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Those Who Are Hidden: A Documentation of Landscape and Identity in Iceland
III. Project Definition
Iceland is a place of intense environmental change, a land where fire and ice coexist in an
uneasy truce. Lying directly on top of the Mid-Atlantic Ridge, the meeting point of the American
and Eurasian tectonic plates, Iceland is slowly pulled in opposite directions by plate movements.1
Due to Iceland’s unique geology, volcanic activity is common throughout the island. However,
Iceland lives up to its namesake as the home of many glaciers, including the largest glacier in
Europe – Vatnajökull. An isolated island nation in the middle of the North Atlantic, Iceland is
the most sparsely populated country in the European Union, with only 317, 000 people2 in an
area the size of Kentucky. Iceland is connected historically and culturally to Scandinavia.
Modern Icelanders can trace their ancestry back to 9th century Norwegian Vikings who first
settled the land with Irish slaves. Geographical isolation has spawned a unique character, evident
in the Icelandic language – virtually unchanged since the time of the Vikings.3 The Icelanders’
ancient language forms a direct link to their past, contributing to a shared sense of belonging and
vibrant literary tradition.4 As a result of this literary tradition, the Icelanders created a rich body
of folklore, inspired by the diverse landscape and vivid history. Legends of trolls, elves, ghosts,
and sea monsters occupy a prominent place in the social and cultural fabric of the island.
Arguably, the most intriguing folk tradition of Iceland is the presence of the Huldufólk.
1
Karen Oslund, Iceland Imagined: Nature, Culture, and Storytelling in the North Atlantic (Seattle: University of
Washington Press, 2011), 30.
2
Oslund, Iceland Imagined, 3.
3
Kirsten Hastrup, “Iceland Topography and the Sense of Identity,” in Michael Jones and Kenneth R. Olwig, eds.,
Nordic Landscapes: Region and Belonging on the Northern Edge of Europe (Minneapolis: University of Minnesota
Press, 2008), 56.
4
Hastrup, “Iceland Topography and the Sense of Identity,” 56-57.
2
Huldufólk is Icelandic for hidden people, deriving from Huldu, meaning hidden, and
Fólk, meaning people. In Iceland, they are sometimes referred to as those who are hidden. The
hidden people are invisible to humans, living in stones and mountains. According to an Icelandic
folktale, the hidden people descend from Adam and Eve’s children. In the legend, God visited
Adam and Eve to see their children. Eve had not finished washing her sons and daughters and
only showed God the clean children, concealing the dirty ones. Aware of the deception, God
cursed the hidden children, saying “what man hides from God, God will hide from man.”5 The
unwashed children of Adam and Eve were forced to live in rocks and hills, hidden from the
human world. However, the end of the folktale reveals that the hidden people may show
themselves to humans if they choose.6
While grounded in Christian tradition, the origin story of the hidden people illustrates an
interesting connection to Scandinavian mythology. The Prose Edda, written by 13th century
Icelandic poet Snorri Sturluson, is one of the most important collections of Scandinavian
mythology and folk belief. The origin story of the hidden people reveals a striking resemblance
to Sturluson’s epic tale. He describes the earth as two worlds divided between gods and men. A
race of beings exists within each world: the Light Elves who dwell with the gods in lofty palaces,
and the Dark Elves who live deep underground among the world of men.7 The Light Elves are
described as beautiful and illuminated by light. On the other hand, the Dark Elves are malicious
beings whose skin matches the dark and rocky environment in which they live.8 The
subterranean world of the Dark Elves is similar to the rock-strewn world of the hidden people. In
5
Jón Árnason, Icelandic Legends, trans. George E. J. Powell and Eríkur Magnússon (London: Richard Bentley,
1864), 20.
6
Árnason, Icelandic Legends, 21.
7
Snorri Sturluson, The Prose Edda, 4th ed., trans. Arthur Gilchrist Brodeur (New York: The American Scandinavian
Society, 1946), 31.
8
Sturluson, The Prose Edda, 31.
3
fact, two important folktales tell of a hidden woman who descends into a dark cavern and arrives
in a kingdom of lush green plains.9
The hidden people are described as identical to humans. In Icelandic Folktales and
Legends, folklorist Jacqueline Simpson states that the hidden people are like “human beings in
appearance and [have] homes, social relationships, and often a religion closely mirroring the
human pattern.”10 Like the Dark and Light Elves of Sturluson’s epic, the term ‘elves’ is often
used to refer to the hidden people, creating modern notions that they resemble smaller creatures
instead of humans. However, Bill Holm, author of The Windows of Brimnes: An American in
Iceland makes a clear distinction: “these elves are not ‘little people’…nor grotesque dwarves
with buckteeth, big noses, silly grins, and pointy shoes. They are the mirror of us.”11 Holm
acknowledges the hidden people as representations of humans, invisible in our world yet fused
with the landscape.
Within the folklore of the hidden people, certain motifs exist. For example, many
folktales describe the hidden people as stewards of the landscape and protectors of a fragile
environment. This is related to accounts of the early Vikings in Iceland removing the dragonheaded prows of their longships to avoid scaring the nature spirits believed to dwell on the
island.12 Many folktales describe the hidden people not only coexisting with the natural
environment, but forming an integral part of the landscape. In other folktales, the hidden people
symbolize wealth and prosperity. Many stories describe the hidden people as thriving
landowners and merchants. This affluence is represented in the hidden peoples’ attire of ornate
9
Árnason, Icelandic Legends, 83, 89.
Jacqueline Simpson, trans. and ed., Icelandic Folktales and Legends (Berkeley: University of California Press,
1972), 14-15.
11
Bill Holm, The Windows of Brimnes: An American in Iceland (Minneapolis: Milkweed Editions, 2008), 70.
12
Örnólfur Thorsson, ed., The Sagas of Icelanders: A Selection (New York: Penguin Books, 2001), 752.
10
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fabrics and embroidery, as well as their seemingly endless supply of food and wine.13 However,
one of the most intriguing motifs involves a hidden person crossing over into the human world
and seeking help in the birth of a hidden child. Certain folktales describe a hidden woman’s
horrific pain during labor, but her misery is miraculously cured after a human touches her on the
head or stomach.14 These tales describe a fascinating connection between the hidden world and
the human world. In times of need, a hidden person allows a human to enter the hidden world,
commenting on the interaction between the races.
Modern research on the hidden people involves collecting folktales from various regions
of Iceland, as researcher Jón Árnason did in the 19th century. Following in the footsteps of
Árnason, contemporary researchers seek further knowledge of the complex folkloric tradition.
For example, historian Magnús Skarphéðinsson, director of the Elf School in Reykjavík, has
archived hundreds of folktales of the hidden people, as well as interviewed hundreds of
Icelanders. Dr. Terry Gunnell, professor of folklore and anthropology at the University of
Iceland in Reykjavík, has written many books on Icelandic folklore. His research is considered
an important addition to the modern investigation of Icelandic folk belief.
However, the primary focus of research on the hidden people mainly involves conducting
surveys. Most surveys only ask questions about whether Icelanders believe in the hidden people
or not.15 But this practice is problematic because many Icelanders are reluctant to give a simple
yes or no answer regarding belief in the hidden people. If a participant were to answer, yes,
he/she would be taking a firm stance on the subject, equating belief in the hidden people with
religious doctrine. However, answering no would discredit the complex cultural phenomena of
the hidden people. For example, countless Icelanders grew up with folktales of the hidden people
13
Árnason, Icelandic Legends, 55, 90.
Simpson, Icelandic Folktales, 18-20.
15
Huldufólk 102, directed by Nisha Inalsingh, Middle Link, 2006.
14
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and consider the stories part of their childhood. While many Icelanders may not profess a
fundamental belief in the hidden people, they refuse to rule out the possibility that the hidden
people exist.16 Surveys have the potential danger of referring to the hidden people in overly
simplistic terms, trivializing a rich folkloric tradition within Icelandic culture.
For my research project, I will not conduct surveys or quantitative analysis. My research
in Iceland will be a combined qualitative process. First, I will interview Icelanders and seek to
understand their perspectives. Second, I will utilize my skills as an artist and document specific
sites associated with the hidden people via photography, film, audio, and sketches17. My
documentation of the landscape will introduce the folklore of the hidden people to a wider
audience by presenting my research in an art and ethnographic exhibition.18 As an artist, I will
use my artistic tools to present my research in a gallery environment, while also encouraging
scholarly conversation on Icelandic folk belief. I seek to discover how these folktales have
shaped Icelandic identity in relation to the landscape. According to her field work in Iceland,
anthropologist Kirsten Hastrup at the University of Copenhagen argues that “the consciousness
of hidden and visible features inevitably becomes part of the landscape. There is no possibility of
stepping out of it.”19 The hidden elements of Icelandic folk tradition are united in a cultural
embrace with the landscape. I seek to understand how Icelandic identity is connected to folklore
and landscape. In order to understand this connection, I must experience the Icelandic landscape
firsthand. In addition to interviews and testimony from Icelanders, it is crucial that I visit
significant areas represented in the folktales. This process of exploring the environment is a
fundamental component to many artists who create works inspired by landscape, such as British
16
Huldufólk 102, directed by Nisha Inalsingh, Middle Link, 2006.
Please consult the Methodology and Timetable section for more information.
18
The full details of this exhibition are listed under the Dissemination of Results section.
19
Hastrup, “Icelandic Topography and the Sense of Identity,” 64.
17
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artists Andy Goldsworthy and Richard Long. Goldsworthy conducts careful research and
exploration of specific sites where he creates his sculptures, made specifically from materials of
the landscape itself, such as stones or wood. Long embarks on hikes through a specific
landscape, documenting his trip via photographs and journal writing. Long’s experiences
walking in the landscape are valuable parts of his research, becoming artworks in the form of
photographic essays and gallery presentations. Therefore, I must experience the Icelandic
landscape directly in order to fully understand the context of Icelandic folk traditions. Through
my research in Iceland, I seek to answer the following question: do the folktales of the hidden
people impact how Icelanders interpret the landscape, or does the landscape itself dictate how
Icelanders interpret the folktales of the hidden people? My investigations will impact the current
study of the hidden people by offering in-depth qualitative analysis alongside established data. I
will add to existing research by bringing the landscape to the forefront of the academic
discussion, since the hidden people are directly linked to the Icelandic landscape. My project is
meaningful because it will encourage intellectual dialogue concerning Icelandic folk traditions
and the importance of those traditions to modern society.
IV. Methodology & Timetable
I will interview Icelanders to gain their perspectives.20 Since my project seeks to
understand Icelandic identity, connecting with Icelanders is crucial. Conducting interviews will
enable to me to understand different perspectives of identity in relation to the Icelandic
landscape. Below is a list of people21 that have granted me permission to interview them:
20
I am aware that I must gain approval from the Research Ethics Committee in order to carry out interviews in
Iceland. I will submit my interview questions and apply for the approval of the Committee.
21
Please consult the Supporting Documents section for the summary of email correspondence. I have also emailed 3
other contacts in Iceland that have yet to respond.
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Dr. Terry Gunnell
Dr. Terry Gunnell is a professor of folklore and social anthropology at the University of
Iceland in Reykjavík. Born and educated in England, Gunnell lives in Reykjavík and is
considered an expert in Icelandic folk traditions. Gunnell is a prolific author and has published
numerous volumes on folklore, such as the Hidden People of Iceland and Legends and
Landscape. Since Gunnell is one of the primary folklorists of Iceland, it is necessary for my
research to seek his advice regarding specific sites to visit (in addition to my proposed itinerary)
as well as other people who would be willing to speak with me.
Bergrún Anna Hallsteinsdóttir
Born in New Zealand to an Icelandic father and New Zealander mother, Bergrún Anna
Hallsteinsdóttir moved to Iceland in 2006 to reconnect with her heritage. She speaks fluent
Icelandic and English. Hallsteinsdóttir currently studies performance art and contemporary
sculpture at the Iceland Academy of Arts in Reykjavík. Hallsteinsdóttir is also a bicycle tour
guide, conducting daily sightseeing tours in the Reykjavík area (including visits to prominent
sites associated with the hidden people). I stayed with Hallsteinsdóttir last summer during my
backpacking trip to Iceland.22 Hearing her perspectives on landscape and identity and how it
relates to her art will benefit my research.
Stefán and María Hensley
María is a psychologist at Akureyri Hospital in Akureyri, the second largest city in
Iceland after Reykjavík. Her husband Stefán repairs cargo vessels and fishing trawlers in
Akureyri Harbor. Last summer, they invited me to stay with them during my travels in Iceland. I
am interested to interview María to gain her perspective as a psychologist. I am also interested to
22
Please consult the Relevant Experience section for details.
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hear Stefán’s perspective as an Icelander with a close connection to the sea, since many
Icelanders work in the fishing and shipping industry.
Stefán Erlingsson
Stefán Erlingsson is a photography and film student at Akureyri University. He also
works in marketing and publicity at a local theatre. I met Erlingsson in Akureyri during my
summer travels in Iceland. I will interview Erlingsson and hear his perspective as a young
Icelander involved with multimedia, discussing how his identity is affected by Icelandic folklore
and landscape.
Sigurður Atlason
Sigurður Atlason is a self-proclaimed sorcerer residing in Hólmavík, a small village in
Iceland’s Westfjords. As the curator of the Museum of Icelandic Sorcery and Witchcraft, Atlason
is committed to preserving the culture of the Strandir region. The unique folklore of Iceland’s
Westfjords is meticulously documented in the museum, including exhibitions dealing with
medieval magic. In addition to managing the museum, Atlason gives tours of the surrounding
area, including a trip to a medieval sorcerer’s hut. During my research, I discovered many
folktales concerning invisibility spells that Icelanders used to cross over into the world of the
hidden people.23 I will discuss this phenomenon with Atlason during my interview.
Steingrímur Eyfjörð
A contemporary artist and sculptor, Steingrímur Eyfjörð received the honor of
representing Iceland at the 52nd Venice Biennale in 2007, one of the most prestigious
contemporary art exhibitions in the world. In his most famous work, The Golden Plover Has
Arrived, Eyfjörð utilizes documentation via sculpture, painting, installation, literature, and
performance to present a portrait of modern Icelandic society. Deeply influenced by Icelandic
23
Árnason, Icelandic Legends, 82, 89.
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folklore as well as the rich storytelling tradition of the Vikings, Eyfjörð seeks to establish
connections between reality and surrealism. During my research, I was intrigued to discover that
the artist contacted an Icelander who claimed to speak to a hidden man. Eyfjörð claimed he
wanted to obtain an object from the hidden man to incorporate into his exhibition at the Venice
Biennale. It will be useful to interview Eyfjörð in order to understand the impact of folklore on
his work.
Magnús Skarphéðinsson
Historian Magnús Skarphéðinsson is the director of the Elf School in Reykjavík, a
learning center and archive that documents the rich folklore of the island, including stories of the
hidden people. Skarphéðinsson conducts courses and seminars concerning the hidden people,
striving to create awareness and understanding of the cultural phenomena. Skarphéðinsson was
interviewed in the documentary Huldufólk 102. I am interested to interview Skarphéðinsson and
hear his perspective on Icelandic identity in relation to folklore and landscape. I also seek his
advice concerning specific sites to visit (in addition to my proposed itinerary).
I also plan to interview local Icelanders in addition to the interviewees listed above.
While gathering research in smaller villages around the island, I will connect with locals and
search for comparative perspectives to the academics I will interview.
In conjunction with interviews, I will employ “practice-led” research, which is a
methodology specific to artist-scholars, and qualitative analysis to gather my research of the
landscape. Combining interviews and documentation is the best way for me to understand
concepts of landscape and identity in Iceland. The process of documentation will lead my
investigation as I explore the Icelandic landscape in order to discover how Icelanders relate to
that landscape. As an artist, I heavily practice documentation within my artistic research, which
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involves careful reading, note-taking, sketching, and photography to gather research for my
work. The documentation process of my research in Iceland involves travelling to specific sites24
around the island that are significant to the hidden people. While visiting these sites, I will
visually record the landscape via digital photographs, video footage, and sketches. This
documentation is crucial to understand the folklore of the hidden people, since the hidden people
are associated with particular sites. The hidden people are intimately connected with the
Icelandic landscape, and I strive to gain insight via documentation. In addition to visual
documentation, this “practice-led” research methodology will use audio field recordings to
document the sound of the landscape. Through these audio recordings, I will capture the total
experience of the specific site, paying close attention to the sounds of the natural environment.
This method of making art is a highly active experience, utilizing thorough research, rigorous
documentation, and reflection instead of simply developing artwork from start-to-finish in the
confines of my studio. Therefore, it is essential that I explore the landscape in relation to the rich
folklore, gaining knowledge and insight into Icelandic culture. My “practice-led” method of
documentation is vital for me to achieve my qualitative research goals.
Itinerary
My research in Iceland will cover approximately 21 days, commencing July 21st and
finishing August 10th. Below is my research schedule and daily plan. The people listed in the
schedule have agreed to meet with me for an interview. However, I may learn of new places to
visit and new people to meet during my scheduled travel and interviews. My proposed schedule
is thorough, yet flexible. Therefore, I will allow for other interviews and trips to significant
areas. My itinerary may seem quite full, but it is important to remember that Iceland is the size of
24
Please consult the itinerary on the following pages as well as the detailed map of my route in the Supporting
Documents section.
11
Kentucky. Bus transport and developed roads make it easy to travel from one side of the country
to the other in a matter of hours. Therefore, my research and documentation will not be affected
by long trips. I will have plenty of time in each location and leave room for other interviews and
travel. Another important factor is that the sun does not set in Iceland during the summer months.
Therefore, Icelandic daily life adjusts to this seasonal phenomenon and the days are much longer.
My itinerary is as follows:
Day 1: Morning arrival at Keflavík International Airport. Transfer to Reykjavík city
center via Flybus airport shuttle. Interview Terry Gunnell. Visit Icelandic Elf School: interview
Magnús Skarphéðinsson. Visit National Museum of Iceland to further understand Icelandic
history and society.
Day 2: Day trip to the ‘Parliament Plains’ of Þingvellir National Park, important to
Icelanders as an early settlement site. Document the landscape via photography, film, audio, and
sketches. Travel back to Reykjavík. Interview Bergrún Anna Hallsteinsdóttir.
Day 3: Travel by bus from Reykjavík to Stykkishólmur, a small harbor village on the
Snæfellsnes peninsula. Visit nearby Grundarfjörður, including three sites in the area associated
with the hidden people: Mt. Stapafell, Svalþúfa promontory, and the Arnarstapi coast. Document
the area via photography, film, audio, and sketches.
Day 4: Ferry to the Westfjords. Take bus to Ísafjörður, a small fishing settlement in the
Westfjords. Connect with locals. Document the area via photography, film, audio, and sketches.
Day 5: Day trip to Hornstrandir Nature Reserve, a protected wilderness area of the
Westfjords. Explore significant locations associated with the hidden people: Mt. Alfsfell,
Vikurnar, and Hornbjarg. Document the area via photography, film, audio, and sketches.
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Day 6: Travel by bus from Ísafjörður to Hólmavík. Visit the Museum of Icelandic
Sorcery and Witchcraft. Interview Sigurður Atlason. Document surrounding Strandir region via
photography, film, audio, and sketches.
Day 7: Travel by bus to Reykjavík. Visit Reykjavík Art Museum (Hafnarhús building).
Visit the National Center for Cultural Heritage. Interview Steingrímur Eyfjörð.
Day 8: Take bus from Reykjavík to Herjólfur ferry. Ferry to Heimaey, the main island of
the Vestmannaeyjar archipelago. Interview Árni Johnsen,25 member of the Icelandic Parliament.
Explore surrounding cliffs and lava formations. Document the island’s volcanic formations via
photography, film, audio, and sketches.
Day 9: Take Vestmannaeyjar ferry back to mainland. Travel to Reykjavík via bus. Visit
Reykjavík Art Museum (Kjarvalsstaðir building). Interview Hafthor Yngvason.26
Day 10: Travel by bus via highway F35 (highland route) to Akureyri. Document highland
glacier area via photography and sketches. Afternoon arrival in Akureyri. Interview Stefán and
María Hensley.
Day 11: Visit Akureyri Art Museum. Interview Stefán Erlingsson.
Day 12: Day trip from Akureyri to Ásbyrgi, a canyon significant to the folklore of the
hidden people. Local Icelanders identify Ásbyrgi as the capital city of the hidden people.
Document the area via photography, film, audio, and sketches.
Day 13: Travel by bus to Egilsstaðir, transfer to Borgarfjörður Eystri. Check into
accommodation and organize hiking preparations.
Day 14: Hike to Mt Dyrfjöll near Borgarfjörður Eystri, a mountain associated with the
hidden people. Document the area via photography, film, audio, and sketches.
25
26
See Supporting Documents section regarding email correspondence.
See Supporting Documents section regarding email correspondence.
13
Day 15: Hike to Álfaborg, a rocky hill near the village of Bakkagerði. Document
Álfaborg, a place considered to be the home of Hildur, a queen of the hidden people. Explore the
village of Bakkagerði and connect with the villagers.
Day 16: Travel by bus back to Egilsstaðir, transfer to Lake Mývatn, a prominent volcanic
region near Akureyri. Visit Dimmuborgir, a significant area in the southern section of the lake
where many Icelanders have claimed to see hidden people. Document the area via photography,
film, audio, and sketches.
Day 17: Travel by bus via highway F26 (highland route) to Landmannalaugar nature
area. Afternoon arrival in Landmannalaugar. Document mountain region via photography, film,
audio, and sketches.
Day 18: Travel by bus to Kirkjubæjarklaustur, a small village on the south coast. Connect
with locals. Visit Eldhraun lava field and Laufskálavarða rock towers to understand the
geography of south Iceland. Document the areas via photography, film, audio, and sketches.
Day 19: Day trip from Kirkjubæjarklaustur to Lakagígar, the site of a destructive volcanic
eruption in 1783. Explore the now extinct volcanoes and gain knowledge of the dangers facing
early Icelandic settlers in connection to the environment. Document the area via photography,
film, audio, and sketches.
Day 20: Travel by bus to Skógar. Visit Skógar Folk Museum to gain insight into early
Icelandic daily life. Interview Þórður Tómasson, curator of the museum.27 Document the
museum’s stone buildings and surrounding cliff environment via photography, film, audio, and
sketches.
27
See Supporting Documents section for email correspondence.
14
Day 21: Travel by bus back to Reykjavík. Visit Reykjavík Art Museum (Ásmundarsafn
building). Visit Reykjavík Museum of Photography. Reflect on journey with Bergrún Anna
Hallsteinsdóttir.
To reiterate: my research schedule might seem full, but Iceland is only the size of
Kentucky. Efficient public transportation offers fast travel across the island. Instead of lengthy
travel from place to place, I will have ample time in each area as well as flexibility in my
schedule. It is also important to note that the sun does not set in Iceland during summer, resulting
in longer days. Icelanders adjust to this seasonal phenomenon and accomplish more tasks during
the day. During my Iceland trip in summer 2012, I grew accustomed to the ‘Midnight Sun’ and
planned my days accordingly.
V. Dissemination of Results
My research in Iceland will be the main focus of my honors thesis, which will take the
form of an art and ethnographic exhibition. My research and documentation will be showcased
within this exhibition held in the art gallery at Meiley-Swallow Hall during spring 2014. My
photographs, film footage, field sketches, and audio recordings will represent the visual and
hypermedia section of the exhibition. I plan to showcase my film footage as visual projections on
the walls of the gallery. I will also compile my sound recordings into soundtracks that will play
during the exhibition. Furthermore, I will incorporate excerpts from folktales in relation to the
specific sites. I will display text from my field notes, documentation, and interviews. I will also
create framed charcoal drawings from some of my field sketches, commenting on my reflections
of the trip and I will create sculptural work in relation to the textured Icelandic landscape.
My goal is to visually communicate to the audience a comprehensive journey through the
Icelandic landscape. I want the audience to share in my experience of the landscape and folklore,
15
actively processing the material within the gallery space. Since many people may not have the
ability to travel to Iceland, I desire the exhibition to represent a journey and welcome the
audience to actively participate in that journey. I want the viewer to experience what I
experienced in Iceland as closely as possible. In connection with the exhibition, I will write a 10
page introduction and artist statement. For my thesis presentation at the Rall Symposium, I will
hold a panel discussion and video presentation instead of a poster arrangement. I believe this
decision will encourage public discourse as well as provide an overture to my thesis exhibition. I
will also apply to present my research at NCUR, HCIR, and other conferences.
VI. Relevant Experience
From July 3-26, 2012, I took a solo backpacking trip through Iceland. In three weeks, I
was able to explore a vast area of the island, since the country is the size of Kentucky. My
previous travel in Iceland equipped me with the background I need to conduct my research, such
as familiarity with the geography, transportation, currency, and language. While most Icelanders
speak English, I learned many useful Icelandic phrases in order to connect with the locals.
In addition to hands-on travel experience, I have a solid background in research gathering
and conducting interviews. Before I transferred to North Central College, I was a student at Joliet
Junior College where I served as Co-Editor of the student newspaper. My main tasks were
assigning stories, gathering research, and conducting oral interviews on and off campus. My
position as Co-Editor provided me with the communication skills I need to carry out interviews.
My time at North Central has been occupied with intense research gathering and effective
writing, rewarding me with valuable skills to apply to my research goals.
16
VII. Personal Application
My research and documentation in Iceland will build a strong foundation in my artistic
career, challenging me to explore new ideas within my work. As an artist, I constantly seek to
improve the presentation and display of my work. This project will encourage me to consider
innovative ways to prepare an exhibition, pay close attention to gallery space, and discuss my
work with an audience. This consideration of gallery display and presentation will help me to
prepare for the senior art show in spring 2014, the art exhibition for all graduating Studio Art
majors. I will also apply for a Fulbright scholarship upon graduation from North Central. My
research in Iceland will impact my academic future, allowing me to conduct further international
research. I am also considering applying for an art residency to Iceland in the future. An art
residency enables me to live for a certain period of time in Iceland in order to gather research and
create artwork within an international setting.
VIII. Annotated Bibliography
Primary Sources
Árnason, Jón. Icelandic Legends. Translated by George E. J. Powell and Eiríkr Magnússon.
London: Richard Bentley, 1864. Jón Árnason (1819-1888) was an Icelandic writer who
lived in Reykjavík. He was the first curator of the National Museum of Iceland. Árnason
is arguably the most important figure in the study of Icelandic folklore. He was the first
researcher to compile Icelandic folktales from different parts of the island into a single
volume. Icelandic Legends is one of the most important primary sources I am using for
my research project. Árnason’s collection of folktales allows me to consult the stories
directly, gaining knowledge of the folk beliefs of the island. Over half of the book is
completely devoted to the hidden people and illustrates their origins, habits, customs, and
appearances.
Holm, Bill. The Windows of Brimnes: An American in Iceland. Minneapolis: Milkweed Editions,
17
2008. Bill Holm (1943-2009) was an American writer and English professor at Southwest
Minnesota State University. In 2008, Holm received the McKnight Distinguished Artist
Award for his cultural and literary impact on Minnesota. His last publication, The
Windows of Brimnes: An American in Iceland, recounted his experiences living on an
isolated farm in northern Iceland. Holm wrote vivid accounts of Icelandic people,
landscape, and culture as he reflected on his Icelandic heritage. Holm devotes an entire
chapter to the cultural phenomenon of the hidden people, discussing how Icelandic
society is influenced by folklore. In this way, Holm’s personal experiences and
reflections in Iceland are an important primary source for my research.
Sturluson, Snorri. The Prose Edda, 4th ed. Translated by Arthur Gilchrist Brodeur. New York:
The American-Scandinavian Society, 1946. Snorri Sturluson (1179-1241) was a member
of the Icelandic parliament in the early 13th century. An accomplished historian and poet,
Sturluson contributed to Iceland’s rich literary tradition with his mid-13th century epic,
The Prose Edda. Viking creation myths, adventures of the gods, and narrative poetry are
represented in the epic. Sturulson also makes key references to the ‘Light Elves’ and
‘Dark Elves’ inhabiting the world of gods and men. Sturluson’s accounts are invaluable
to my research on the hidden people, since Icelandic folk traditions were directly inspired
by Viking legends. The Prose Edda is one of the most significant sources on
Scandinavian mythology.
Thorsson, Örnólfur, ed. The Sagas of Icelanders: A Selection. New York: Penguin Books,
2001. A saga is a medieval epic that recounts the deeds of Scandinavian gods and heroes.
However, the Icelandic sagas, compiled in the 12th and 13th centuries, are unique because
they present the lives of ordinary settlers in a realistic tone. Instead of battles between
gods and mythical creatures, the Icelandic sagas reveal a world of common people who
struggled to survive in a harsh landscape. The Sagas of Icelanders is a selection of sagas
from areas such as the Westfjords and the Snæfellsnes peninsula. This edition presents
eleven sagas and other shorter works drawn from the Complete Sagas of Icelanders Vol.
I-V. Many features of the Icelandic landscape are named after events in the sagas. The
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Sagas of Icelanders is an important primary source for me to understand how the early
Icelanders shaped their identity within an unforgiving environment.
Secondary Sources
Barnett, Estelle and Barbara Bolt, eds. Practice-Led Research: Approaches to Creative Arts
Inquiry. Reprint, New York: LB Tauris & CO. Ltd., 2009. Estelle Barrett and Barbara
Bolt are senior lecturers at Deakin University in Melbourne and the University of
Melbourne, respectively. Practice as Research: Approaches to Creative Arts Enquiry is
the result of Barrett and Bolt’s collaboration. The volume is an interesting examination of
practice-led research in the field of creative arts. The authors investigate how knowledge
is obtained and applied to research by presenting creative writing, music, dance, and
visual arts as effective tools for gathering research. This book is one of the main sources I
used to develop my research method of documentation. As an artist, I utilize the artistic
tools of photography, video footage, drawing, and audio recordings to collect my
research and apply my findings to my work. Essentially, my practice of artistic
documentation leads my research project.
Hastrup, Kirsten. “Icelandic Topography and the Sense of Identity,” in Jones, Michael and
Kenneth R. Olwig, eds. Nordic Landscapes: Region and Belonging on the Northern Edge
of Europe. Minneapolis: University of Minnesota Press, 2008. 53-76. Dr. Kirsten Hastrup
is a professor of anthropology at the University of Copenhagen. Her field work in Iceland
has contributed to contemporary research in Scandinavian identity. Hastrup explores how
the Icelandic identity is constructed by investigating the landscape. Hastrup’s research
tools are interviews, direct observation, and experiencing the Icelandic landscape.
Hastrup’s work is a vital source that has helped me define my research method. I am
inspired by Hastrup’s qualitative methods and investigating how landscape impacts
identity.
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Huldufólk 102. DVD. Directed by Nisha Inalsingh. Iceland: Middle Link, 2006.
Directed by American filmmaker Nisha Inalsingh, Huldufólk 102 is an investigation into
the folklore of the hidden people. The documentary interviews Icelandic journalists,
historians, farmers, clergymen, and professors. Prominent sites associated with the hidden
people, such as Mt. Stapafell on the Snæfellsnes peninsula, are visited. The documentary
explores connections between the hidden people and humans, such as hidden people
visiting humans in dreams. Transportation issues dealing with the hidden people are also
examined. For example, representatives of construction companies are interviewed about
having to reroute roads to avoid damaging rocks where hidden people live. This
documentary has been a vital source for my research, helping me formulate my method
of combining interviews with documentation of the landscape.
Krakauer, Jon, and David Roberts. Iceland: Land of the Sagas. New York: Villard Books, 1990.
Jon Krakauer, journalist and mountaineer, has written articles for National Geographic
and Outside magazine. His book Into the Wild earned him the reputation of a prolific
adventure writer. Accompanying fellow Outside magazine writer David Roberts,
Krakauer journeys to Iceland to chronicle the island’s rich history and folklore. Krakauer
and Roberts present Iceland as a unique landscape ruled by a rich literary tradition.
Iceland: Land of the Sagas is important for my research because it is a meticulously
documented adventure, complete with information and photographs of significant sites
associated with Icelandic folklore.
Leavy, Patricia. Method Meets Art: Arts-Based Research Practice. New York: Guilford Press,
2009. Dr. Patricia Leavy is a sociologist and researcher who taught sociology at Stonehill
College, Massachusetts. She is a prominent figure in modern qualitative research. In
Method Meets Art: Arts-Based Research Practice, Leavy examines music, writing, dance,
and visual art as research methods in their own right. Leavy argues that each creative arts
field, be it literary, sound, or visual based, is a highly developed research process. The
book’s section on visual anthropology and visual qualitative research is particularly
valuable to my own research. This book is a crucial source to my research and has helped
me sharpen my method of documentation.
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Sigur Rós. Heima. DVD. Directed by Dean DuBlois. Iceland: Xl Recordings, 2007.
Sigur Rós is an Icelandic experimental rock band. One of the most well-known Icelandic
bands, Sigur Rós has released six albums and performs all over the world. The band
returned to Iceland in 2006 after a long international tour, performing free concerts
around the island. Directed by Canadian filmmaker Dean DuBlois, Heima, meaning home
in Icelandic, chronicles the band’s travels and performances. The documentary is also a
vivid portrait of the Icelandic landscape. Film footage of the landscape intertwines with
the band’s performances. Alongside Sigur Rós, the Icelandic landscape is a character in
its own right. This documentary is an important reference for my research, since the film
portrays the landscape as a crucial component to Icelandic culture and identity. I am also
using Heima as a significant reference for my research method by employing the use of
visual documentation to gather my research.
Simpson, Jacqueline, translator and ed. Icelandic Folktales and Legends. Berkeley: University of
California Press, 1972. Dr. Jacqueline Simpson is an English folklorist who studies the
folk traditions of Scandinavia. Simpson studied Icelandic language and English literature
and is a member of the Folklore Society in London. Simpson has written extensively on
British and Scandinavian folklore, especially Icelandic folk traditions. In Icelandic
Folktales and Legends, Simpson draws from Jón Árnason folkloric collection, including
analyses of each tale.