About "In the steppes of Sápmi"
“No man’s land […]
In using sound material obtained from oppressed peoples […], In the Steppes of Sápmi by Ansgar Beste […] tread[s] a fine line between cultural exchange and cultural appropriation: […] uses Sámi yoik tunes as objects in the public domain, […] form[s] a good example of […] being sensitive to the balance of powers at play when we trespass in the territory of any minority peoples.”
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