'You Never Truly Feel at Home': Students' Perceptions of their Multilingualism and its Role in their Identity Construction : - A Study Performed in a Suburb Located in a Socially Vulnerable Area

A relevant subject in our globalized world concerns the relationship between language and identity, specifically amongst migrant youngsters’ experience of group belonging. This study therefore focused on how adolescents born to foreign parents in Sweden, perceived their multilingualism as part of their identity formation. I also aimed to include how socio-economic aspects could affect the process of identity construction. Thus, the investigation was performed with seventh grade students at a primary school located in the Stockholm suburb Bredäng. The methods consisted of a questionnaire, which was completed by the entire class and a group interview where six students participated. The results revealed that students adapted their language use based on the context, but Swedish was used most habitually. The informants viewed their multilingualism as beneficial but yet fully aware of the linguistic ideologies functioning in society. By combining their minority and majority language, the students were left with different ethnic identities and had diverse interpretations of what it meant to be Swedish. Even though all of them perceived themselves to have multiple ethnic identities, this was not solely seen positively. The issue of belonging was raised and the students claimed to be outcasts everywhere. However, the results differed depending on whether the students were born in Sweden or not. Also, most of them struggled with the process of assumed and ascribed identities, since they perceived themselves to be Swedish but experienced that society valued them as immigrants. Lastly, the study revealed that there were connections between their multilingualism and social mobility as the relationship towards the motherland was highly prioritized even with low levels of economic capital. 

"Monasterio de Sal" : Om elbasens introduktion i flamencovärlden via Carles Benavent

Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value.

Without a trace? The Sámi in the Swedish History Museum

Around 2005, the Swedish History Museum (SHM) in Stockholm reworked their Vikings exhibition, aiming to question simplistic and erroneous understandings of past group identities. In the process, all references to the Sámi were removed from the exhibition texts. This decision has been criticised by experts on Sámi pasts. In this article, it is argued that we can talk about a Sámi ethnic identity from the Early Iron Age onwards. The removal of references to the Sámi in the exhibition texts is discussed accordingly, as well as the implicit misrepresentations, stereotypes and majority attitudes that are conveyed through spatial distribution, choice of illustrations, lighting, colour schemes and the exhibition texts. Finally, some socio-political reasons for the avoidance of Sámi issues in Sweden are suggested, including an enduring colonialist relation to this minority.