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[[Reidar Särestöniemi]] |
[[Reidar Särestöniemi]] |
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== |
== Jello salad == |
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'''History''' |
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Early gelatin-based precursors to the jello salad included fruit and wine [[Gelatin dessert|jellies]] and decorative [[aspic]] dishes, which were made with commercial or homemade [[gelatin]]. Gelatin was time-consuming to cook, and commercial gelatin was produced in shreds or strips until the late 19th century and needed to be soaked for a long time before use.<ref name=":0">{{Cite book |last=Shapiro |first=Laura |title=Perfection Salad: Women and Cooking at the Turn of the Century |publisher=University of California Press |year=2008}}</ref> In 1894, the [[Rose Knox|Knox Company]] produced the first commercial granulated gelatin, followed by [[Jell-O]] a few years later.<ref name=":1">{{Cite journal |last=Wall |first=Wendy |date=Winter 2006 |title=Shakespearean Jell-O: Mortality and Malleability in the Kitchen |url=https://www.jstor.org/stable/10.1525/gfc.2006.6.1.41?read-now=1&seq=7#page_scan_tab_contents |journal=Gastronomica |volume=6 |issue=1}}</ref> The name "jello salad" is derived from the [[genericization]] of the Jell-O brand name. The convenience of jello made gelatin-based dishes easier to prepare at home, compared to early jellies and aspics. |
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Valkeapää was born on March 24, 1943 in [[Enontekiö]] in Finnish [[Sápmi]] to a family of [[Nomad|nomadic]] [[Sámi]] [[Reindeer herding|reindeer herders]].<ref name=":0">{{Cite news |last=Drysdale |first=Helena |date=December 3, 2001 |title=Obituary: Nils-Aslak Valkeapää |work=The Independent |url=https://www.independent.co.uk/news/obituaries/nilsaslak-valkeap-atilde-curren-atilde-curren-5366731.html}}</ref> His father, Johannes J. Valkeapää, was Finnish Sámi from the [[Karesuvanto|Kaaresuvanto]] area, while his mother, Ellen Susanna Aslaksdatter Bals, was Norwegian Sámi from [[Uløya]] in [[Troms]].<ref>{{Cite web |date=2007 |title=Nils-Aslak Valkeapää - the humble Sami world artist |url=https://www.lassagammi.no/nils-aslak-valkeapaa-the-humble-sami-world-artist.5765811-315484.html |website=Lásságámmi Foundation}}</ref> Valkeapää lived in Finnish Sápmi until his father's death, when his family moved to [[Skibotn]] in Norwegian Sápmi.<ref name=":1">{{Citation |last=Gaski |first=Harald |title=Nils-Aslak Valkeapää |date=2023-03-08 |url=https://snl.no/Nils-Aslak_Valkeap%C3%A4%C3%A4 |work=Store norske leksikon |access-date=2023-08-16 |language=no |last2=Haugen |first2=Morten Olsen |last3=Fredriksen |first3=Lill Tove |last4=Berg-Nordlie |first4=Mikkel}}</ref> He became a Norwegian citizen after settling in Skitbotn.<ref name=":4" /> |
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One of the earliest examples of jello salad is Perfection Salad, developed by Mrs. John E. Cook of [[New Castle, Pennsylvania]] in 1904. The original salad called for chopped cabbage, celery and red peppers in a plain aspic mold.<ref name=":0" /> Perfection Salad won third prize in a ''[[Better Homes and Gardens (magazine)|Better Homes and Gardens]]'' recipe contest and popularized the concept of the jello salad in the United States.<ref name=":2">{{Cite web |last=Manty |first=Kris |date=June 21, 2023 |title=How Jell-O Salads Created a Culinary Sensation |url=https://www.antiquetrader.com/features/how-jello-salads-created-a-culinary-sensation |website=Kovels Antique Trader}}</ref> Jello acted as an easy and cheap addition to more labor-intensive or expensive recipes, especially during the [[Great Depression]] and [[World War II]].<ref name=":2" /> Jello salads were especially fashionable in the suburbs in the 1950s.<ref name=":1" /> They were seen as a marker of sophistication, elegance and status, indicating that a housewife had time to prepare jello molds and that her family could afford a refrigerator.<ref name=":3">{{Cite web |last=Levitt |first=Aimee |date=2024-02-29 |title=In ‘Joys of Jell-O,’ There’s Nothing You Can’t Do With Colored Gelatin |url=https://www.eater.com/24081080/joys-of-jello-cookbook-1961 |access-date=2024-04-29 |website=Eater |language=en}}</ref> In response to the mid-century popularity of jello salads, Jell-O released several savory flavors, including seasoned tomato and celery.<ref name=":4">{{Cite web |last=Meyersohn |first=Nathaniel |date=2022-11-19 |title=How Jell-O lost its spot as America’s favorite dessert {{!}} CNN Business |url=https://www.cnn.com/2022/11/19/business/jell-o-america-dessert-ctpr/index.html |access-date=2024-04-29 |website=CNN |language=en}}</ref> |
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Valkeapää's [[First language|mother tongue]] was [[Northern Sámi]]. However, like many Sámi children in the 1950s, he did not have access to formal education in his native language and did not learn how to write in Northern Sámi until adulthood.<ref name=":0" /> Along with his early education in boarding schools, Valkeapää spent six years studying at the [[Kemijärvi]] Teachers' Training College, though he never worked as a teacher.<ref name=":3">{{Cite book |last=Hautala-Hirvioja |first=Tuija |title=Sámi Art and Aesthetics: Contemporary Perspectives |publisher=Aarhus University Press |year=2017 |chapter=Traditional Sámi Culture and the Colonial Past as the Basis for Sámi Contemporary Art}}</ref> |
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In the 1960s, with the rise of [[Julia Child]] and the popularization of [[French cuisine|French cooking]] in the United States, the jello salad fell out of fashion.<ref name=":4" /> It is now most popular in rural areas of the upper [[Midwestern United States|Midwest]] and in [[Utah]], where Jell-O is the official state snack.<ref name=":3" /> |
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'''Career''' |
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''' |
'''Varieties''' |
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Jello salad can be either savory or sweet, though savory varieties are primarily prepared as a [[kitsch]] novelty today.<ref>{{Cite web |last=Oatman-Stanford |first=Hunter |title=Making, and Eating, the 1950s’ Most Nauseating Jell-O Soaked Recipes |url=https://www.collectorsweekly.com/articles/the-1950s-most-nauseating-jell-o-soaked-recipes/ |access-date=2024-04-29 |website=Collectors Weekly |language=en}}</ref> |
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Valkeapää first came into the public eye as a performer of traditional Sámi [[joik]] and was central to the revitalisation of the genre. His debut record, ''Joikuja'', was released in 1968.<ref name=":1" /> In 1973, folk and jazz musicians Seppo Paakkunainen, Ilpo Saastamoinen and Esko Rosnell invited Valkeapää on a musicians' retreat. During the retreat, Valkeapää was inspired by [[Antonín Dvořák|Dvořák]]'s [[Symphony No. 9 (Dvořák)|Symphony No. 9]] and its African-American [[Spirituals|spiritual]] influences to develop fusion joik. In collaboration with Paakkunainen, he developed ''Juoigansinfonija'', a [[jazz]]-joik symphony.<ref>{{Cite journal |last=Ramnarine |first=Tina K. |date=2009 |title=Acoustemology, Indigeneity, and Joik in Valkeapää's Symphonic Activism: Views from Europe's Arctic Fringes for Environmental Ethnomusicology |url=https://www.jstor.org/stable/25653066?read-now=1&seq=8#page_scan_tab_contents |journal=Ethnomusicology |volume=53 |issue=2}}</ref> In 1978, Valkeapää released his jazz-joik record ''Sámiid eatnan duoddariid.''<ref name=":1" /> Valkeapää's music was somewhat controversial in Finland, both for his unorthodoxic inclusion of jazz elements and because [[Laestadianism|Laestadian]] Sámi often viewed joik as immoral.<ref name=":0" /><ref name=":2">{{Cite book |last=Dubois |first=Thomas A. |title=Sámi Media and Indigenous Agency in the Arctic North |last2=Cocq |first2=Coppélie |publisher=University of Washington Press |year=2020}}</ref> Valkeapää continued to perform jazz-joik and resisted efforts to "preserve" the traditional form, stating in his book ''Terveisiä Lapista'': "When I hear talk of conserving the culture, I see an investigator of folklore in my mind’s eye, and interpret their activities quite literally: cataloguing a dead culture."<ref name=":2" /> |
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Valkeapää released thirteen records from 1968 to 1994. His song ''Goase Dušše'' (The Bird Symphony), composed of nature sounds from the Sápmi region, received the jury’s special prize at the [[Prix Italia]] radio competition in 1993.<ref name=":4">{{Cite book |last=Gaski |first=Harald |title=Arctic Discourses |publisher=Cambridge Scholars Publishing |year=2010 |chapter=Nils-Aslak Valkeapää: Indigenous Voice and Multimedia Artist}}</ref> Valkeapää also composed the music for and acted in the Oscar-nominated 1987 film [[Pathfinder (1987 film)|''Ofelaš'']].<ref>{{Citation |title=Pathfinder (1987) {{!}} MUBI |url=https://mubi.com/en/us/films/pathfinder |access-date=2023-08-20 |language=en}}</ref> A recording of Valkeapää performing the theme for the film [[Pathfinder (1987 film)|''Ofelaš'']] was sampled by British musician [[Mike Oldfield]] in "Prayer for the Earth," a track on his 1994 album ''[[The Songs of Distant Earth (album)|The Songs of Distant Earth]].''<ref>{{Cite web |title=Songs of Distant Earth |url=https://www.mikeoldfield.org/songs-distant-earth |access-date=2023-08-20 |website=Dark Star Mike Oldfield Magazine |language=en-US}}</ref> |
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Valkeapää received further international recognition as a musician when he performed at [[1994 Winter Olympics opening ceremony|the opening ceremony]] of the [[1994 Winter Olympic Games]] in [[Lillehammer]], Norway.<ref name=":0" /> |
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'''Writing''' |
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Valkeapää's first book, ''Terveisiä Lapista'' (''Greetings from Lapland''), was published in 1971 and acted as a political treatise on the issues impacting Sámi people, including condemnations of boarding schools designed for [[Norwegianization of the Sámi|assimilation]] and land acquisition policies.<ref name=":0" /> The book was written in Finnish, and was the second-ever book by a Sámi author to be translated into English.<ref name=":0" /><ref name=":5">{{Cite book |last=Korhonen |first=Kuisma |title=Shaping the North Through Multimodal and Intermedial Interaction |last2=Lehtola |first2=Veli-Pekka |publisher=Springer International Publishing |year=2022 |chapter=Transmediality and Multimodality in the Artistic Work of Nils-Aslak Valkeapää}}</ref> |
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Valkeapää's debut book of poetry, ''Giđa ijat čuovgadat'' (''Spring Nights So Bright''), was published in 1974.<ref name=":3" /> From 1974 to 2001, he published nine books of poetry, all written in [[Northern Sámi]].<ref name=":5" /> Only two of his books were ever translated into Finnish - his debut and his 1988 collection ''Beaivi, Áhcázan'' (''The Sun, My Father''). ''Beaivi, Áhcázan'' was awarded the [[Nordic Council Literature Prize]] in 1991.<ref name=":4" /> |
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Along his poetry and nonfiction, Valkeapää also wrote a [[Noh]] play that was performed in Japan in 1995. The play was first performed in Sámi at the [[Beaivváš Sámi Našunálateáhter]] as ''Ridn’oaivi ja Nieguid Oaidni'' (''The Frost-haired and the Dream-seer'') in 2007.<ref name=":4" /> |
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'''Visual art''' |
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Valkeapää was both a painter and a photographer. He included his art in several of his poetry books, including his award-winning book ''Beaivi, Áhcázan'', and he designed the covers for not only his own music records and books but also for books by other Sámi writers like [[Rauni Magga Lukkari]].<ref name=":3" /> His artwork was also presented at the North Norway Festival in 1991.<ref name=":4" /> |
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Valkeapää established the publishing house DAT with friends in order to support and publish Sámi art and writing.<ref name=":4" /> |
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'''Activism''' |
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Valkeapää was a prominent figure in the movement for Sámi rights, which he connected to the broader international [[Indigenous rights]] movement. He expressed feelings of solidarity with North American Indigenous communities and particularly [[Inuit]] and other Arctic Indigenous people. In 1975, he attended the founding meeting of the [[World Council of Indigenous Peoples]] (WCIP) in [[Port Alberni]], [[Canada]]. That same year, he referred to Sámi people as Indigenous people for the first time during an interview on Sámi radio.<ref name=":6">{{Cite book |last=Nykänen |first=Tapio |title=Knowing from the Indigenous North: Sámi Approaches to History, Politics and Belonging |publisher=Taylor & Francis |year=2018 |chapter='I'll show you the tundra' - the Sámi as an Indigenous people in the political thought of Nils-Aslak Valkeapää}}</ref> |
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Valkeapää became the cultural coordinator of the WCIP in 1978. In this role, he organised Davvi Šuvva, the world's first Sámi [[cultural festival]], in [[Karesuvanto]] in 1979.<ref name=":6" /> |
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'''Later life and death''' |
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Valkeapää received honorary doctorates from the [[University of Oulu]] and the [[University of Lapland]] in recognition of his work and cultural impact.<ref name=":0" /> |
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In February 1996, Valkeapää was severely injured in a car accident. Because of health issues related to his injuries, he moved to Skibotn and settled permanently.<ref name=":3" /> He built his house in the traditional lásságámmi style on land he received as a gift from the [[Storfjord]] municipality for his 50th birthday.<ref name=":7">{{Cite web |last=June 2020 |first=Postet av Maria Figenschau Publisert {{!}} Oppdatert 22 |date=2020-03-31 |title=The Lásságámmi Foundation - Stiftelsen Lásságámmi |url=https://www.lassagammi.no/cppage.6301669-526838.html#p63016691 |access-date=2023-08-20 |website=www.lassagammi.no |language=en}}</ref> He became a Norwegian citizen in 2001.<ref name=":1" /> |
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In 2001, Valkeapää visited Japan to perform in a poetry event with other Finnish and Japanese writers. He died during his return home, at the house of his Japanese friend Junichiro Okura in [[Espoo]].<ref name=":1" /> Valkeapää was buried at the [[Birtavarre|Birtavárre]] cemetery in Troms.<ref name=":4" /> |
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'''Legacy''' |
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Valkeapää is recognised and remembered as a vital figure in the revitalization of joik and the Sámi rights movement. In 2022, his joik ''Sámiid eatnan duoddariid'' was elected the national joik of the Sámi people at the 22nd [[Sámi Conference]] in [[Gällivare]].<ref name=":1" /> |
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In 2004, the Lásságámmi Foundation was established by the [[Sámi Parliament of Norway]], Storfjord municipality, Troms county, and the [[University of Tromsø]] to preserve Valkeapää's legacy and utilise his residence in Skibotn as a space for researchers and artists. The foundation is named after Valkeapää's house.<ref name=":7" /> |
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Posthumous publication of Valkeapää's work includes two poems included on his godson [[Niko Valkeapää]]'s eponymous début album. Speaking on his godfather's influence, Niko stated that "I can’t deny that Nils-Aslak was a role model for me – he was a figure that I would look up to. He has been a source of inspiration and I have included two of his poems on my album to pay homage to him." |
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<references /> |
<references /> |
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Revision as of 05:57, 29 April 2024
To Edit
Jello salad
History
Early gelatin-based precursors to the jello salad included fruit and wine jellies and decorative aspic dishes, which were made with commercial or homemade gelatin. Gelatin was time-consuming to cook, and commercial gelatin was produced in shreds or strips until the late 19th century and needed to be soaked for a long time before use.[1] In 1894, the Knox Company produced the first commercial granulated gelatin, followed by Jell-O a few years later.[2] The name "jello salad" is derived from the genericization of the Jell-O brand name. The convenience of jello made gelatin-based dishes easier to prepare at home, compared to early jellies and aspics.
One of the earliest examples of jello salad is Perfection Salad, developed by Mrs. John E. Cook of New Castle, Pennsylvania in 1904. The original salad called for chopped cabbage, celery and red peppers in a plain aspic mold.[1] Perfection Salad won third prize in a Better Homes and Gardens recipe contest and popularized the concept of the jello salad in the United States.[3] Jello acted as an easy and cheap addition to more labor-intensive or expensive recipes, especially during the Great Depression and World War II.[3] Jello salads were especially fashionable in the suburbs in the 1950s.[2] They were seen as a marker of sophistication, elegance and status, indicating that a housewife had time to prepare jello molds and that her family could afford a refrigerator.[4] In response to the mid-century popularity of jello salads, Jell-O released several savory flavors, including seasoned tomato and celery.[5]
In the 1960s, with the rise of Julia Child and the popularization of French cooking in the United States, the jello salad fell out of fashion.[5] It is now most popular in rural areas of the upper Midwest and in Utah, where Jell-O is the official state snack.[4]
Varieties
Jello salad can be either savory or sweet, though savory varieties are primarily prepared as a kitsch novelty today.[6]
- ^ a b Shapiro, Laura (2008). Perfection Salad: Women and Cooking at the Turn of the Century. University of California Press.
- ^ a b Wall, Wendy (Winter 2006). "Shakespearean Jell-O: Mortality and Malleability in the Kitchen". Gastronomica. 6 (1).
- ^ a b Manty, Kris (June 21, 2023). "How Jell-O Salads Created a Culinary Sensation". Kovels Antique Trader.
- ^ a b Levitt, Aimee (2024-02-29). "In 'Joys of Jell-O,' There's Nothing You Can't Do With Colored Gelatin". Eater. Retrieved 2024-04-29.
- ^ a b Meyersohn, Nathaniel (2022-11-19). "How Jell-O lost its spot as America's favorite dessert | CNN Business". CNN. Retrieved 2024-04-29.
- ^ Oatman-Stanford, Hunter. "Making, and Eating, the 1950s' Most Nauseating Jell-O Soaked Recipes". Collectors Weekly. Retrieved 2024-04-29.