I am Inanna Scientists believe that the myths of the Sumerian goddess Inanna date back to between 3500 BC and 1900 BC, although their origin might be even earlier. Inanna provides a many-faceted symbolic image.  She was the goddess of grain, fertility, order, war, love, heaven and earth, healing, emotions, in short the “Lady of Myriad Offices”. She was later known by many names (Ishtar, Isis, Neith, Metis, Astarte, et al), but each of the later manifestations of the goddess were invariably described as having much less power or being less all-encompassing in their attributes. Inanna’s descent is a story of an initiation process into the mysteries. Inanna is showing the way, sacrificing herself for deep wisdom and for atonement. Inanna’s Descent into the Netherworld is a profound myth. It describes Inanna’s evolvement after she has become queen, wife, mother, and accomplished great heroic feats. Her descent is a description of her spiritual initiation, and it`s the story of the everlasting struggle and need for balance between civilization and nature. This stage version brings together the old lyrics from ancient Sumer in the Sami language, Sami music, Japanese-inspired movements, costumes inspired by the Middle East and textiles from indigenous people all over the world.

Mun lean Inanna Dutkit oaivvildit ahte Inanna myhtat šadde gaskkal 3500 o. kr ja 1900 o. kr, vaikko sáhttet vel ovddežis. Inanna čájeha midjiide máŋggasuorggat govastahttima. Son lea gordnešattuid nissonipmil, šattolašvuođa, stándda, soađi, ráhkisvuođa, dovdduid, buorádalliid, almmi ja eatnama nissonráđđedeaddji. Áiggi mielde šattai son dovddusin eará namahusaiguin, nugo Ishtar, Isis, Neith, Metis, Astarte jna, muhto dat nissonipmilat eai lean govviduvvon nu fámolažžan, ja jur mihá unnit iešvuođaláhki. Inanna njiedjan lea ovddolašvuođa vihaheami máinnas. Son lea ofelažžan, ja oaffaruššá iežas oažžumis čiekŋalis oahpu, viisodaga ja soabahusa. Inanna njiedjan Eatnanvuložii lea hui vuđolaš myhta. Dat čilge Inanna ovdáneami maŋŋel go lea šaddan dronnet, eamit, eadni ja lea doaimmahan stuora arvilis bargguid. Su njiedjan govvida su vuoiŋŋalaš buressivdnádusa, ja lea muitalus dan jávkameahttun dássádatdilálašvuođa sivilisašuvnna ja luonddu gaskkas. Čájálmas čatná oktii don dološ Sumerateavsttaid hábmejuvvon sámegillii, sámi musihka, Japána-lágaš lihkadeamit, Gaskanuortariikamállet biktasiid ja eamiálbmottekstiillaid miehtá máilmmis.

Synopsis: There are many stories and hymns about Inanna. In this stage version of “Mun lean Inanna/ I am Inanna” we´ve used four particular stories:  The first story deals with her acquiring her throne and bed, symbolic of her role as queen and her womanhood, her sovereignty and sexuality.  In this process, she lets go of the primitive, grasping, human aspects, her unacknowledged, unexpressed fears and desires, in order to be deserving of the throne and bed.   In the second story, Inanna acquires from the god of wisdom and culture, her grandfather Enki, the attributes of civilization (mé), which she, in turn, bestows upon her city of Uruk and ultimately, humankind. She demonstrates her power and abilities and becomes “protector” in deed as well as name.    The third story is the story of love and partnership. Inanna takes the shepherd Dumuzi as her consort and makes him king. These three myths collectively represent three of the four stages of human development: the establishment of individuality, interaction with others on an intimate, one-to-one basis, and one’s involvement in the outer, mundane world. In the fourth story, Inanna abandons all the glories of heaven and earth, to make a journey to her sister Ereshkigal in the Netherworld, the journey “from which no traveller returns”. Ereshkigal is enraged when Inanna arrives, and sets the eyes of death on her her. Inanna is turned into a corpse and hung from a hook on the wall. Inanna’s grandfather Enki rescues her from death, but Ereshkigal demands that Inanna must provide someone to take her place. She sends the demons of the Netherworld to accompany Inanna until the issue is solved. When Inanna arrives in Uruk, she finds Dumuzi sitting on the throne, lavishly clothed, seemingly oblivious to her absence. Inanna, displeased, decrees that the demons shall take him. Dumuzi’s sister, Geshtianna, mourns her brother, and out of love for him, she begs to take his place. Inanna is moved by Geshtianna’s grief and self-sacrifice, and decrees that Dumuzi and Geshtianna will take equal shares of his fate. Inanna makes both of them immortal. Finally, praises are sung to Inanna and her twin sister Ereshkigal, as Inanna has revealed both her light and her dark side.

Čoahkkáigeassu: Leat čállojuvvon máŋga máidnasa ja máidnunlávlaga Inanna birra. Iežamet lávdeveršuvdnii “Mun lean Inanna” leat geavahan njealja earenoamáš máidnasa: Vuosttaš máinnas lea movt son oažžu truvnnu ja seaŋgga, mat leat dovdomearkan su dronnet/ ráđđejeaddji rollas, ja su nissonvuođa, su sorjjasmeahttunvuođa ja seksualitehta. Son hilgu dan proseassas daid ovttageardán, viiddis olmmošlaš oainnuid: iežas vástitkeahttá ja cealkkekeahttá balu ja anistumi, vai truvnnu ja seaŋgga ánssášivččii. Nuppi máidnasis ákkastallá Inanna alcces sivilisašuvnna me:aid iežas Enki áddjás, viisodaga ja kultuvrra ipmilis. Sutnje skeŋkejuvvo Uruk gávpot ja loahpas vel máilbmi. Dieinna lágiin čájeha son iežas fámu ja máhtu ja šaddá vel várjaleaddjin daguiguin ja nama bokte. Goalmmát máinnas lea ráhkisvuođa ja searvevuođa birra. Inanna váldá báimmana Dumuzi alcces isidin ja dagaha su gonagassan. Dat golbma myhta leat golbma dási njealji dásis olbmo ovdáneamis: individuála ásaheapmi, ovttasbargu ja gulahallan nuppiin olbmuin ja indiviida gulahallan ja doaibma olgguldas stuorát máilmmis. Njealját máidnasis hilgu Inanna buot máilmmálaš ja almmálaš hávskivuođaid, go vuolgá “dan mátkái gos oktage ii šat máhca”, namalassii Eatnanvuložii iežas oappá Ereshkigala riikii. Ereshkigal eattui nu issorasat go Inanna njiejai su lusa, ahte dollii goddi čalmmi iežas oappá vuosttá. Inanna nuppástuvvo liikan ja su guohcagan náhkki heŋgejuvvo roahkkái. Enki áddjá beastá su jápmimis, muhto Ereshkigal gáibidii ahte Inanna ferte lonuhusa sáddet sadjásis. Son sádde Eatnanvuloža bahágasaid čuvodit Inanna dassážii go son gávdná lonuhusa. Go Inanna joavdá Uruk gávpogii, deaivvadeaba Dumuzin, njakčádeami iežas fiidnáseamos biktasiiguin truvnnu alde, iige oro oba váillahange su. Vašiin gohčču Inanna bahágasaid váldit Dumuzi fárrui. Geshtianna, Dumuzi unnaoappáš, morašta vieljastis ja ánuha iežas sáddejuvvot su lonuhussan. Inanna njuorrasa Geshtianna morraša- ja gierisvuođa dihte ja cealká ahte Dumuzi ja Geshtianna galgaba juogadit su vuorbbi. Inanna dahka sudno jápmemeahttumin. Máidnumin lávlot loahpasálmma Inannai ja su juometoabbái Ereshkigalii, dannego Inanna dál lea almmostahttán iežas čuvges- ja sevdnjes lági.

Anitta Suikkari

Haukur J. Gunnarsson

Actress/Neavttár

Director/Bagadalli

Originally from Finnish Karelia, Anitta Suikkari has been active as actress on stage, film and television in Norway for more than three decades, beginning with her own group Sampo Teater in 1983. She became known for her powerful solo performances, many of them based on myths and legends. Since 1990 she has performed regularly with The National Sami Theatre Beaivváš. She has also directed several stage productions. In 2004 she was nominated to the Norwegian Amanda Prize as best actress in the film “Bazo”, and in 2013 to the Norwegian Hedda Award for her role in the play ”Silbajavri/ The Silver Lake”.

Artistic director and general manager of the Sami National Theatre Beaivváš from1991 to 1996, and again from January 2007. He is originally from Iceland, but he has lived in Norway for 35 years. He studied Japanese theatre and the Japanese language in Tokyo for three years before continuing his theatre studies at Hull University in England. As a freelance theatre director he has directed more than 70 productions in the all the Nordic Countries. He has also done some costume design and choreography. In 2003 he was awarded the UNESCO Uchimura Prize for his work promoting Japanese theatre in the Nordic countries.

Anitta Suikkari lea eret Karelas Suomas, son lea bargan neavttáriin teáhterlávddiin, filmmain ja tv- buvttadusain Norggas badjelaš golbmalot jagi dan rájes go álggahii iežas teáhterjoavkku Sampo Teáhtera 1983. Son beaggigođii iežas nana oktočájálmasaiguin, mat ledje vuođđuduvvon myhtaide ja basillašmáidnasiidda. 1990 rájes lea son bargan jeavddalaččat Beaivváš Sámi Našunálateáhteris. Son lea maid bagadallan máŋga lávdebuvttadusa. 2004 nominerejuvvui norgga Amanda-bálkkašupmái, buoremus nissonneavttáriin Bázo-filmmas. 2013 nominerejuvvui ges norgga Hedda-bálkkašupmái iežas rollain “Silbajávrri/Sølvvannet” teáhterbihtás.

Dáiddalaš jođiheaddji ja teáhterhoavdan Beaivváš Sámi Našunálateáhteris 1991 gitta 1996 rádjai, ja dasto fas ođđajagimánu rájes 2007s. Son lea Islándalaš, muhto lea orron Norggas 35 jagi. Son studerii Japána teáhtera vuogi ja giela Tokyos golbma jagi ovdal go ollašuhtti iežas teáhteroahpu Hull Universitehtas Englánddas. Iešheanalaš teáhterbagadallin lea bagadallan badjelaš 70 buvttadusas visot Davviriikkain. Son lea maid hábmen teáhterbiktasiid ja leamaš koreográfan. 2003 oaččui UNESCO Uchimura bálkkašumi iežas barggu ovddidit Japána teáhtera Davviriikkain.

Mun lean Inanna / I am Inanna



Sumera máidnasat, dramátiseren/ Myths from Sumer dramatized by: Rawdna Carita Eira & Anitta Suikkari

Lassiteavsttat/Additional texts: Rawdna Carita Eira

Bagadalli/Director: Haukur J. Gunnarsson Neavttár/Actress: Anitta Suikkari Sámás/Sami language: Britt Inga Vars Musihkka/Music by: Steinar Raknes & Inga Juuso Bivttashábmen/Costume Designer: Berit Marit Hætta Lávdehábmen/Set Designer: Hilde Skancke Pedersen Čuovgahábmen/Light Design: Bernt Morten Bongo Vuoiddashámat/Make-up: Henriette Lille Plakáhttahábmen/Poster: Hilde Skancke Pedersen Govven/Photo: Aslak Mikal Mienna Goarrut/Seamstresses: Ann Majbritt Eriksen, Jil-Katharina Hinzmann, Berit Marit Hætta Scenografiass./Assitent Set Designer: Gerd Karlsson Teknihkárat/Technicians: Morten Sara, Gerd Karlsson, Bernt Morten Bongo, Ole Thomas Hætta Buvttadeaddji/Producer: Leif Isak Nilut Giitu/Thanks to: Maj Lis Skaltje, Lars Göran Pettersson, Ken-Are Bongo Gálddut ja inspirašuvdna/Sources and inspiration: Maria Bergom Larsson: ”Mörkret som kunskapsväg” (artihkal/article) Lennart Warring/Tania Kantola: ”Inanna.Skymningens drottning” Diane Wolkstein/Samuel Noah Kramer: “Inanna. Queen of Heaven and Earth” Betty De Shong Meador: “Inanna. Lady of the Largest Heart“ Sylvia Brinton Perera: “Inannas resa “ ja/og “Syndabocken”

Vuosttaščájálmas/Opening night, Áltá/Alta, 14.6.2014

Beaivváš – The National Sami Theatre Beaivváš Sámi Našunálateáhter is the National Theatre of the indigenous Sami people in arctic Norway. From its beginnings in 1981, Beaivváš has grown from being a small theatre group run by idealistic enthusiasts with little or no financial support, to its present status as the Norwegian National Sami Theatre Company, fully subsidized by the Norwegian government. The theatre’s aim is to strengthen Sami identity through the production of plays of professional quality in the Sami language, as well as to promote Sámi culture in Norway and abroad. The company is based in Kautokeino, one of the largest Sami communities, situated on the inland highlands of North Norway. But as a touring theatre Beaivváš covers vast areas of northern Scandinavia, as well as frequently making guest performances internationally. In 2009 Beaivváš performed “The Frost Haired and the Dream Seer” in India, Nepal and Bangladesh, as well as in Japan in 2013. In 2014 “I am Inanna” was performed in Guatemala. Beaivváš Sámi Našunálateáhter Beaivváš lea árktalaš Norgga Sámi álbmoga našunálateáhter. Álggu rájes 1981, lea Beaivváš ahtanuššan smávva teáhterjoavkkus - maid soames ealljáris idealistat jođihedje unnánaš ekonomalaš doarjagiiguin- otnáš dillái Sámi Našunálateáhteriin – nana ekonomalaš doarjagiiguin norgga stáhtas. Teáhtera ulbmiliin lea nannet sámi identitehta, buvttadettiin fágalaš teáhterbuvttadusaid sámegillii, ja vel  ovddidit sámi kultuvrra Norggas ja riikkaidgaskkas. Teáhter lea ásahuvvon Guovdageidnui, mii lea okta norgga stuorámus sámi servvodagain, mii lea siseatnan duottarguovlu Davvi-Norggas. Muhto, johtinteáhteriin, lea Beaivváža johtinviidodat stuorra oassi davvi Skandinávia guovlluin, ja vel dasa lassin johtin riikkaidgaskasaš guossečájálmasaiguin.  2009 čájehii Beaivváš “Ridnoaivi ja Nieguid Oaidni” čájálmasa Indias, Nepalas ja Bangladeshas ja dasa lassin Japánas 2013. Teáhterčájálmas “Mun lean Inanna” ges čájehuvvui 2014 Guatemalas.

BEAIVVÁŠ

Sámi Našunálateáhter/The Sami National Theatre Guovdageaidnu/Kautokeino, Norga/Norway www.beaivvas.no / [email protected]