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=== 'Ethnic' sound === === 'Ethnic' sound ===

], stands for a folk ethnic identity in ''Oppskrift for herrefolk''.<ref name="Kvifte 2011"/>]]


In 2003, the musicologist Olle Edström called the album's lyrics "still highly political", but noted that the music had changed, with folk musicians from Sweden, Peru and elsewhere, making the album "World music", or more precisely in Edström's characterisation "a mixture of rock with quasi-West-African rhythms, with short phrases sung in a kind of Sámi/Native North-American technique and with rather few harmonies or drone-like harmonies".<ref name="Edström 2003"/> In his view, the musical forms are simple, with "the musicians playing 'ethnic'<!--his quote marks--> instruments such as the West African drums, ], Greek bouzouki, etc".<ref name="Edström 2003"/> He describes her singing style as "a special 'ethnic' voice technique of her own" that "reminds Samish listeners in part of traditional ] technique and convinces European listeners that it is".<ref name="Edström 2003">{{cite journal |last1=Edström |first1=Olle |title=From Jojk to Rock & Jojk: Some Remarks on the Process of Change and of the Socially Constructed Meaning of Sami Music |journal=Studia Musicologica Academiae Scientiarum Hungaricae |date=2003 |volume=T44 |issue=Fasc. 1/2 |pages=269–289 |jstor=902650}}</ref> In 2003, the musicologist Olle Edström called the album's lyrics "still highly political", but noted that the music had changed, with folk musicians from Sweden, Peru and elsewhere, making the album "World music", or more precisely in Edström's characterisation "a mixture of rock with quasi-West-African rhythms, with short phrases sung in a kind of Sámi/Native North-American technique and with rather few harmonies or drone-like harmonies".<ref name="Edström 2003"/> In his view, the musical forms are simple, with "the musicians playing 'ethnic'<!--his quote marks--> instruments such as the West African drums, ], Greek bouzouki, etc".<ref name="Edström 2003"/> He describes her singing style as "a special 'ethnic' voice technique of her own" that "reminds Samish listeners in part of traditional ] technique and convinces European listeners that it is".<ref name="Edström 2003">{{cite journal |last1=Edström |first1=Olle |title=From Jojk to Rock & Jojk: Some Remarks on the Process of Change and of the Socially Constructed Meaning of Sami Music |journal=Studia Musicologica Academiae Scientiarum Hungaricae |date=2003 |volume=T44 |issue=Fasc. 1/2 |pages=269–289 |jstor=902650}}</ref>

Revision as of 10:05, 3 November 2024

1989 studio album by Mari Boine
Gula Gula ("Listen, listen")
Cover of the international version by Real World Records
Studio album by Mari Boine
Released1989
RecordedAugust–September 1989
StudioRainbow Studio, Oslo, Norway
GenreNordic traditional, Folk
Length34:35
LabelVirgin
CDRW 13
ProducerTellef Kvifte
Mari Boine chronology
Jaskatvuoa maá
(1985) 		Gula Gula ("Listen, listen")
(1989) 		Goaskinviellja
(1993)

Gula Gula is an album by the Sámi singer Mari Boine, recorded in 1989 and released on the Iđut and Virgin labels. It provided her breakthrough, making her internationally famous; it was followed by numerous other albums. It won a Norwegian Grammy award in 1989. Boine appeared on the album as "Mari Boine Persen", her Norwegian name; on later albums she used her Sámi name only.

The album was further released in 1991 by Atlantic (91631) and in 1993 by Real World Records (62312). An extended CD with bonus tracks was released by EmArcy/Universal (0177812) in 2000.

Scholars have noted the album's feminist message and its apparently ethnic sound, while doubting the music's specific connection to Sámi tradition or ethnicity.

Approach

The album is rooted in Mari Boine's experience of being in a despised minority; the song "Oppskrift for Herrefolk" ("Recipe for a Master Race") is sung in Norwegian, unlike the rest of the songs which are in Northern Sami. It speaks directly of "discrimination and hate", and recommends ways of oppressing a minority: "Use bible and booze and bayonet"; "Use articles of law against ancient rights". Other songs tell of the beauty and wildness of Sápmi (Lapland). The title track asks the listener to remember "that the earth is our mother". Boine described in an interview with Norwegian American how the songs came about:

I became very angry to our repression, to the fact that we were told that there was something wrong with our language and our culture. And it resulted in a sort of a volcano, in an explosion of songs that just came to me.

Boine sings in an adaptation of traditional Sámi style, using the "joik" voice, with a range of accompanying instruments and percussion from indigenous traditions from around the world. The instruments used include drum, guitar, electric bass clarinet, dozo n'koni, gangan, udu, darbuka, tambourine, seed rattles, cymbal, clarinet, piano, frame drum, saz, drone drum, hammered dulcimer, bouzouki, overtone flute, bells, bass, quena, charango and antara.

Track listing

All tracks are composed and performed by Mari Boine. All are in the Northern Sámi language, except as indicated.

  1. "Gula Gula" (Hør Stammødrenes Stemme/Hear the Voices of the Foremothers) - 03:40
  2. "Vilges Suola" (Hvite Tyv/White Thief) - 04:15
  3. "Balu Badjel Go Vuoittán" (Når Jeg Vinner Over Angsten/When I Win Against Fear) - 04:00
  4. "Du Lahka" (Near You) - 05:14
  5. "It Šat Duolmma Mu" (You Don't Step on Me No More) - 03:48
  6. "Eadnán Bákti" (Klippen – til Kvinnen/To Woman) - 03:17
  7. "Oppskrift for Herrefolk" (Recipe for a Master Race) - 03:54 (in Norwegian)
  8. "Duinne" (Til Deg/To You) - 06:27

Bonus tracks on 2000 CD:

  1. "Oarbbis Leat" (Fremmed Fugl) - 05:31
  2. "Čuovgi Liekkas" (Radiant Warmth) - 04:11
  3. "Gula Gula" Chilluminati mix - 04:48

Personnel

Mari Boine performing with a traditional drum in 2007
  • Mari Boine - vocals, drum, guitar
  • Eivind Aarset - guitar
  • Christer Bo Bothen - electric bass clarinet, dozo n'koni, ganga
  • Unni Shael Damslora - claypot (udu), darbuka, tambourine, seed rattles, cymbal
  • Tellef Kvifte - clarinet, piano
  • Roger Ludvigsen - guitar, breath, piano, frame drum, saz
  • Ale Möller - drone drum, hammered dulcimer, bouzouki, overtone flute
  • Gjermund Silseth - bells, bass, piano
  • Leiv Solberg - bass
  • Carlos Zamata Quipse - quena, breath, charango, antara

Reception and legacy

Breakthrough album

The AllMusic review awarded the album 5 stars.

Professional ratings
Review scores
SourceRating
AllMusic
NME7/10
Select

Silje F. Erdal, for Norway's FolkMusikk organisation, described the album as Boine's breakthrough, especially when Peter Gabriel re-released it on his Real World label. She noted that it was commissioned for the Beaivváš Sámi Našunálateáhter theatre, and that the title song "Gula Gula", with its call to "hear the voices of the tribal mothers", has an "obvious feminist message". It won a Norwegian Grammy award (Spellemanprisen) in 1989.

Merlyn Driver, writing for Songlines thirty years after the album's release, comments that "If you’ve heard of just one Sámi musician, it's probably Mari Boine", and that her voice "a bewitching combination of melancholy, vulnerability and strength, has never sounded more impressive than on Gula Gula".

The title song formed the first (instrumental) track of the Norwegian jazz musician Jan Garbarek's 1990 album I Took Up the Runes. The contemporary reviewer Jim Aikin called the track "especially memorable".

Siv Ellen Kraft notes Boine's family background, her family "unusually strict" followers of Laestadian Lutheran revival protestantism, "dominated by the Bible and doomsday". Music was entirely forbidden, except for hymns; in particular, the joik voice that Boine uses on Gula Gula "was connected to the devil himself", not least for its association with the pagan Sámi religion which preceded Christianity in the region.

'Ethnic' sound

The seljefløyte, a Scandinavian willow flute, stands for a folk ethnic identity in Oppskrift for herrefolk.

In 2003, the musicologist Olle Edström called the album's lyrics "still highly political", but noted that the music had changed, with folk musicians from Sweden, Peru and elsewhere, making the album "World music", or more precisely in Edström's characterisation "a mixture of rock with quasi-West-African rhythms, with short phrases sung in a kind of Sámi/Native North-American technique and with rather few harmonies or drone-like harmonies". In his view, the musical forms are simple, with "the musicians playing 'ethnic' instruments such as the West African drums, mbira, Greek bouzouki, etc". He describes her singing style as "a special 'ethnic' voice technique of her own" that "reminds Samish listeners in part of traditional jojk technique and convinces European listeners that it is".

In 2011, the scholar of folk music Tellef Kvifte, who performed on the album, states that "to sound 'ethnic'" (his inverted commas) has become purely a matter of style, not necessarily relating to a specific ethnic group. Thus, he writes, Oppskrift for herrefolk (track 7) is accompanied by charango (an Andean stringed instrument) played by Carlos Quipse, "a Peruvian Indian", while the electric guitarist, Roger Ludvigsen, is like Boine ethnically a Sámi. Kvifte mentions, too, the seljefløyte ("willow flute"), an overtone instrument which hints at "a general Scandinavian folk ethnic identity". In his view, Boine was most likely aiming at a "multi-ethnic" music, including Quipse to express her solidarity with other oppressed peoples. He describes the role of the seljefløyte as taking part in "a kind of musical battle" with the electric guitar. In his view, the "Master Race" of the song's title is symbolised by the electric guitar, while the seljefløyte stands for the oppressed people. He questions the replacement of the electric guitar in the album's international version with a cimbalom (hammered dulcimer). The change may, he feels, have raised the song's "ethnic profile", but it increases the "conflicting ethnic signals". He concludes that sounding ethnic is part of a movement towards a global romanticism, in which sounding authentic is a value disconnected from actual ethnicity.

References

  1. ^ Ferdal, Silje (23 March 2011). "The one and only - Mari Boine". FolkOrg.no. Retrieved 6 October 2020.
  2. "RealWorld". RealWorldRecords.com. July 1990. Retrieved 11 November 2011.
  3. "lyrics". Oook.info. Retrieved 5 October 2020.
  4. Mari Boine Persen, Gula Gula lyrics. "Mari Boine Persen Gula Gula Lyrics". Archived from the original on 31 March 2012. Retrieved 2 September 2011.
  5. ^ Nikel, David (13 October 2018). "Mari Boine: The Sound of the Sami". Life in Norway. Retrieved 6 October 2020.
  6. ^ Edström, Olle (2003). "From Jojk to Rock & Jojk: Some Remarks on the Process of Change and of the Socially Constructed Meaning of Sami Music". Studia Musicologica Academiae Scientiarum Hungaricae. T44 (Fasc. 1/2): 269–289. JSTOR 902650.
  7. Kraft, S. E. (2015). "Shamanism and Indigenous Soundscapes: The Case of Mari Boine". In Kraft, S. E.; Fonneland, T.; Lewis, J. R. (eds.). Nordic Neoshamanisms. New York, New York: Palgrave Macmillan. pp. 235–262. doi:10.1057/9781137461407_13. ISBN 978-1-137-46140-7. Retrieved 19 February 2021.
  8. Aubinet, Stéphane (2020). The Craft of Yoiking: Philosophical Variations on Sámi Chants (PhD thesis). Oslo, Norway: University of Oslo. pp. 272–274. hdl:10852/77489.
  9. Booklet accompanying CD, Gula Gula, Mari Boine Persen, Real World Records (CDRW13), 1990.
  10. ^ AllMusic Review accessed 5 October 2020
  11. Morgan, Andy (1 September 1990). "Long Play". NME. Retrieved 24 February 2023.
  12. Prendergast, Mark (September 1990). "Mari Boine Persen" Gula Gula". Select. No. 3. p. 76.
  13. Driver, Merlyn (27 March 2020). "The 10 Essential Sámi Albums". Songlines.
  14. Aikin, Jim (May 1991). "In Review". Keyboard. 17 (7 (#181)): 17.
  15. ^ Kraft, Siv Ellen (2015). "Shamanism and Indigenous Soundscapes: The Case of Mari Boine". Nordic neoshamanisms. New York: Palgrave Macmillan. pp. 235–262.
  16. ^ Kvifte, Tellef (14 June 2011). "Hunting for the Gold at the end of the Rainbow: Identity and Global Romanticism". Popular Musicology Online. Salford: Popular Music Research Unit at Salford University, England. and on ResearchGate.

External links

  • Official website – lyrics of all tracks in English, Northern Sámi, and Norwegian
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