Program – Learning with – NTNU
Program del 1 learning with
Online Schedule International Conference
- Use this link for all sessions, except for webinars
- Times indicated in MST (Alberta) & GMT+1 (Norway)
November 16, 2020
Opening Keynote Lecture by Prof. Isabel Altamirano-Jiménez (CRC in Comparative Indigenous Feminist Studies, U. of Alberta, Canada).
- “Resource Extraction, Relationality and Resurgence: Towards a Body Land Pedagogy”.
January 27, 2021
11am MST / 19pm GMT+1
Guest Writer: Alicia Elliott
- "The Colonialism-Depression Link"
February 3, 2021
9am MST / 17pm GMT+1
Learning with Indigenous Pedagogies and Activism
Learning with february 3 2021
“Becoming Critical: Learning with Indigenous Women’s Stories”
This paper engages with my own pedagogical experiences as the instructor of an undergraduate course on ‘Indigenous Women’s Stories’ which was offered at the University of Manitoba in the Winter of 2020. A different contemporary poetic text, short story, or creative non-fiction essay by an Indigenous 2SQ, non-binary or cis feminine writer was assigned each class. Several gendered and cultural thematics emerged in our shared readings and conversations. While we were required to conform to the expectations and evaluative practices of an inherently rigid colonialist institution, these assigned texts and stories became our most fluid sites of convergence. I argue that the ethics and poetics of learning with Indigenous women’s stories can be discerned through the critical perspectives and meaningful engagements students shared with one another in response to the texts and stories they encountered. Students engaged in slow readings, articulated their own complicated self-locations, proposed sensitive interpretations, and learned to trust in the strength of their own informed intuitions. This paper reflects on the ethical and pedagogical prospects of learning with Indigenous women’s stories in view of students’ responsive efforts to build critical and poetic worlds.
Mylène Gamache: I am a French and Métis cross-appointed tenure-track assistant professor in Native Studies and Women’s and Gender Studies at the University of Manitoba, located on the ancestral lands of the Ininewak, Nehethowuk, Anishinaabeg, Dene, Anishininiwak, and Métis people. My work currently focuses on contemporary feminine storytelling and is deeply committed to the decolonizing potential of engaged collective readings.
“Standing Rock as a Place of Learning: Strengthening Indigenous Identities”
The Native American movement at Standing Rock, lasting from the spring of 2016 until early 2017, was initiated by local youths who recognized the threat posed by the Dakota Access Pipeline to their community. It was also an important arena for exchange of indigenous knowledge and strategies of decolonization. The presentation is based on my master thesis of the same name.
Indigenous identities have been contested ever since the beginning of colonialism. Prejudices and racist ideas still shape many peoples views about indigenous peoples, also impacting the way we as indigenous people view our cultures, our histories and ourselves. Through interviews with three indigenous women, who all traveled to Standing Rock to protect the water, I look at the water protector camp Oceti Sacowin as a place of learning and strengthening indigenous identities.
The stories of Holy Elk Lafferty (Lakota), Zintkala Mahpiya Win Blackowl (Lakota) and Sara Marielle Beaska Gaup (Sámi) are woven together through their experiences at Standing Rock. Holy Elk Lafferty’s knowledge about traditional spirituality and prayer facilitated what became a new way of leadership during political conflict in Oceti Sacowin. Her story is one of rematriation, and of newfound trust in oneself and community. Sara Marielle Beaska Gaup is a juoigi (a traditional Sámi singer). Her experiences at Standing Rock gave her new hopes for the future and strengthened her belief in the potential for yoik (traditional Sámi singing) in Sápmi as an indigenizing tool. Mother and birth activist, Zintkala Mahpiya Win Blakowl was the main instigator of putting up a tipi for the women in camp where they had meetings for those interested in talking about strategies for decolonization on a personal level, and the sometimes-difficult subjects of indigenous identities and experiences.
Tuula Sharma Vassvik: I am an independent researcher with a bachelor’s degree in Archaeology and a Masters degree in Indigenous Studies. Growing up in Oslo, I was drawn to reconnect with my father’s family and hometown, Gamvik. My academic research has followed and informed this personal process of reconnecting with my coastal-Sámi roots. I now live and work in Guovdageaidnu (Kautokeino). My Sámi, Norwegian and Indian heritage has made me interested in subjects such as ethnicity, identity and authenticity both as personal and political subjects.
“The Sounds of the Resilience Factor: Learning and Unlearning with Indigenous Voices”
The voice can be experienced as soft or hard, quiet or loud, or a jumbled mess of all of those things. This could be defined as noise – confusion, unable to focus, the purpose is to confuse. Such is aural struggle for many Indigenous people as we try to resist absorbing the sound of colonial definitions of identity.
For many Indigenous people, constant encounters with imperialist history and stories in Canada start as soft whispers, or nudges like careful reminders of the script to follow. This constant colonial noise overrides the internal voice and sometimes even the external voice; or capability to use the voice. The dominant colonial sound becomes a continuous attack on the Indigenous identity and on the need for expression – loud and truthful expression, the song of our peoples.
The ability to have autonomy over how an Indigenous identity is formed and how to express that formation is an ongoing struggle for many. Tools such as words and thoughts can become tangent and manifest as a thing, a sound or lack of sound, the voice is a tool of both feeling and logic and the volume can be turned up as our strength grows and takes up more space in the physical world instead of the physical body. The voice is part of sharing the Indigenous perspective and is a vital part of sharing a vocal expression of Indigeneity New media and sound experiments provide a space for Indigenous peoples to retell in their own way. As John-Carlos Perea describes, “the ways in which Indigenous people have utilized digital technologies to revive… and transmit musical tradition in complex articulations of Indigeneity'' (Perea, 2017, p. Introduction).
This paper will examine how Indigenous women using their voices, through song, spoken word, ceremony or other sound expression, is an active display of resisting this sound based conditioning. Instead of waiting to be allowed or encouraged to speak or mourn, this paper will highlight Indigenous artists who incorporate a process of creating a clear vocal and sound expression which is a denial of the silencing effects of colonial patriarchy and specifically the Indian Act of 1867 (still law today). The ongoing impacts of this law and the Residential school law has forced Indigenous women to not be heard or listened to and this has resulted in a gap in listening to and forming a relationship to the matriarchs in Indigenous communities. This break has left generations without a way to tell their families’ and communities stories.
Incorporating artistic research methodologies from Indigenous feminist perspective, this paper will focus on Indigenous artists who work with sound, voice, text and music to learn the songs and stories of past matriarchs to protect for future generations filled Indigenous sound. The paper will continue online using new media solutions to meet and perform and discuss. As such, the online space that is formed will provide opportunities for news ways to reflect and support inquiry by Indigenous women as well as physically listen to our voices, sounds and expressions. This space is part of an artistic research platform where Indigenous artists can navigate our stories and reflect the true voice of Indigeous peoples in Turtle Island.
Keywords: Indigenous methodologies, new media, sound, Indigenous feminisms, artistic research
Amanda Fayant: I am a Cree/Métis/Saulteaux artist (B.F.A-film production) and researcher MPhil (Indigenous Studies) based in Trondheim, Norway. I am originally from Regina, Saskatchewan, Canada, Treaty 4 land. My art practice deals with dichotomies in identity construction, exploring Indigenous feminisms and confronting the colonial history in Canada. My research focuses on developing Indigenous research methodologies creating cultural knowledge production through Indigenous feminist perspectives. In addition to several group art shows in Canada, Trondheim and Oslo, I have also shared artistic and research work in journals and as articles. My thesis abstract, Thunderbird Women: Indigenous women reclaiming autonomy through stories of resistance has been presented at several conferences and I have been invited as a guest speaker at cultural events, such as Sápmi Pride and International Women’s Day.
Program del 4 learning with
February 10, 2021
12pm MST / 20pm GMT+1
Guest Writer: Lucas Crawford (University of New Brunswick, Canada)
- “Belated Bris of the Brainsick: Reading and Chatter”
March 10, 2021
9am MST / 17pm GMT+1
Performance Lecture: Stones and the Destabilization of Safe Ethical Space
Learning with march 10 2021
“Stones and the Destabilization of Safe Ethical Space”
Our proposal is drawn from our experience as academic/artist researchers engaged in decolonisation, education and art production. It suggests ways in which contemporary research and art production are constructed through ontological and ethical frameworks that perpetuate a colonised understanding of art.
The lecture performance will focus on ethical/ontological response-ability/irresponsibility within the framework of research findings in the fields of visual arts, education and educational research. Our research draws attention to different agencies and the ongoing continuation of historically anchored Nordic whiteness within research communities in the art and educational sectors. The lecture performance will attempt to perform our ability to enable structures that include people who have been “otherized” in all aspects of life in the global north. In this article, ”the other” is located as one of the centers of knowledge production, not ”generously” invited from the periphery as a legitimation of white supremacy (Moutorri, 2007). The question we would like to frame is: What is core to ethical responsibility for artists and academics wishing to propose Other knowledges to the Nordic university built on the ontological basis of coloniality/modernity?
These are important ethical considerations in themselves that can lead to the researcher as “appropriating pain,” and experience, especially of the other (bell hooks). We argue that research ethics are used to protect the agency of “research” from the agency of the decolonized academic voice and classified as “nonsense” and “anecdotal”. We draw on arguments of the subaltern silence (Spivak, 1988), coloniality/modernity (Mignolo, 2011) and New Materialism (Barad, 2007) to investigate our own positions in the fields of art and education. Empirical data is drawn from our participation at three research conferences focusing on art, education and decoloniality, coloniality, inclusion and exclusion in the Nordic region. We will explore visual materials such as animations, collages, drawing and sounds within our lecture performance.
Zahra Bayati is senior lecturer in education science for preschool teacher education, arts education and gender studies at the University of Gothenburg. She approaches the analysis from postcolonial and critical race and whiteness perspectives. She is from Iran and has been living in Sweden since the late 80´s.
Helen Eriksen is a founder of the artist research platform Tenthaus Oslo, and a lecturer and research associate at the University of Agder. She comes to the analysis from a New Materialist approach and performs critical whiteness in her artistic and academic makings. She was born and raised in the UK and immigrated to Norway in 1990.
Gry O. Ulrichsen approaches the analysis inspired by New Materialism and arts-based research. She is currently conducting a PhD in school development at the department of teacher education, Norwegian University of Science and Technology. Her background is within the visual arts where she works with participatory and socially engaged art practices.
Learning with program del 5
March 24, 2021
11am MST / 18pm GMT+1
Learning with Feminist Life Writing and Creative Nonfiction
Learning with march 24 2021
“Learning with Indigenous Women’s Life Writing”
Lee Maracle writes “I began writing stories . . . to save my sanity. . . . In my diary I faced my womanhood, my Indigenous womanhood. I faced my inner hate, my anger, and the desertion of myself from my way of being. . . I became a woman through my words” (Bobbi Lee, 2017, 178). Reading and teaching Indigenous women’s life writing can lead to an understanding of the intersecting and life-threatening pressures of colonialism, racism and sexism. However, the moral dangers of such work are huge. Emma Laroque refused to share her life story “because I saw what Canadian society did with Maria Campbell’s book and with Beatrice Culleton’s book. And I have seen those white-Canadian social-worker types who disguise themselves as readers and critics. They just drool over people’s pain. This is not saying anything negative about the books. They are exceptional books” (Lutz, 195). Allison Hargreaves highlights “a tendency among reviewers to fetishize the first-person, autobiographical account as the unmediated and authentic means by which to gain empathetic and ‘culturally sensitive’ knowledge about gendered colonial violence” (Phd diss., 17). How can white settler Canadian feminists “learn with” Indigenous women without once again and as usual consolidating ourselves as empaths on the moral high ground? We need to continually question our motives for doing the work we do, not to mention our assumption that it “helps them” without considering how, or how it helps us. Our ability to think this way is grounded on a system that impoverishes and humiliates others. Indigenous women, in order to consider themselves as having a life rather than the squalid death prophesied by mainstream discourses, have had to perform the intellectual labour of critically understanding that their lives were not the result of individual failure, but rather embedded in systems of legal and social discrimination. If the imputed weakness of Indigenous people constitutes settler Canadians as strong, superior “helpers”—and I believe it does—we need to do this same work to refigure our own life stories so that we can use our privilege against the colonial institutions and assumptions that protect us and injure them.
Margery Fee (she/her), PhD, FRSC, Professor Emerita of English, UBC, held the David and Brenda McLean Chair in Canadian Studies (2015-2017). She edited Canadian Literature from 2007 to 2015. She and Jan McAlpine co-authored The Guide to Canadian English Usage (Oxford, 2011), and, with Stefan Dollinger, she co-edited DCHP-2: The Dictionary of Canadianisms on Historical Principles (online, 2017). Recent publications are Literary Land Claims: The “Indian Land Question” from Pontiac’s War to Attawapiskat (Wilfrid Laurier UP, 2015), Tekahionwake: E. Pauline Johnson’s Writings on Native North America (Broadview, 2016), co-edited with Dory Nason, and Polar Bear (Reaktion, 2019). She edited On the Cusp of Contact: Gender, Space and Race in the Colonization of British Columbia: Essays by Jean Barman (Harbour, spring 2020). She is a co-investigator for SSHRC-funded project, The People and the Text (PI, Deanna Reder).
“Learning about Kinship with Jovette Marchessault’s Autobiographical Self”
“La critique est un travail sérieux : lire un livre pour en parler est pour moi un exercice autant intellectuel que spirituel. Je pense qu’on se livre à cet exercice pour soi-même d’abord et ensuite pour le bien de sa collectivité »
(Marchessault, interviewed by Potvin 220)
Jovette Marchessault’s (Innu/Québécoise) autobiographical trilogy (1975, 1980, 1987) addresses the colonial theft of the land and offers an alternative historical narrative that accounts for the experiences of women and Indigenous peoples. She writes, however, in a time when there is no recognizable Indigenous literature in Quebec, and when feminist writing is oblivious to past and ongoing colonization. Several critics mention the difficulty to describe her work’s aesthetic and politics. Marchessault responds to the critiques decrying her writing as too excessive, esoteric or incandescent by claiming she may well be writing for 21th century readers (Potvin).
In this paper, 1) I use tools coming from Indigenous literary studies to offer a close reading of the trilogy’s second volume, La mère des herbes (1980) [Mother of Grass (1989)], and 2) I discuss the ethics of relating to it from my position as a settler feminist Québécoise, which means, partly, to learn with Marchessault how to make reading a stimulating, vital, visceral work.
Mother of Grass recounts Marchessault’s life from childhood to being a young adult. Marchessault learns about herself and the world with her grandmother and she puts this learning into practice in her own writing: “What she knew and understood about each and every thing was a recognition which was life-giving, which injected vitality. Listening to her was for me to listen to the collective voice of every living thing” (18). Using the concept of kinship criticism (Heath Justice), I examine how Marchessault’s unique life writing asks readers to reimagine feminist and Québécois communities.
Élise Couture-Grondin is a postdoctoral fellow at Simon Fraser University and Concordia University. She completed her PhD in Comparative Literature at the University of Toronto. Her research examines autobiographical writing by Indigenous women and develops ethical readings of these texts from a settler feminist position.
“‘The future is menopausal’: Un/Learning with Feminist Menopause Imageries in Canadian Writing”
This paper is part of a larger project examining fiction, auto-fiction, and poetry about the menopause by writers in the twenty first century. A large proportion of literary engagements with the menopause centres the lives of women who are white, cisgender, and heterosexual, but there is also a growing body of texts that highlight the experiences of women of colour, Black women, non-binary and trans people. I suggest reading these menopause imaginaries as critical counter-narratives and an opportunity to learn with these artists and their works about inclusive and ethically responsible ways to think about the menopause. One such example presents Writing Menopause: An Anthology of Fiction, Poetry and Creative Non-Fiction (2017) whose editors state in the introduction that the “book is different. It is not about what the menopause is, but about how it feels” and that its 54 contributors offer “us points of views that [go] beyond women [because] menopause is experienced by non-binary people and trans men too” (1).
I show how these works of creative non-fiction by and about marginalised voices and bodies make possible not only a feminist intersectional analysis (Spelman 1998; Ahmed 2000; Fischer 2018; Grosz 2018, 2020) of the menopause that includes a breadth of different subjectivities, but that they also destabilise discourses informed by biological essentialism around the normative female body and post-reproductive age. Through selected pieces from the anthology and by drawing on the works of other Canadian writers, this paper explores how the creative realm is a crucial element in the process of un/learning and thinking beyond sexist, racist, and ageist perceptions of those experiencing menopause and instead presents ethical and inclusive ways to write about late middle-age.
Veronika Schuchter (she/her) teaches at the University of Oxford and completed a PhD on supermodernity and contemporary British and Canadian women’s writing in 2020. Her current post-doc project seeks to offer the first comprehensive study of the menopause in contemporary literature by investigating representations of the menopause in fiction, auto-fiction, and poetry by women writers in the twenty first century. She is on the executive committee of the Contemporary Women's Writing Association (CWWA) and the Feminist Studies Association (FSA); her recent publications include “Rich Women in Literature and Film” (Text Matters, 2019), “Toward a Feminist Archival Ethics of Accountability: Researching with the Aritha van Herk Fonds” (Studies in Canadian Literature, 2019), and “Long Thoughts With Aritha van Herk. An Interview” (Contemporary Women’s Writing, 2020).
Program Learning With
March 31, 2021
10am MST / 18pm GMT+1
Guest Writer: Cicely Belle Blain (Consultant & Writer, Vancouver, Canada)
- “Burning Sugar: A Reading & Conversation"
April 14, 2021
10am MST / 18pmGMT+1
Learning with Indigenous Ways of Knowing
Learning with april 14 2021
“Thinking oktasašvuohta: Storytelling Approaches in Research and Education”
Indigenous-centered approaches in research and education are fairly standard in Indigenous studies scholarship globally, for example on Turtle Island and Aotearoa. Therefore, it might come as a surprise that in the not-so-recent past one could be met with defensiveness by senior scholars, colleagues, and peers when advancing Indigenous research paradigms in Nordic university environments. Major roadblocks to advancing Indigenous-centered/Indigenous feminist paradigms in research and education is the intensity with which positivism and patriarchal knowledge production continue to permeate Nordic institutions of higher education. The anchoring of Indigenous-centered research paradigms are Indigenous epistemologies and ontologies which come through resoundingly in storytelling. Indigenous students and researchers seeking to fully integrate Indigenous paradigms which are grounded in tribal ontologies and epistemologies report experiences of profound alienation in positivist and individualistic institutions of higher education.
Akin to many tribal relational ontologies, the North Sámi term oktasašvuohta loosely translates to “the community of belonging.” Using the concept of oktasašvuohta as an anchoring device, I will reflect on storytelling as one of many strategies for decolonizing and/or Indigenizing education, research, and writing. Colonialism worked to fracture communities and kinship, and educational institutions often reflect and re-produce individualistic modes of learning and knowledge production. Storytelling in various forms—sharing tribal creation stories, personal narratives, family/kin oral tradition, yoiking, or “singing Indian”—affirm our place and belonging in oktasašvuohta which fortifies us in our work toward decolonization in institutions of higher education.
Ellen Marie Jensen is both coastal Sámi from west Finnmark Province and Anglo-American from Minneapolis, MN. She earned her Ph.D. in Humanities and Social Sciences from a fellowship tied to the trans-disciplinary Sámi and Indigenous Research project at UiT with a dissertation titled Diasporic Indigeneity and Storytelling Across Media: A Case Study of Narratives of Early Twentieth Century Sámi Immigrant Women (2018). Jensen also holds a master in Indigenous Studies (2005) and a master of English literature from 2018 and has taught in Indigenous and Sámi Studies, English, and Gender Studies. Currently, she is a guest researcher at the Centre for Women’s and Gender Research at UiT, where she is working on a book manuscript on Indigenous/Indigenous feminist storytelling methodologies.
“a party, a séance, a powwow, a wake”: (dis)(re)learning with in Liz Howard’s Infinite Citizen of the Shaking Tent”
In Canada, western epistemology and institutional education persist today as markers of a colonization that ravaged land, bodies, and languages. Liz Howard’s Infinite Citizen of the Shaking Tent addresses the injurious effects of epistemic violence by dislocating western practices of cognition from within. Her poems resist and disrupt by enacting a minute and painstaking dislocation of western learning at three interwoven levels: scientific taxonomy, philosophical discourse of ontology and subjectivity, and literary appropriation as exemplified by Longfellow’s The Song of Hiawatha (1855). Situated at the cross-roads of urban settler knowledge and an ecopoetic relationship to land, her poetry recalls Leanne Betasamosake Simpson’s call for Indigenous resurgence through place-based practices. Howard’s striving for resurgence takes the path of innovative poetry, which is itself a western mode of resistance to predominant conceptions of poetry. I suggest that Indigenous pedagogy reconfigures innovative writing. Thus, the ethical challenge is to not impose a familiar grid of interpretation but to engage with the ways in which Howard’s practices destabilize scholarship surrounding innovative poetry.
Referring to Deanna Reder and Daniel Heath Justice on situated knowledge, I propose that Howard’s use of innovative poetry should be situated in the context of Indigenous loss of kinship, land, and languages. Howard writes as mixed settler and Anishinaabe poet who was severed from her ancestry through her father’s absence. Her dislocation of the English language speaks to “a disaster of language as a result of trauma” (Howard 2019), and it seeks to undo the sign systems that established cognitive mastery over land and Indigenous culture. Faced with the appropriation of Indigenous culture in poems like Longfellow’s Hiawatha, Howard resorts to experimental modes (including stories) to dismantle conventional voices, prosody, and syntax associated with the western practice of the lyrical. However, the innovative mode itself is transformed. I suggest that her poetry should be read with Jordan Abel, as well as visual artists Kent Monkman and Rebecca Belmore. Linking these works is the derailing of colonial epistemology from an aesthetic, political, and relational Indigenous standpoint.
I show how her poetry works its way through and refashions scientific terminology to let Indigenous language and pedagogy resurge. On the one hand, taxonomy contaminates the lines as if the page were a site to be conquered and mastered. On the other, Howard draws on the Anishinaabe sacred rite of the Shaking Tent to call upon the spirit world for prophesy. This ceremonial rite mobilizes the search for an I-land inhabited by learning practices that link the boreal forest, language, and kin. Thus, Howard shares with Indigenous scholars like Shawn Wilson the belief in knowledge as ceremony and relation.
Anne Quéma: Anne Quéma teaches at Acadia University. Publications include Power and Legitimacy (UTP 2015) as well as chapters and articles in Canadian Literature, Gothic Studies, Journal of Law and Society, English Studies in Canada, The Canadian Modernists Meet, Gothic Kinship, and Wider Boundaries of Daring. She is currently working on practices of experimental writing and has published articles on Dionne Brand’s Ossuaries (2014), M. NourbeSe Philip’s Zong! (2016), and Erín Moure’s The Unmemntioable (SCL, 45.2). Separate articles on holocaust writing in Canada and Oana Avasilichioaei’s Limbinal are forthcoming.
Learning with program del 3
April 21, 2021
Keynote Lecture by Dr. Erin Soros (Cornell University, US)
- “‘Kiwehtahiwew’: Coming Home, Transforming Carceral Care with Birdie”
April 28, 2021
Guest Artist: Sissel M. Bergh (Artist, Southwestern Sapmi/state of Norway)
May 5, 2021
10am MST / 18pm GMT+1
Panel: ‘Before she came, after he left’: Telling Queer Sámi Stories
Learning with may 5 2021
“‘Before she came, after he left’: Telling Queer Sámi Stories”
In this panel we will screen Marja Bål Nango’s short film ‘Før hun kom, etter han dro’ [Before she came, after he left, 22 mins]. The film offers a strong visual and evocative tale of a young man's inner struggle, the grief of a love that once was, and the balance between the old, and the new love that has arisen. The film has an underlying Sami motif connected to identity and self-acknowledgement.
Following the film, Marja will talk briefly about why she wanted to make this short film, and how it has been received in different Sámi (and non-Sámi) contexts. Elisabeth and Marja will then engage the audience in a discussion about the possibilities of queer storytelling in Sámi film. Why tell queer Sámi stories? What queer Sámi stories can we tell? What stories are in fact being told in literature and film? What is the role of ambiguity in (queer) Sámi narratives? What might queer Sámi stories offer Sámi communities? Who might queer Sámi stories speak to?
Marja Bål Nango is a film director, scriptwriter and producer. She studied directing at Nordland College of Art and Film, and producing at a special collaboration between International Sámi Film Institute and Sámi University. She is scriptwriter, director and producer of the short film "Hilbes biigá", which has been screened at 30 film festivals and won the UR Award for Best Film at Uppsala Int Film Festival, and the Skårungen-award at Tromsø International Film Festival (TIFF) in 2015. Her latest shortfilm «The Tongues» premiered in 2019 and won Skårungen-award at TIFF in 2020. Marja and co-writer Ingir Bål are now developing their first feature film “The reindeer herder” together.
Elisabeth Stubberud is a cultural studies scholar with background in gender research and is currently working as a researcher at the Nordland Research Institute, and at NTNU. She is also working academically and as an activist on lgbtiq issues. She was one of the organisers of the 2019 Saepmie Pride in Tråante and is the leader of the Norwegian section of Garmeres, an organisation by and for queer Sámi.