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Welcome to the Artists’ taxation workshop with Mirkka Kivilehto!

This workshop is focused on the basics of taxation of an individual freelance artist working in Finland. In it we will go through the pre-completed tax return and what you should consider as a freelance artist, ex. different types of freelance income, grants and deductions.

Seats limited.

Expert: Mirkka Kivilehto

Place: Malminkatu 5, map

Date and time: 29.March.2019 from 3 pm to 5 pm

Language: English

Important: the workshop concentrates only on the taxation of individual persons working in Finland, not on firms or other corporations.

Registration deadline: 20th March.

Enrol Here

Mirkka Kivilehto is a lawyer working for the Trade Union for Theatre and Media (TEME) since 2013. Her work is more oriented to issues related to employment, IP and freelance issues, but also goes through issues involving taxation of individuals.

The post HELP DESK 29.3.2019 – FINNISH TAXATION FOR ARTISTS appeared first on Globe Art Point.

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This Guide to Benefits, published by the Federation of Unemployment Funds in Finland (TYJ), provides information about the benefits paid by the unemployment funds: earnings-related allowance paid to the unemployed, job alternation compensation for those taking job alternation leave and mobility allowance that compensates expenses caused by travelling to work or moving.
For detailed information about these benefits, visit TYJ’s website at www.tyj.fi. If you have questions about your personal situation, please contact your own unemployment fund. Contact details for unemployment funds can be found at the end of this Guide.
Please note that TYJ does not process benefit claims. If you want to claim earnings-related allowance, job alternation compensation or mobility allowance send your claim form with attachments to your own unemployment fund.

DOWNLOAD HERE

The post TYJ – GUIDE TO UNEMPLOYMENT FUND BENEFITS 2019 appeared first on Globe Art Point.

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GAP LAB @ Zodiak: Open Call results launched

Globe Art Point and Zodiak – Center for New Dance had in Autumn 2018 an Open Call to find artistic proposals for GAP LAB project. GAP LAB´s task is to enhance collaboration between artists and institutions within the Finnish art field by working together towards more diverse art & culture with projects of high artistic quality.

As a result of the Open Call, 16 proposal were received from working groups containing both Finnish & non-Finnish-born dance artists and projects. Applications were assessed by Globe Art Point’s curators Giorgio Convertito and Njara Rasolomanana together with Zodiak´s artistic director Harri Kuorelahti. The selection has now been made and confirmed by both GAP’s and Zodiak’s boards.

As the decision by the curator’s group, the project by choreographer Georgie Goater was selected to be in Zodiak´s main program in Autumn 2020 at Zodiak Stage at Cable Factory, Helsinki. The Echoes is a dance work made between dancers Georgie Goater (NZ), Gesa Piper (DE) and Maikki Palm (FI) in collaboration with sound designer Riku-Pekka Kellokoski (FI) and lighting designer Sofia Palillo (FI). The work is co-choreographed by the grandmother(s) or a child in the family of the working group. The work examines the notion of being constantly cocomposed by the complexity of our lives with our selves responding within it.

The other selected project from the joint call by GAP and Zodiak is Project M by Lindon Shimizu. This project of two solos by Lindon Shimizu (BR) and Dasha Lavrennikov (ESP) will take place under the Z-free concept in Zodiak´s Studio in 2020.

This project is a part of Globe Art Point’s GAP LAB project supported by the Finnish Culture Foundation.

The post GAP LAB @ Zodiak: Open Call results launched appeared first on Globe Art Point.

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GAP LAB @ Zodiak: Open Call results launched

Globe Art Point and Zodiak – Center for New Dance had in Autumn 2018 an Open Call to find artistic proposals for GAP LAB project. GAP LAB´s task is to enhance collaboration between artists and institutions within the Finnish art field by working together towards more diverse art & culture with projects of high artistic quality.

As a result of the Open Call, 16 proposal were received from working groups containing both Finnish & non-Finnish-born dance artists and projects. Applications were assessed by Globe Art Point’s curators Giorgio Convertito and Njara Rasolomanana together with Zodiak´s artistic director Harri Kuorelahti. The selection has now been made and confirmed by both GAP’s and Zodiak’s boards.

As the decision by the curator’s group, the project by choreographer Georgie Goater was selected to be in Zodiak´s main program in Autumn 2020 at Zodiak Stage at Cable Factory, Helsinki. The Echoes is a dance work made between dancers Georgie Goater (NZ), Gesa Piper (DE) and Maikki Palm (FI) in collaboration with sound designer Riku-Pekka Kellokoski (FI) and lighting designer Sofia Palillo (FI). The work is co-choreographed by the grandmother(s) or a child in the family of the working group. The work examines the notion of being constantly cocomposed by the complexity of our lives with our selves responding within it.

The other selected project from the joint call by GAP and Zodiak is Project M by Lindon Shimizu. This project of two solos by Lindon Shimizu (BR) and Dasha Lavrennikov (ESP) will take place under the Z-free concept in Zodiak´s Studio in 2020.

This project is a part of Globe Art Point’s GAP LAB project supported by the Finnish Culture Foundation.

The post GAP LAB @ Zodiak: Open Call results launched appeared first on Globe Art Point.

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On 15.1.2019 Arkadia Society of Artists and Parliament Members organized a seminar with Globe Art Point, Culture for All and Centre for Cultural Policy Research Cupore, with the aim of raising debate on the conditions of cultural services and the possibilities of artwork for non-Finnish born artists and artists with disability.

You can find all the information and program in Finnish and English here.

The seminar was held in Finnish and interpreted simultaneously to English and Sign Language to the assistants. You can watch it on Arkadia Seura´s Facebook Page here.

The theatre director, David Kozma, chairman of Globe Art Point, participated in the Seminar with a speech and a discussion, that you can read below in Finnish. You can find more about him on our board page.

Onko suomalainen taidekenttä monimuotoinen ja tasa-arvoinen? David Kozma, 15.01.2019, Pikkuparlamentti.

Hei, olen David Kozma ja olen taiteilija… Anteeksi, maahanmuuttaja. On tärkeää tuoda esille tämä apspekti heti alussa. On vaalivuosi, ja maahanmuuttaja-sana on taas erittäin runsaasti esillä. Palaan tähän vielä myöhemmin. Ensin haluaisin sanoa, että olen kiitollinen, kun saan olla täällä ja puhua yhdenvertaisuudesta kanssanne. Kuitenkin minulla on ristiriitaiset fiilikset nyt, kun seison teidän edessänne. Minun pitäisi olla onnellinen, sillä olen yksi harvinaisista ei-suomalaisista teatterintekijöistä, joka työskentelee taiteilija-apurahalla Suomessa, ja saan projekteihini jonkin verran rahoitusta. En kuitenkaan osaa olla kovin tyytyväinen, koska taidekenttä on kaukana yhdenvertaisesta ja tasa-arvoisesta. Syitä on monia, mutta minä keskityn nyt ulkomaalaistaustaisten näkökulmaan.

Suomi on muuttunut rajusti 2000-luvun alusta lähtien. Ulkomaalaistaustaisten määrä vuonna 2017 oli Tilastokeskuksen mukaan noin 380 000 asukasta koko maassa, kun taas viime syksyn aikana vieraskielisten määrä on ylittänyt 100 000 henkilöä jo pelkästään Helsingissä. Ennusteiden mukaan vuonna 2030 joka viides helsinkiläinen on vieraskielinen, ja vantaalaisista joka kolmas.

Media otsikoi useasti, että Suomi tarvitsee maahanmuuttajia, mutta… Aina on joku MUTTA tämän lauseen perässä. Ja tämä MUTTA kertoo minun mielestäni hyvin paljon sitä, miten maahanmuuttajiin suhtaudutaan.  Maahanmuuttajat nähdään uhkana tai mahdollisuutena, mutta harvoin otetaan huomioon ihmistä, joka on maahanmuuttaja-nimikkeen takana. Tällä hetkellä väestöstä siis 7% on maahanmuuttajataustaisia, ja heillä on perusoikeudet, koska Suomen valtio takaa kansalaisilleen perusoikeudet. Perusoikeuksiin kuuluvat muun muassa taloudelliset, sosiaaliset ja sivistykselliset oikeudet. Näitä ovat esimerkiksi oikeus asuntoon, terveydenhuoltoon, minimitoimeentulon takaavaan tulotasoon, oikeudenmukaisiin työoloihin ja palkkaan sekä vähintään peruskoulutukseen. Myös oikeus päästä osalliseksi tiedosta ja kulttuurista.

Ja nyt pääsemme aika lähelle tämän päivän teemaamme: onko suomalainen taidekenttä monimuotoinen ja tasa-arvoinen? Minun mielestäni on tehtävä vielä paljon työtä, että tämä tavoite saavutetaan. Jos perusoikeudet takaavat sen, että jokaisella kansalaisella on oikeus kulttuuriin, pitäisi taidekentän tekijät ja päättäjät  ottaa huomioon yhteiskunnan monimuotoisuus.

Tällä hetkellä perusoikeus tarkoittaa lähinnä sitä, että maahanmuuttajataustaisilla ihmisillä on oikeus opiskella omaa kieltään jaa harrastaa omaan kulttuuriinsa kuuluvia perinteitä. Tämä on hyvä asia tiettyyn pisteeseen asti. Mutta jos haluamme, että tämä 7% väestöstä pääsee paremmin osaksi tätä yhteiskuntaa, pitää taidelaitosten ohjelmiston muuttua kulttuurisesti ja kielellisesti moninaisemmaksi.

Ja kun puhutaan maahanmuuttajien integroitumisesta, pitää asiaa katsoa muustakin kuin työllistämisen näkökulmasta. Jos tarkastelee, mitä taidekenttä tarjoaa tällä hetkellä, huomaa aika nopeasti, että tarjonta on varsin monokulttuurista. Silloin harvoin, kun taideteoksessa käsitellään jollain tasolla myös maahanmuuttajana olemista, heidät kuvataan useimmiten vahvojen stereotypioiden kautta.

Tarinat, joita suomalaiselle yleisölle kerrotaan, eivät useinkaan kuvasta tämän hetken yhteiskunnan moninaisuutta. Ensinnäkin nämä tarinat ovat enimmäkseen kantaväestön kirjoittamia, jolloin maahanmuuttajat joko puuttuvat niistä kokonaan tai heidän tilanteensa kuvataan kantasuomalaisen näkökulmasta. Toinen ongelma on maahanmuuttajien huonot mahdollisuudet osallistua aktiivisina tekijöinä ja kokijoina suomalaiseen taide- ja kulttuuritoimintaan.

Minulla oli mahdollisuus lukea läpi Cuporen AVAUS – toimijaksi suomalaisella taide- ja kulttuurikentällä kyselyä, ja siellä oleva kommentti jäi mietityttämään minua:

“Nämä kysymykset ovat epärelevantteja umpisuomalaisessa pikkukaupungissa sijaitsevan minimuseon näkökulmasta.”

Suomalaiset haluavat, että maahanmuuttajat integroituvat paremmin yhteiskuntaan. Minä ajattelen, että koko kansa pitäisi integroida paremmin tähän nyky-yhteiskuntaan, joka on moninaisempi ja monimutkaisempi kuin mitä se oli 20 vuotta sitten. Ja uskon, että tässä integroitumistyössä ulkomaalaistaustaisten taiteilijoiden osaaminen  on välttämätön. Mitä enemmän me onnistumme kertomaan suurelle yleisölle tarinoita vuoden 2019 yhteiskunnastamme, sitä nopeammin saavutamme yhteisymmärrystä.

Koko maahanmuutajuuden käsite tuntuu olevan demonisoitu, koska siitä puhutaan vain erikoistilanteissa: jos työttömyysluvut ovat korkeat, jos on tapahtunut rikos, jos joku on avuntarpeessa. Maahanmuuttajataustaisia ihmisiä nähdään pienipalkkaisissa työtehtävissä, mutta harvoin televisioruudussa tai mediassa.

Nämä asiat voivat tuntua epärelevanteilta minimuseon kantasuomalaisen henkilökunnan näkökulmasta. Mutta pikkukaupungin asukkaita ajatellen maahanmuutto on hyvinkin tärkeä kysymys, josta pitäisi käydä laajempaa ja minisävyisempää keskustelua. Jos pikkukaupungin asukkaat muodostavat mielipiteensä maahanmuuttajista vain mediasta saamillaan negatiivisesti värittyneillä tiedoilla, voidaan kuvitella, miten he reagoivat, kun heidän kaupunkiinsa muuttaa ensimmäinen maahanmuuttaja.

Jos haluamme, että taidekenttä muuttuisi tasa-arvoisemmaksi ja monimuotoisemmaksi, meidän on alettava kertoa tarinoita todellisesta nyky-yhteiskunnasta, joka on monikielinen, monikulttuurinen ja täynnä erilaisia ihmiskohtaloita.

Lopuksi mainitsen vielä kyselyn toisen kommentin, joka tiivistää hyvin, mitä meidän pitää tehdä:

“Haluaisin kirjoittaa resurssit, mutta oikeasti kyse on valinnoista.”

Todellisuudessa kyse on siis valinnoista. Haluammeko oikeasti tasa-arvoisemman ja avoimemman taidekentän? Jos haluamme, meidän pitää ryhtyä toimeen, muuten voimme käyttää resurssien puutetta tekosyynä loputtomasti.

Kiitos.

The post David Kozma’ speech at Arkadia’s seminar: IS THE FINNISH ART FIELD DIVERSE, OPEN AND EQUAL? appeared first on Globe Art Point.

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On 15.1.2019 Arkadia Society of Artists and Parliament Members organized a seminar with Globe Art Point, Culture for All and Centre for Cultural Policy Research Cupore, with the aim of raising debate on the conditions of cultural services and the possibilities of artwork for non-Finnish born artists and artists with disability.

You can find all the information and program in Finnish and English here.

The seminar was held in Finnish and interpreted simultaneously to English and Sign Language to the assistants. You can watch it on Arkadia Seura´s Facebook Page here.

The visual artist – Researcher and doctoral candidate at Aalto University Sepideh Rahaa, participated in the Seminar with a speech and a presentation as an expert and as a board member of Globe Art Point. you can find more about her at our board page.

Is the Finnish art field diverse, open and equal? Speech by Sepideh Rahaa

Today I am honored to be here, especially since this is the first time I stand in a country’s parliament. Finnish society is a progressive society which enables us to be having this conversation, I am truly grateful for this opportunity. Finland is a country with a promising future, with an astonishing and progressive thinking younger generation. And with so many wonderful well-intentioned people who are working day and night to bring about change in our society. fsecThere are several reasons that many of us do not believe that the Finnish art scene is inclusive and diverse enough in comparison to the realities which we live in society. We do not see the diversity in action. We do not see it ‘enough’ on the walls of museums and galleries, theatres and in the municipalities’ major activities. We are all part of a big family, and it is a social responsibility of every one of us to assure the maintenance of democratic life, an inclusive art and culture for all and not only for the majority. That is why we are here today discussing equality which is foundational to democracy in the parliament as its Symbol.

I want to emphasize here that when we discuss equity this word would need clarification as many people who hear it would not understand it to mean ‘fairness’!  we cannot only imagine ourselves but we must shift our gaze outside the box, precisely because it allows us to consider ourselves not only as a single individual but as part of an ongoing historical movement. Some of us are more privileged not to face inequality in everyday life. Race, nationality, religion, gender and age among other factors play a significant role in our experience of inequality. I believe there are people in this room who do not see any or very few of those factors when they face themselves in the mirror. Privilege is invisible. It is indeed a luxury that some of us do not have to think about. That is how privilege works, it is invisible to those who have it. Privilege is when we make decisions that benefit enough people, but not all people. I would like to give you an example, please bear with me in imagining this scene: in July 2017 the last time I had to visit the migration office Migri, in Helsinki, the young woman behind the desk, clarified facts to me: First, my marriage to a Finnish citizen is not ‘fake’, second, I am a good citizen because I am a researcher and an artist who earns enough money, therefore I am worthy of being granted the next four years’ of permanent residency in Finland. I calmly listened to her, but what if I had none of those qualifications wouldn’t I be human enough to be worthy of it?  Or last year, I was the only person from Aalto University’s team to be prevented from attending an artistic research conference at Tate Liverpool in UK, just because of the geography I come from! Years of effort in Finland and my permanent residency did not guarantee respect, equality or freedom of movement for me.

In the last two-years of investigation, conversations and seminars organized by Globe Art Point in collaboration with artists and Finnish institutions resulted in a clearer understanding of certain issues, seen here illustrated in this mind map. There are several factors which create inequality in the Finnish art scene, some of them are drawn here. Evidently, language is the most common barrier for many artists and cultural workers to be able to carry out their practice or to be part of the art scene. It creates insufficiency and a lack of accessibility at all levels for most of the fields. It does not allow Non-Finnish and Swedish speaking artists to have the same access to opportunities and essential information. That is a privilege, a luxury that many of us do not have.

Instead of the question: ‘Is the Finnish art field diverse, open and equal? I would like to invite us to think how can we create a more inclusive art and cultural scene?  To do so we need to engage in equitable practices, it means that instead of fixing the differences we should fix the systematic obstacles, and that requires us to be more intentional. Instead of reaching for a homogenous society we need to recognize our differences as unique opportunities and not obstacles. We can be part of making change. We need to shift our gaze from majorities to so-called minorities the ones who are categorized as the other in the art scene and in society. We cannot erase history but we can amend it, by being more inclusive and diverse in all levels. It is not only about making policies but about exercising them, ‘Actions speak louder than words’!  We will not have equity unless everyone can feel they are included feeling respected and accepted without judgement. Obviously, we cannot master inclusivity and equality overnight, it cannot be adequately achieved over a short period of time. It requires our collective determination and encouragement. We cannot change our present by taking an eraser and getting rid of the problems or the past. It is an amendment, something that says, “This is where we were, but this is where we are right now, that will help us understand a little bit about where we’re going”. The decisions we make today will change history and realities, for us and for our children to live a better, inclusive and diverse cultural life and to cultivate their imagination beyond that.

Speech edited by Edwina Goldstone.

Mind map done by Kemê Pellicer and updated by Sepideh Rahaa in 2019.

The post Sepideh Rahaa’ speech at Arkadia’s seminar: IS THE FINNISH ART FIELD DIVERSE, OPEN AND EQUAL? appeared first on Globe Art Point.

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Globe Art Point and HAM, Helsinki Art Museum organise a one-day working seminar on diversity and representation on April 8th 2019. The seminar is intended for those working within the museum institution in the Uusimaa region.
Rapid changes in our society, its population and cultures will leave no doubt that no sector should remain immune to self-reflection or to exercising diversity and inclusion in practice. Art museums are no exception. As cultural institutions cultivating and contributing to the life of citizens, it is necessary for art museums to work not only to improve their receptions of diverse audiences but also to exercise inclusion in their context, practice and recruitment.
Today the need for socially conscious museums in creating inclusive environments and practices are crucial for society’s growth. The aim of this one-day working seminar is to create a space for the face to face dialogue seeking solutions together. To focus on norm critical leadership pushing the boundaries in building the capacity for becoming more learning organizations, playing an essential role in shaping inclusive cultural norms and values for everyone in society.
Our focus will be on developing the critical thinking and action around the topic of representations, diversity and strategies within the art museums’ practices.

This one-day seminar will include workshops with the expert and professor Venu Dhupa and a discussion with her and Director Maija Tanninen-Mattila HAM, Choreographer and Curator Satu Herrala. Moderated by Sepideh Rahaa & Kemê Pellicer.
Venu Dhupa

Venu Dhupa is the Managing Director of VSDB Consultancy.  She has held several Senior Executive Roles in the Public Sector, including 3 at Non-Departmental Public Bodies. She has held two senior roles in UK Charities, as Senior Director of Programmes at Stonewall, the UK’s largest campaigning charity for LGBT issues and as Director of Action and Advocacy at Community Links one of the largest charities in London’s most diverse borough.   She was the first and still the only non-white CEO of a Nationally Strategic arts organisation in England, at the Nottingham Theatres Trust, with responsibility for over 100 staff and 200 volunteers.  and as Senior Director of Programmes at Stonewall the UK’s largest campaigning Charity for LGBT issues.  She has drawn nearly £14million in additional or funds for the organisations in which she has held roles.
Venu has an active Academic career, holding a Visiting Professorship at Nottingham Trent University and 2 External Examiner roles, one at the University of East Anglia and the other at the Open University.  She is a Non-Executive Director of a National Health Service Trust in the South East of England, which employs 13000 staff.


For additional information: HAM Mikko Oranen emailmikko.oranen@hel.fi mob. 0503458537, Globe Art Point Kemê Pellicer email keme.pellicer@globeartpoint.fi mob. 0442386941

The post WHO IS REPRESENTING WHO AND HOW? – HAM & GAP Seminar appeared first on Globe Art Point.

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The new publication of the Finnish Copyright Society deals with the copyright-based economy in Finland. The report assesses the amount of copyright compensation paid in Finland and the total copyright revenue of the copyright holders.

A study on direct copyright revenue “Suoria tekijänoikeustuloja koskevassa selvityksessä” gives an estimate based on right-holders operating in the creative sectors copyright revenue flows in 2017. The study was done by Jari Muikku  (Digital Media Finland) commissioned by the Finnish copyright association. 

The report identifies direct copyright revenue streams and examines who generates them. Revenue streams have been cleared for the core areas of copyright. If the revenue stream as a whole is not based on copyright, the report estimates the share of pure copyright revenue in the revenue stream. For example, license fees and copyright collections collected by collecting societies are defined as copyright revenue in the investigation.

The report estimates total direct copyright revenue of EUR 8.55 billion in 2017. Most of this was in the software and database industries, with copyright revenue estimated at EUR 5.24 billion. Computer games accounted for € 2.4 billion of copyrighted cash flows. The amount of direct copyright revenue from other core copyright areas in 2017 was estimated at EUR 915.4 million. In 2012, the estimate was approximately EUR 754.2 million.

Source: https://www.copyrightsociety.fi/?x172141=185616

Read the Study HERE

The post DIRECT COPYRIGHT REVENUE STREAMS IN CREATIVE INDUSTRIES IN FINLAND BY The Finnish Copyright Institute appeared first on Globe Art Point.

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Do you work in the music field and wanting to get to know better the major trade union of the field?

Globe Art Point will organise an informal afternoon coffee session at the Musician´s Union on Wednesday 23.1.2019 at 14.00-16.00 h.

The Finnish Musicians’ Union (founded in 1917) is a trade organisation for professional musicians. It organises some 3 400 members in 23 local branches.

Individual members are given counsel and assisted free-of-charge for example in contract, tax, copyright and pension matters. If negotiations in conflict situations do not result in a satisfactory outcome, the Union takes care of members legal proceedings and costs. Collective bargaining and cultural politics are essential aspects of the work of the Musicians’ Union. So is affecting legislation in various fields relevant to musicians and their work, such as copyright.

Orchestra musicians, soloists and conductors represent approximately one-third of the Union membership. The remaining two-thirds consists of restaurant, entertainment, jazz and rock musicians. The ballet dancers of the Finnish National Opera are also organised in the Union.

Important: There will be room for a maximum of 20 persons. If you are interested in participating, please fill this form latest in 21.1.2019.

For more information, please contact Tomi Purovaara, tomi.purovaara@globeartpoint.fi

The office of the Musician´s Union is located at Pieni Roobertinkatu 16, 5 krs Helsinki. Please also check their website

This event is part of Globe Art Point´s GAP INFO project supported by the Finnish Cultural Foundation, the Ministry of Education and Culture and the City of Helsinki.

The post 23.1.2019 – Coffee at Musician’s Union appeared first on Globe Art Point.

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Migrants and Literature in Finland and Sweden presents new comparative perspectives on transnational literary studies. This collection provides a contribution to the production of new narratives of the nation. The focus of the contributions is contemporary fiction relating to experiences of migration. The volume discusses multicultural writing, emerging modes of writing and generic innovations.

When people are in motion, it changes nations, cultures and peoples. The volume explores the ways in which transcultural connections have affected the national self-understanding in the Swedish and Finnish context. It also presents comparative aspects on the reception of literary works and explores the intersectional perspectives of identities including class, gender, ethnicity, ‘race’ and disability. Further, it also demonstrates the complexity of grouping literatures according to nation and ethnicity.

The case-studies are divided into three chapters: II ‘Generational Shifts’, III ‘Reception and Multicultural Perspectives’ and IV ‘Writing Migrant Identities’. The migration of Finnish labourers to Sweden is reflected in Satu Gröndahl’s and Kukku Melkas’s contributions to this volume, the latter also discusses material related to the placing of Finnish war children (‘krigsbarn’) in Sweden during World War II. Migration between Russia and Finland is discussed by Marja Sorvari, while Johanna Domokos attempts at mapping the Finnish literary field and offering a model for literary analysis. Transformations of the Finnish literary field are also the focus of Hanna-Leena Nissilä’s article discussing the reception of novels by a selection of women authors with an im/migrant background. The African diaspora and the arrival of refugees to Europe from African countries due to wars and political conflicts in the 1970s is the backdrop of Anne Heith’s analysis of migration and literature, while Pirjo Ahokas deals with literature related to the experiences of a Korean adoptee in Sweden. Migration from Africa to Sweden also forms the setting of Eila Rantonen’s article about a novel by a successful, Swedish author with roots in Tunisia. Exile, gender and disability are central, intertwined themes of Marta Ronne’s article, which discusses the work of a Swedish-Latvian author who arrived in Sweden in connection to World War II.

This collection is of particular interest to students and scholars in literary and Nordic studies as well as transnational and migration studies.

DOWNLOAD: Migrants and Literature in Finland and Sweden

Migrants and Literature in Finland and Sweden
By: Satu Gröndahl, Eila Rantonen (eds.)
Part of the Studia Fennica Litteraria series.

Published on 26 Oct 2018
Language: English
Pages: 238
ISBN
EPUB 978-951-858-034-1
Paperback 978-952-222-992-2
PDF 978-951-858-035-8

Source: https://oa.finlit.fi/site/books/10.21435/sflit.11/?fbclid=IwAR1wmxd9IKb07VrGgvqxV9ZuGDUs06-PhcebM6iSviRt0gOi9aEfy28otDg

The post Migrants and Literature in Finland and Sweden appeared first on Globe Art Point.

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