From Rokk Í Reykjavik to the Úlfsmessa: Heathen Occulture and Contemporary Icelandic Musical Subcultures (original) (raw)

This paper will attempt to explore and map the occultural side of contemporary Icelandic musical subcultures and the influence of esoteric ideas, in particular the impact of Icelandic heathenism and neopaganism. From its founding in 1972 by farmer Sveinbjörn Beinteinsson and its recognition by the Icelandic state in 1973 as an official religious denomination, the Icelandic heathen fellowship or Ásatrúfelagið has become one of the main non-Christian religious groups in the country, with approximately 5500 members as of 2022. The association seeks to promote the folklore and traditions of the Æsir, that is, the pantheon of pre-Christian Norse religions, while also performing a variety of social functions and rituals such as weddings, funerals, naming ceremonies, and confirmations. Using Christopher Partridge’s concept of occulture in the context of the permeation and dissemination of the esoteric, mystical, spiritual, and paranormal within popular culture, I shall examine how one of the main factors in the growth and relevance of Ásatrúfelagið and its beliefs in Icelandic society has been its relationship with Icelandic musical and artistic subcultures. Alongside the use of pagan and occult images, symbols, and motifs, members of Ásatrúfelagið, in particular the current head of the society Hilmar Örn Hilmarsson, have collaborated with Icelandic bands and musicians from Björk to Sigúr Rós, or have participated in music scenes such as punk, post-punk, industrial and neo-folk, and black metal, both in Iceland and abroad. In a society whose religious landscape is thought as being predominantly secular, esoteric inspired artistic expression, alongside associated scenic networks and personal relationships, has contributed to an ongoing discourse with spiritual ideas and the continuing influence of heathenism that far outweighs the relatively small size of Ásatrúfelagið’s membership.