To make up for past suppression, the authorities of Norway, Sweden and Finland now make an effort to build up Sámi cultural institutions and promote Sámi culture and language.
Sámi identity symbols Although the Sámi have considered themselves to be one people throughout history, the idea of Sápmi, a Sámi
nation, first gained acceptance among the Sámi in the 1970s, and even later among the majority population. During the 1980s and 1990s, a Sámi flag was created, a Sámi anthem was written, and the date of a national day was established.
Sámi flag The Sámi flag was inaugurated during the Sámi Conference in
Åre, Sweden, on 15 August 1986. It was the result of a competition for which many suggestions were entered. The winning design was submitted by the artist
Astrid Båhl from
Skibotn, Norway. The motif (shown right) was derived from the shaman's drum and the poem "Päiven Pārne ("Sons of the Sun") by the South Sámi
Anders Fjellner describing the Sámi as sons and daughters of the sun. The flag has the Sámi colours, red, green, yellow and blue, and the circle represents the sun (red) and the moon (blue).
Sámi People's Day The Sámi National Day falls on 6 February as this date was when the
first Sámi congress was held in 1917 in
Trondheim, Norway. This congress was the first time that Norwegian and Swedish Sámi came together across their national borders to work together to find solutions for common problems. The resolution for celebrating on 6 February was passed in 1992 at the 15th Sámi congress in Helsinki. Since 1993, Norway, Sweden and Finland have recognized 6 February as Sámi National Day.
"Song of the Sámi People" "" ("Song of the Sámi People", ) was originally a poem written by
Isak Saba that was published in the newspaper
Saǥai Muittalægje for the first time on 1 April 1906. In August 1986, it became the Sámi anthem. Arne Sørli set the poem to music, which was then approved at the 15th Sámi Conference in
Helsinki in 1992. "" has been translated into all of the
Sámi languages.
Religion with his
meavrresgárri drum|alt=18th-century engraving of a Sámi man holding a ceremonial drum. Many Sámi people continued to practice their religion up until the 18th century. Most Sámi today belong to the state-run
Lutheran churches of Norway, Sweden and Finland. Some Sámi in Russia belong to the
Russian Orthodox Church, and similarly, some Skolt Sámi resettled in Finland are also part of an
Eastern Orthodox congregation, with an additional small population in Norway.
Indigenous Sámi religion Indigenous Sámi religion is a type of
polytheism. (See
Sámi deities.) There is some diversity due to the wide area that is
Sápmi, allowing for the evolution of variations in beliefs and practices between tribes. The beliefs are closely connected to the land,
animism, and the
supernatural.
Sámi spirituality is often characterized by
pantheism, a strong emphasis on the importance of personal spirituality and its interconnectivity with one's own daily life, and a deep connection between the natural and spiritual "worlds". Among other roles, the
Noaidi, or Sámi shaman, enables ritual communication with the supernatural through the use of tools such as drums,
Joik,
Fadno, chants, sacred objects, and
fly agaric. Some practices within the Sámi religion include natural sacred sites such as mountains, springs, land formations,
Sieidi, as well as human-made ones such as
petroglyphs and
labyrinths. Sámi cosmology divides the universe into three worlds. The upper world is related to the South, warmth, life, and the color white. It is also the dwelling of the gods. The middle world is like the Norse
Midgard, it is the dwelling of humans and it is associated with the color red. The third world is the underworld and it is associated with the color black, it represents the north, the cold and it is inhabited by otters, loons, and seals and mythical animals. Sámi religion shares some elements with
Norse mythology, possibly from early contacts with trading Vikings (or vice versa). They were the last worshippers of Thor, as late as the 18th century according to contemporary ethnographers. Through a mainly French initiative from
Joseph Paul Gaimard as part of his
La Recherche Expedition,
Lars Levi Læstadius began research on Sámi mythology. His work resulted in
Fragments of Lappish Mythology, since by his own admission, they contained only a small percentage of what had existed. The fragments were termed
Theory of Gods,
Theory of Sacrifice,
Theory of Prophecy, or short reports about rumorous Sami magic and
Sami sagas. Generally, he claims to have filtered out the Norse influence and derived common elements between the South, North, and Eastern Sámi groups. The mythology has common elements with other Indigenous religions as well—such as those of Indigenous peoples in
Siberia and
North America.
Christian mission The term
Sámi religion usually refers to the traditional religion, practiced by most Sámi until approximately the 18th century.
Christianity was introduced by
Roman Catholic missionaries as early as the 13th century. Increased pressure came after the
Protestant Reformation, and
rune drums were burned or sent to museums abroad. In this period, many Sámi practiced their traditional religion at home, while going to church on Sunday. Since the Sámi were considered to possess "witchcraft" powers, they were often accused of sorcery during the 17th century and were the subjects of witchcraft trials and burnings. In Norway, a major effort to convert the Sámi was made around 1720, when
Thomas von Westen, the "Apostle of the Sámi", burned drums, burned sacred objects, and converted people. Out of the estimated thousands of drums before this period, only about 70 are known to remain today, scattered in museums around Europe. the language he used for scholarly publications.
Neo-shamanism and traditional healing Today there are a number of Sámi who seek to return to the traditional
Pagan values of their ancestors. There are also some Sámi who claim to be
noaidi and offer their services through newspaper advertisements, in
New Age arrangements, or for tourist groups. While they practice a religion based on that of their ancestors, widespread anti-pagan
prejudice has caused these shamans to be generally not viewed as part of an unbroken Sámi religious tradition. Traditional Sámi beliefs are composed of three intertwining elements: animism, shamanism, and polytheism. Sámi animism is manifested in the Sámi's belief that all significant natural objects (such as animals, plants, rocks, etc.) possess a soul; and from a polytheistic perspective, traditional Sámi beliefs include a multitude of spirits. A very different religious idea is represented by the numerous "wise men" and "wise women" found throughout the Sámi area. They often offer to heal the sick through rituals and traditional medicines and may also combine traditional elements, such as older Sámi teachings, with newer monotheistic inventions that Christian missionaries taught their ancestors, such as readings from the Bible.
Duodji (craft) Duodji, the Sámi handicraft, originates from the time when the Sámis were self-supporting nomads, believing therefore that an object should first and foremost serve a purpose rather than being primarily decorative. Men mostly use wood, bone, and antlers to make items such as antler-handled
scrimshawed
Sámi knives,
drums, and
guksi (burl cups). Women used leather and roots to make items such as
gákti (clothing), and birch- and spruce-root woven baskets.
Clothing Gákti are the traditional clothing worn by the Sámi people. The gákti is worn both in ceremonial contexts and while working, particularly when herding reindeer. Traditionally, the gákti was made from reindeer leather and sinews, but nowadays, it is more common to use wool, cotton, or silk. Women's gákti typically consist of a dress, a fringed shawl that is fastened with 1–3 silver brooches, and boots/shoes made of reindeer fur or leather. Sámi boots (or
nutukas) can have pointed or curled toes and often have band-woven ankle wraps. Eastern Sámi boots have a rounded toe on reindeer-fur boots, lined with felt and with beaded details. There are different gákti for women and men; men's gákti have a shorter "jacket-skirt" than a women's long dress. Traditional gákti are most commonly in variations of red, blue, green, white, medium-brown tanned leather, or reindeer fur. In winter, there is the addition of a reindeer fur coat and leggings, and sometimes a poncho (luhkka) and rope/lasso. The colours, patterns and the jewellery of the gákti indicate where a person is from, if a person is single or married, and sometimes can even be specific to their family. The collar, sleeves and hem usually have appliqués in the form of geometric shapes. Some regions have ribbonwork, others have tin embroidery, and some Eastern Sámi have beading on clothing or collar. Hats vary by sex, season, and region. They can be wool, leather, or fur. They can be embroidered, or in the East, they are more like a beaded cloth crown with a shawl. Some traditional shamanic headgear had animal hides, plaits, and feathers, particularly in East Sápmi. The gákti can be worn with a belt; these are sometimes band-woven belts, woven, or beaded. Leather belts can have scrimshawed antler buttons, silver
concho-like buttons, tassels, or brass/copper details such as rings. Belts can also have beaded leather pouches, antler needle cases, accessories for a fire, copper rings, amulets, and often a carved or scrimshawed antler-handled knife. Some Eastern Sámi also have a hooded jumper (малиц) from reindeer skins with wool inside and above the knee boots.
Media and literature 's illustration of reindeer herding from his 1910 book
Muitalus sámiid birra (An Account of the Sámi), the first book published in a Sámi language|alt=A black-and-white illustration of people and reindeer gathered inside a fenced, oval enclosure divided into several compartments. • There are short daily news bulletins in Northern Sámi on national TV in
Norway,
Sweden and
Finland.
Children's television shows in Sámi are also frequently made. There is also a radio station for Northern Sámi, which has some news programs in the other
Sámi languages. • A single daily newspaper is published in Northern Sámi,
Ávvir, along with a few magazines. • There is a Sámi theatre,
Beaivvaš, in Kautokeino on the Norwegian side, as well as in Kiruna on the Swedish side. Both tour the entire Sámi area with drama written by Sámi authors or international translations. • A number of novels and poetry collections are published every year in Northern Sámi, and sometimes in the other Sámi languages as well. The largest Sámi publishing house is Davvi Girji. • The first secular book published in a Sámi language was
Johan Turi's
Muitalus sámiid birra (An Account of the Sámi), released in 1910 with text in Northern Sámi and Danish. • In 2023 Sámi author
Ann-Helén Laestadius wrote
Stolen, a novel of the Sámi in Sweden. It was adapted into a Netflix film
of the same name in 2024.
Technology Traditional Sámi technology reflects adaptation to Arctic and subarctic environments. For reindeer migration and hunting, the
lavvu is a temporary conical tent similar in structure to the
tipi. The
pulk, a boat-shaped sled pulled by reindeer or skiers, remains in use for winter transport. Rock carvings at
Alta depicting skiers date to 4,000–5,000 years ago. The
runebomme (drum) featured painted cosmological symbols and was used in traditional religious practice before Christian missionization led to their systematic destruction.
Music A characteristic feature of Sámi musical tradition is the singing of
joik. Joiks are song-chants and are traditionally sung
a cappella, usually sung slowly and deep in the throat with apparent emotional content of sorrow or anger. Joiks can be dedicated to animals and birds in nature, special people or special occasions, and they can be joyous, sad or melancholic. They often are based on syllablic improvisation. In recent years, musical instruments frequently accompany joiks. The only traditional Sámi instruments that were sometimes used to accompany joik are the "fadno" flute (made from reed-like
Angelica archangelica stems) and hand drums (frame drums and bowl drums).
Education • Education with Sámi as the first language is available in all four countries, and also outside the Sámi area. •
Sámi University College is located in Kautokeino. Sámi language is studied in several universities in all countries, most notably the
University of Tromsø, which considers Sámi a mother tongue, not a foreign language.
Festivals • Numerous Sámi festivals throughout the Sápmi area celebrate different aspects of the Sámi culture. The best known on the Norwegian side is
Riddu Riđđu, though there are others, such as in
Inari. Among the most festive are the Easter festivals taking place in
Kautokeino Municipality and
Karasjok Municipality before the springtime reindeer migration to the coast. These festivals combine traditional culture with modern phenomena such as snowmobile races. They celebrated the new year known as Ođđajagemánnu. Shamanic culture is celebrated at the
Isogaisa Festival in
Tennevoll, Norway.
Visual arts In addition to Duodji (Sámi handicraft), there is a developing area of contemporary Sámi visual art. Galleries such as Sámi Dáiddaguovddáš (Sami Center for Contemporary Art) are being established.
Dance Unlike many other Indigenous peoples, traditional dance is generally not a visible manifestation of Sámi identity. This has led to a common misconception that Sámi, at least in western Sápmi, have no traditional dance culture. The Sámi modern dance company Kompani Nomad looked to old descriptions of shamanistic rituals and behaviors to identify "lost" Sámi dances and reimagine them through contemporary dance. An example is the
lihkadus (ecstasy dance) described in sources from the 16th and 17th centuries, but which was adapted by Swedish–Sámi priest
Lars Levi Laestadius, who brought it and other Sámi traditions into the
Church of Sweden as part of the
Laestadianism movement. Partner and group dancing have been a part of Skolt Sámi culture and among Sámi on the Kola Peninsula since at least the second half of the 1800s. These square dances, couple dances, circle dances, and singing games are influenced by
Karelian and Northern Russian dance cultures, likely under the influence of Russian traders, military service under the tsar, and the
Russian Orthodox Church.
Reindeer husbandry , owned by the Sámi community and used especially for
reindeer calf marking in the summer|alt=A weathered wooden building with a sod roof and two small windows, set in open grassland with scattered trees. Reindeer husbandry has been and still is an important aspect of Sámi culture. Traditionally the Sámi lived and worked in reindeer herding groups called
siidat, which consist of several families and their herds. Members of the
siida helped each other with the management and husbandry of the herds. During the years of
forced assimilation, the areas in which reindeer herding was an important livelihood were among the few where the Sámi culture and language survived. Today in Norway and Sweden, reindeer husbandry is legally protected as an exclusive Sámi livelihood, such that only persons of Sámi descent with a linkage to a reindeer herding family can own, and hence make a living off, reindeer. Presently, about 2,800 people are engaged in reindeer herding in Norway.
Games The Sámi have traditionally played both card games and board games, but few Sámi games have survived, because Christian missionaries and
Laestadianists considered such games sinful. The rules of only three Sámi board games have been preserved into modern times.
Sáhkku is a
running-fight board game where each player controls a set of soldiers (referred to as "women" and "men") that race across a board in a loop, attempting to eliminate the other player's soldiers. The game is related to South Scandinavian
daldøs, Arabian
tâb and Indian tablan. Sáhkku differs from these games in several respects, most notably the addition of a piece – "the king" – that changes gameplay radically.
Tablut is a pure
strategy game in the
tafl family. The game features "Swedes" and a "Swedish king" whose goal is to escape, and an army of "Muscovites" whose goal is to capture the king. Tablut is the only tafl game where a relatively intact set of rules have survived into our time. Hence, all modern versions of tafl (commonly called "Hnefatafl" and marketed exclusively as "Norse" or "Viking" games) are based on the Sámi game of tablut.
Dablot Prejjesne is a game related to
alquerque which differs from most such games (e.g.
draughts) by having pieces of three different ranks. The game's two sides are referred to as "Sámi" (king, prince, warriors) and "Finlenders" (landowners, landowner's son, farmers). ==Cultural region==