The dreary afternoon of March 3rd was decidedly brightened when the voices of seven women emerged at Market Hall. The matinee performance, Vástádus Eana or The Answer is Land, presented the contrast between silence, sound, and the spaces in between. As the 2:00 p.m. show began, Public Energy Performing Arts filled the Peterborough Square Courtyard where audience members gathered to view the beginning movements of director and choreographer, Elle Sofe Sara’s performance. 

Much like Indigenous populations around the world, the Sami people have been subjected to continuous efforts aimed at destroying their culture. Loss of language, traditions, and continual displacement is not something simply of the past, but something that passively continues in contemporary society. 

Created to turn the poem, “The Answer is Land,” into a dance and express Sami traditional songs, termed yoiks, Vástádus Eana is an interpretative expression of a collective love for nature. As described by Elle Sofe Sara in the show’s pamphlet, this performance was based on a variety of different yoiks: “The yoiks are mountain yoiks and yoiks relating to nature. Some are from the archives, some composed by Frode Fjellheim… and one of the yoiks is composed by me.”

Following the initial performance in the courtyard, the audience followed silently behind the performers as we were directed through the back entrance of Market Hall. Moving from the stairway into the auditorium, the audience emerged behind the curtain, passed through the set of dangling knitted fabrics of ranging red and orange hues, and took a seat awaiting the remainder of the performance. 

The show itself was not what we often see in contemporary performances. Not confined to a polished, unanimous choreography, it did not present as a show but rather as an intimate gathering reliant on personal expression. As noted by one of the dancers, Nora Svenning, in the question & answer portion which followed the performance, the show is “different from performance to performance because it is improv. In that sense, it is very open, but disbalance is a keyword.” 

The first two indoor songs were done under ominous lighting. Presenting as almost colour void, the stage was light with darker greys overlaid with a touch of yellow. When the third song began, the stage erupted with colour. With the engagement of spotlights and the highlighting of the backdrop, the performer’s uniform black outfits with red hemming presented a unique contrast. Feet stomping the floor in unison, along with the harmonizing voices of the women emanated throughout the theatre. 

Highlighting the use of vocal sounds, the performers employed microphones whilst carrying megaphones to articulate the importance of telling a story which has been socially diminished throughout history. Each song was meant to tell a different story—coupled with the fluid movements of differing trios, duos, or solos, there was continuous action. As the scenes personified unison, it was clear that the story was one of resistance.   

As the performance came to a close the auditorium erupted with applause. While pressed for time, the performers aspired to answer audience questions and discuss the performance further, while still leaving it up for the audience’s interpretation. Sara Marielle Gaup Beaska was the first to speak. She highlighted the geographic location of the Samis as including Norway, Sweden, Finland, and part of Russia. Sara then took a moment to identify the current issues faced by the community. Specifically, she noted the placement of wind turbines set up in Norway which infringes on the cultural practices of reindeer herding. 

While the Sami people were able to make this issue known and win legal battles through the Supreme Court to try and have them removed, little has been done by governmental entities in response. Sara notes “They want it to be quiet,” and states “We really need help to get the story out.” 

The performance Vástádus Eana, while interpretative, proposes an expression of cultural and historical issues. Established in an educational way, this performance is not simply a show but rather a story. One where, as Sara mentions, “you should feel yourself” and the audience’s interpretation is as correct as that of the performers.