The Yoik

The yoik (also known as joik) is a traditional form of song of the Sami population in Sapmi. Origins tell of elves and fairies of the arctic lands giving yoiks to the Sami population. As a unique expression of music, yoiking is viewed as a very personal and spiritual practice (5). As stated by Kathryn Burke, “one does not yoik about something, one yoiks something or someone”. A yoik is produced as an attempt to capture the essence of an entity and the singer offers a story using words, rhythm, melody and various expressions (1). It is often dedicated to an individual, a landscape or an animal reflecting a personal and individualistic relationship (2).

The yoik is not viewed as a performance but is rather intended to have various social functions including self-expression, the sharing of memories and building relations within a community, both familial and external (1). As discussed with Merlyn Driver, children receive their own yoiks and the more important someone is, the more yoiks they accrue throughout their lifetime.

As a cultural form of expression, yoiking cannot be understood in the conventional western music ascription (1). The traditional yoik is almost completely vocal, with the practice occasionally being accompanied by the use of drums (as seen by the picture below) (3). In fact, the sound of a yoik has been compared to some traditional chanting performed in various Native American cultures (2). Moreover, the structure of the yoik is not definitive – it is circular in the sense that it has no beginning and no end, reflecting nature’s cyclical process (1). Most importantly, traditional yoiks possesses either short lyrics or no lyrics at all and as an expression of dedication, is often unique and improvised (5).

The Yoik

As a practice, yoiking was a key aspect of Sami traditional religion, whereby a noaidi (or shaman) used yoiking and ceremonial drums for incantations (5). The Christianisation of the Sami and the process of modernisation caused the yoik to become misunderstood as being a magical practice. Yoiking was condemned as a sinful and satanic practice, causing it to become persecuted and oppressed (1). In the 1950s and under Norwegian policy, yoiking was completely banned and as a result, went underground and was thought to have become a form of secret communication between Samis (2, 5).

During the 1960s/1970s, a revitalisation in Sami culture lead to a renaissance in the practice of yoiking. The emergence of record companies owned by Sami lead to a spike in the number of Sami music release, with current yoiking being integrating into modern pop culture. The revitalisation of yoiking led to a differentiation in style – traditional and contemporary style, often incorporated by young musicians into contemporary Sami music. Interestingly, one of the most notable revitalisation was observed in the film Frozen which was heavily inspired by Sami culture and Sami music (2).

The survival of yoiking throughout the centuries to the present day, despite the subjugation faced by Samis concerning their culture and practices, is therefore a phenomenal achievement and must be continuously celebrated (4).

Click here to listen to Sami joik music (playlist provided by Merlyn Driver)!

References

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