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Norwegian romantic nationalism (Norwegian:Nasjonalromantikken) was a movement inNorway between 1840 and 1867 in art, literature, andpopular culture that emphasized theaesthetics of Norwegian nature and the uniqueness of the Norwegian national identity. A subject of much study and debate inNorway, it was characterized by nostalgia.[1]
The context and impact of Norwegian romantic nationalism derived from recent history and the political situation. Following theBlack Plague, Norway became dependent onDenmark andCopenhagen was made capital of both countries in a personal union. Subsequently, there was abrain drain of talented people from Norway to Denmark, who studied in Copenhagen and became intellectuals and cultural icons in Denmark, most famouslyLudvig Holberg. After more than 400 years as a dependent lesser part in theDenmark-Norway union treated as a cultural backwater by the absentee government inCopenhagen, the only uniquely Norwegian culture was found among the farmers and peasants in rural districts in Norway; Norway had in 1814 gained apartial independence in a personal union with theKingdom of Sweden.[2]
For Norwegians, having reasserted their political aspirations in 1814, the question of a distinct Norwegian identity became important. As urban culture gained prominence also in the rural districts, the rich cultural heritage of the Norwegian countryside came under threat. As a result, a number of individuals set out to collect the artifacts of the distinctly Norwegian culture, hoping thereby to preserve and promote a sense of Norwegian identity.[citation needed]
The best-known such collectors in the 1840s and 1850s were:[3]
These achievements had an enduring impact on Norwegian culture and identity, an impact that can be witnessed in the influence onvisual arts,classical music andliterature, represented by e.g.:[4]
In the waning days of the national romantic movement, efforts were renewed to collect rural buildings, handcrafts and arts.Arthur Hazelius, the founder ofNordiska Museet inStockholm gathered (and arguably rescued) large collections and sent them to Sweden.
The last king of union between Sweden and Norway,Oscar II, was a supporter of this new wave of collecting, starting one of the oldest outdoor museums, the origins ofNorsk Folkemuseum. He supported the manager of the Royal domains atBygdøy,Christian Holst in his efforts to gather old buildings from the rural districts. Among the buildings that are still at the museum, theGol stave church, moved here in the beginning of the 1880s, is the most prominent. Soon after other pioneers started equal efforts to rescue important pieces of traditional Norwegian architecture and handicraft.Anders Sandvig started the museumMaihaugen atLillehammer.Hulda Garborg started the collecting of traditionalfolk costumes (bunad) anddances.
This effort is still underway, but became more systematic as other cultural movements took the center stage in Norway in the late 19th and early 20th century.Romantic nationalism has had an enormous impact on the Norwegian national identity. TheAskeladden character from the fairy tales is considered being an integral part of the Norwegian way. On theNorwegian Constitution Day even in cities likeOslo andBergen, a great proportion of people dress up inbunad for the parade, unthinkable 100 years ago.[6]
Media related toNorwegian nationalism at Wikimedia Commons
