Ina M. Tretnes
Costume: Hilly Sarre ja Gunn Hansen Pulk

Supported by: Sámi Art Fund and Dáiddadállu.