Valkeapää's Use of Photographs in Beaivi áhčážan: Indigenous Counter-History versus Documentation in the Age of Photography

Abstract This article examines the photographic material of the Sámi cultural mobilizer Nils-Aslak Valkeapää's Beaivi áhčážan (The Sun, My Father), published in 1988, with theoretical perspectives from anti- and postcolonial studies. The analysis focuses on how Valkeapää's use of photographs involves that the colonial past is examined from the vantage point of the anti-colonial present of the 1980s. Valkeapää's re-contextualization of photographs from ethnographic collections assembled in the late nineteenth and early twentieth centuries in a book he called a family album of the Sámi is discussed as an example of Sámi counter-history that is part of the decolonization process. When analysed with perspectives from anti- and postcolonial studies, the documentation of the way of life of the Sámi people in the late nineteenth and early twentieth centuries exemplifies a practice which has constructed the Sámi as the others of modern society. The article discusses how the construction of the Sámi as the others of modernity is deconstructed and challenged in present-day indigenous identity politics.