ABSTRACT This article examines the work of the anonymous Sámi artist and activist group Suohpanterror as an example of Indigenous culture jamming, which uses global visual archives and the social media to articulate a contemporary Sámi subjectivity politically. In a short time, Suohpanterror has gained national and international recognition as a new Sámi voice, which is challenging earlier representations and conceptions of the Sámi. However, instead of focusing upon Suohpanterror’s efforts to address the dominant society, this study is concerned mainly with Suohpanterror’s operation within, and at the fringes of, the Sámi community itself. To this end, I examine Suohpanterror’s entanglements in the small Sámi “uprising” that took place in the social media in spring 2013 around the interconnected issues of Sámi definition, identity and the potential ratification of the ILO convention 169 in Finland. I argue that in the context of a highly politicized national public sphere which is considered insensitive to Sámi perspectives, “liking”, consuming and sharing Suohpanterror’s work online has offered an easy, effective and unmistakably trendy way to publicly identify with a certain set of (Sámi) political views, and to perform a political “us” which feeds, in particular, on experiences of a shared community of knowledge, and of collective laughter.

中文翻译：

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土著文化的干扰：Suohpanterror和萨米族政治社区的表达

摘要本文以匿名塞米人艺术家和激进主义者团体Suohpanterror的作品作为土著文化干扰的一个例子，该作品利用全球视觉档案和社交媒体从政治上阐明了当代塞米人的主体性。在很短的时间内，Suohpanterror作为萨米人的新声音而获得了国内和国际的认可，这正在挑战萨米人的早期表示和概念。但是，本研究并未关注Suohpanterror为解决统治社会而做出的努力，而是主要关注Suohpanterror在Sámi社区内部以及周边的活动。为此，我研究了Suohpanterror对小型Sámi“起义”的纠缠，该起义于2013年春季在社交媒体上围绕Sámi定义的相互关联的问题进行，认同和可能批准国际劳工组织在芬兰签署的169号公约。我认为，在高度政治化的国家公共领域（对萨米人的观点不敏感）的背景下，“喜欢”，消费和共享Suohpanterror的在线工作提供了一种简便，有效且明确的流行方式，可以公开地标识特定的（萨米（Sámi）的政治观点，并执行政治上的“我们”，特别是以知识共享社区和集体笑声的经验为基础。