Scania - Culture - Language, Literature and Art

Language, Literature and Art

Scanian dialects have various local native idioms and speech patterns, and realizes diphthongs and South Scandinavian Uvular trill, as opposed to the supradental /r/-sound characteristic of spoken Standard Swedish. They are very similar to the dialect of Danish spoken in Bornholm, Denmark. The prosody of the Scanian dialects has more in common with German, Danish and Dutch (and sometimes also with English, although to a lesser extent) than with the prosody of central Swedish dialects.

Famous Scanian authors include Victoria Benedictsson, (1850–1888) from Domme, Trelleborg, who wrote about the inequality of women in the 19th century society, but who also authored regional stories about Scania, such as From Skåne of 1884; Ola Hansson (1860–1925) from Hönsinge, Trelleborg; Vilhelm Ekelund (1880–1949) from Stehag, Eslöv; Fritiof Nilsson Piraten (1895–1972) from Vollsjö, Sjöbo; Hjalmar Gullberg (1898–1961) from Malmö; Artur Lundkvist (1906–1991) from Hagstad, Perstorp; Hans Alfredsson (born 1931) and Jacques Werup (born 1945), both from Malmö. Birgitta Trotzig (born 1929) from Gothenburg has written several historic novels set in Scania, such as The Exposed of 1957, which describes life in 17th century Scania with a primitive country priest as its main character and the 1961 novel A Tale from the Coast, which recounts a legend about human suffering and is set in Scania in the 15th century. Gabriel Jönsson, (1892–1984) from Ålabodarna, Landskrona;

A printing-house was established in the city of Malmö in 1528. It became instrumental in the propagation of new ideas and during the 16th century, Malmö became the center for the Danish reformation.

Scanian culture, as expressed through the medium of textile art, has received international attention during the last decade. The art form, often referred to as Scanian Marriage Weavings, flourished from 1750 for a period of 100 years, after which it slowly vanished. Consisting of small textile panels mainly created for wedding ceremonies, the art is strongly symbolic, often expressing ideas about fertility, longevity and a sense of hope and joy. The Scanian artists were female weavers working at home, who had learned to weave at a young age, often in order to have a marriage chest filled with beautiful tapestries as a dowry.

According to international collectors and art scholars, the Scanian patterns are of special interest for the striking similarities with Roman, Byzantine and Asian art. The designs are studied by art historians tracing how portable decorative goods served as transmitters of art concepts from culture to culture, influencing designs and patterns along the entire length of the ancient trade routes. The Scanian textiles show how goods traded along the Silk Road brought Coptic, Anatolian, and Chinese designs and symbols into the folk art of far away regions like Scania, where they were reinterpreted and integrated into the local culture. Some of the most ancient designs in Scanian textile art are pairs of birds facing a tree with a "Great Bird" above, often symbolized simply by its wings. Regionally derived iconography include mythological Scanian river horses in red (Swedish: bäckahästar), with horns on their foreheads and misty clouds from their nostrils. The horse motif has been traced to patterns on 4th and 5th century Egyptian fabrics, but in Scanian art it is transformed to illustrate the Norse river horse of Scanian folklore.