Abstract
This article unfolds sociology’s contribution in helping to understand the emergence and development of nationalism. It engages with nationalism studies and identifies three debates that have significantly shaped this field of research. Against this background, the article explores the question of how sociology can contribute to an understanding of nationalism’s present and future. Using the most recent and ongoing debates in studies of nationalism, the article pinpoints three propositions that jointly form the core of an emerging analytical framework. This framework breaks with the civic–ethnic and primordial–constructivist distinctions that have held dominant positions within nationalism studies, and directs attention towards the roles of, and interactions between, institutions and agency in nationalism. The article explores the potential of this analytical framework by applying it to the arts. It highlights the roles of, and interactions between, institutions and agency in this area, focusing on the Nordic countries in Europe.
Introduction
It is apparent that the field of sociology has struggled to come to terms with nations and nationalism as a collective identity and doctrine, often seeming more comfortable with ‘class’ as a form of collective identity. In the first decade of the early 21st century, this seemed appropriate as nationalism appeared to be in decline. Sociologists were not called on to account for and explain nationalism. Instead, they were expected to contribute to an understanding of how and why nationalism had run its course. However, this changed with the second decade of the 21st century witnessing a sharp increase in nationalism. The emerging consensus that nationalism had run its course was replaced by the question of why nationalism continued to be relevant. This is an important question, demanding an answer from sociologists – and one that resonates with and testifies to the timeliness of this special issue (Gideon, 2019).
This article explores how sociology can contribute to an understanding of nationalism’s present and future. It begins this exploration with unfolding what sociology’s contribution to understanding the emergence and development of nationalism has been so far. In doing so, the article engages with the substantial body of literature on nations and nationalism within political sociology. Political sociologists are positioned at the intersection of state and society. Just as they work at different levels of analysis, they may differ in how they conceptualise ‘state’ and ‘society’. But they share a concern about issues such as nationalism, which are connected to the relationship between the state and society (Botelho, 2014; Hall and Brincker, 2019).
Looking back, we observe three debates in the sociology of nations and nationalism: an early debate that took place in the 1950s and 1960s between Elie Kedourie and Ernest Gellner; and a second debate in the 1980s and 1990s between the so-called ethnosymbolists, Anthony D Smith (1986, 1991, 2008) and John Hutchinson (1994), and the modernists, scholars such as Benedict Anderson (1983), John Breuilly (1993 [1982]), Rogers Brubaker (1992, 1996, 2004a), Ernest Gellner (1964, 1983) and John Hall (1998). In recent years, a third debate has emerged among scholars such as Sinisa Malesevic (2013, 2019), Andreas Wimmer (2002, 2013, 2018) and many more. Drawing on sociological theory and especially sociological institutional theory (Malesevic, 2013), this framework seeks to establish an analytical gaze that prioritises the roles of, and interactions between, institutions, organisations and agency in the making and unmaking of boundaries.
In the following sections, we will explore the roles of institutions and agency and the interaction between them. We engage with the agency of artists (composers) in the making and unmaking of boundaries among the Nordic countries in the process of forming a nation-state in the 19th century. In these two types of national projects we see different manifestations of roles and interactions between institutions and agency in the making and unmaking of boundaries. However, the objective of this endeavour is not to provide fully fledged case studies. This has been done elsewhere (Brincker, 2003, 2008, 2014; Brincker and Brincker, 2004). Instead, it is to critically explore the analytical framework and see the insights it generates when applied.
Albeit the aim is not to present a primary research paper, a few sentences on the selection of artists (composers) and sources are appropriate. The article draws upon secondary historical sources on national state formation in the Nordic countries, focusing especially on the history of music of the four countries. As we explore this theme, the idea of the nation-state obviously constitutes an important factor, establishing a basis for the study of national music traditions, of distinctively national styles, timbres and sounds, and of prominent national composers. In view of this, it is important to keep in mind that while studying classical music in a national context and analysing national composers, classical music is not simply a national phenomenon but, above all, a cross-cultural phenomenon that arises in, and under the influence of, international music scenes (Applegate and Potter, 2002; Brincker, 2008; Brincker and Brincker, 2004; Brincker and Leoussi, 2018; Leerssen, 2006; White and Murphy, 2001).
Thus, we delve deep into the agency of artists, more specifically the Danish, Finnish and Norwegian national composers par excellence: Niels W Gade (1817–1890), Edward Grieg (1843–1907) and Jean Sibelius (1865–1957), in the context of the national projects of the Nordic countries in the 19th century. The Danish case is in turn used to link to the Swedish case at key points, most notably on the point of the ‘Nordic tone’ (Jonsson and Tegen, 1992). We do so with the aim to explore interactions between institutions and agency in the context of these four national projects.
Initially, this article unfolds sociology’s contribution to our understanding of the emergence and development of nationalism. It offers a brief insight into the two first debates in nationalism studies, that is, the debate between Gellner and Kedourie (1950–1960s) and the debate between modernists and ethnosymbolists (1980s–1990s) before focusing on the third debate. Taking the recent contributions by two prominent scholars in the third debate, Malesevic (2019) and Wimmer (2018), as its point of departure, the article presents two claims and one counterclaim. Against this backdrop, the article offers three propositions that contribute to the understanding of nationalism’s present and future. The article engages with these three propositions empirically. In doing this, it turns to the Nordic countries to illustrate the insights they offer in the making and unmaking of boundaries in 19th-century Nordic countries, focusing especially on the interaction between institutions and the agency of artists. The article concludes with a brief discussion of its findings.
Debates One and Two in Studies on Nationalism
The early 1980s witnessed a massive increase in scholarly work on nationalism with publications by Anderson (1983), Gellner (1983), Hobsbawm and Ranger (1983) and Smith (1986). However, these scholars did not develop the field from the beginning. It is possible to identify three debates in the field of nationalism studies (Hearn, 2006; Özkirimli, 2000; Smith, 1998).
The first early debate was a normative debate about nationalism considered from the perspectives of normative political theory and historical sociology. It took place between Gellner and Elie Kedourie, both professors at the London School of Economics (LSE) in the 1950s and 1960s. They had fundamentally different views of, and approaches to, nationalism. Kedourie saw it as a continuation of pre-modern ties into the modern period while Gellner viewed nationalism as part of a fundamental break between pre-modern and modern (Gellner, 1964; Kedourie, 1960, 1971). The first debate also had normative elements connected to academics’ desire to distance themselves from nationalism. Nationalism had a bad reputation, with Kedourie especially disliking it. Gellner engaged with laying the foundations for the formal descriptive theory of nations and nationalism while hoping that cultural pluralism could be achieved within a larger political unit than the nation-state (Hall, 1998, 2010).
The second debate that took place in the 1980s and 1990s was influenced by the Gellner–Kedourie debates. It sought to consolidate studies of nationalism as an academic field that is not primarily concerned with normative considerations about nationalism. The second debate, while defined by contributions from sociologists and historians, also included scholars, most notably David Miller (1995, 2000), who explores nationalism from the perspective of normative political theory – although Miller’s approach is much more embracive of nationalism than his predecessors’ in the field. This means that while one can detect a tendency among Miller’s predecessors to reject nationalism on normative grounds, Miller engages with it. In doing this, Miller has in recent decades developed and advanced a type of national identity argument, which draws attention to the positive aspects of national identity, especially in the context of social justice. Following Miller, people in market-based and culturally diverse societies are most likely to support socially just institutions, including redistributive policies in welfare states, if a common identity informed by liberal values ties together those who are likely to contribute and those who are likely to benefit (Miller and Ali, 2016). This perspective on national identity can also be found in the works of scholars who explore links between liberal nationalism and multiculturalism (Kymlicka, 1995; Tamir, 1995, 2018).
Nevertheless, it is contributions by sociologists and historians that defined the second debate in nationalism studies. Key to these contributions are two elements. First, they debate the distinction between an ethnic and a civic model of the nation which is closely associated with Anthony Smith’s (1991) work. Smith elaborates on two different ideal types of the nation, namely the civic and the ethnic model of the nation. Here he draws on Hans Kohn’s (1967 [1944]) model of an eastern and a western type of nationalism. This distinction has been adopted and developed by several scholars within theories of nationalism (Brubaker, 1992; Greenfeld, 1992; Halikiopoulou et al., 2013; Hobsbawm, 1990; Plamenatz, 1973). Inspired by Kohn’s juxtaposition, Smith suggests a model that analytically separates two types of nations. On the one hand is the civic model of the nation that is characterised by ‘historic territory, legal-political community, legal-political equality of members, and common civic culture and ideology’ (Smith, 1991: 11). This civic model of the nation is compared to the ethnic model that is identified by ‘genealogy and presumed descent ties, popular mobilisation, vernacular languages, customs, and traditions’ (Smith, 1991: 12). The distinction is primarily analytical since its empirical application gives rise to a number of qualifications suggesting that most nations have elements of both models. So, Smith’s intention was mainly to introduce a broad type of categorisation into nationalism studies, in particular for the purpose of comparison.
The distinction between a civic model of the nation which is relatively state-centred, and an ethnic model of the nation that is primarily culture-centred, has to be addressed in its historical context and thus in relation to the formation of nation-states (Breuilly, 1996). In this context, it is important to consider the strength of the bonds between state and nation (Smith, 1992). The nation provides the state with a cultural basis of legitimation, implying that states and nations aspire to overlap to become at least national states, if not true nation-states; that is, a situation where there is a complete overlap between state and nation. Recognising the fact that states and nations rarely overlap has given rise to analyses of states that include many nations and/or ethnicities and that base their claims to legitimacy on a political rather than a cultural allegiance. Scholars taking part in the second debate in nationalism studies occasionally refer to this allegiance as based on patriotism rather than national identity, assuming that the former is primarily a political notion attached to the state and its institutions, in contrast to the latter, which is above all cultural (Brubaker, 2004b; Connor, 1994).
The discussion of political versus cultural allegiances is often pressing in cases of polyethnic states and pinpoints an area of research where nationalism studies overlap with ethnic studies. It should be noted that scholars whose works are discussed here in relation to studies of nationalism are in many cases also considered leading scholars in the field of ethnic studies. This includes, among others, Wimmer who is in the following heralded as a leading voice in the third nationalism debate. He is a scholar of equal importance to ethnic studies and he has written extensively on ethnic boundary making (Wimmer, 2008a, 2008b), including the relationship between ethnicity and war (Wimmer, 2002, 2013) and ethnicity and nation-building (Wimmer, 2018). In doing this, he shares common ground with Elliott Green (2010, 2013, 2020), another scholar whose work combines nationalism studies and ethnic studies, and who, like Wimmer, investigates these factors especially in both pre-, colonial and post-colonial Africa. Finally, Malesevic (2010), whose work on nationalism constitutes the crux of the third nationalism debate, has added significantly to the conceptual advancement of ethnic studies by advocating an approach to ethnicity that fundamentally challenges its explanatory force. In doing this, Malesevic draws upon Brubaker’s (2004a; Brubaker et al., 2004) work on ethnicity.
Another key element in the second debate in nationalism studies is the primordialist/constructivist debate. The constructivist side of the debate is most often associated with the scholarships of Anderson (drawing on Gellner) and Hobsbawm, where Hobsbawm stands out as the dominant figure. He sees nations as purely modern phenomena and also considers them a particular type of organisation that is attached to the capitalist mode of production (Hobsbawm, 1990). Hobsbawm is sceptical of the idea of nations having roots in pre-modern communities that extend into modern nations. Instead, Hobsbawm advocates seeing them as products of a project of construction – understood as a fabrication – carried out by ruling elites. This construction involves the invention of traditions (Hobsbawm and Ranger, 1983; Mosse, 1975).
In sharp contrast to Hobsbawm are Smith and Hutchinson who critique Anderson’s and Hobsbawm’s claim that nations are products of construction processes. According to them, nations have ethnic cores and although these may change in the course of history, these ethnic cores provide real cultural substance to the nation. And so, according to Hutchinson and Smith, nations are not purely modern phenomena. Instead, they build on ethnic communities that have roots in the pre-modern period. Thereby, Hutchinson and Smith advance the view that in order to understand nations fully they have to be examined in ‘la longue duree’; that is, the wider and deeper historical perspective (Armstrong, 1982; Hutchinson, 1994; Smith, 2008). Hutchinson and Smith concede that a certain amount of construction does take place in the development of modern nations. However, this is not construction understood as a fabrication but rather as creation (Smith, 1995).
Recent Developments in Nationalism Studies: The Third Debate
In recent years, a third debate has emerged among scholars such as Malesevic (2013, 2019), Wimmer (2002, 2013, 2018) and many more. It includes scholars who have ties to the second debate, most notably Brubaker, but who seek to explore and expand its conceptual and theoretical boundaries. The third debate furthermore involves a methodological element. This element deals with empirical evidence. Wimmer more than anyone has championed the use of quantitative methods in nationalism studies, in particular quantitative regression analysis to uncover shifts in pride in the nation and national identity especially in Africa (Wimmer, 2018; see also Green, 2010, 2013, 2020; Robinson, 2014). In doing this, Wimmer forms a contrast to most contemporary scholars including Malesevic, Brubaker, Breuilly and Umut Özkirimli who employ qualitative historical methods.
While being divided along lines of methodology, third-generation nationalism scholars share in the endeavour to capture and define nationalism. This takes place against the backdrop of a debate about two major claims that have been launched against nationalism both by former and contemporary theorists. First, they see nationalism as a thin ideology. Second, they believe nationalism to be in decline having had its peak with the breakdown of empires in the 19th century (Freeden, 1998; Heywood, 2003; Malesevic, 2019).
In relation to the first claim of nationalism being a thin ideology, contemporary sociological theorists Michael Freeden (1998: 750–751) and Andrew Heywood (2003: 136) are steadfast that nationalism has no coherent and articulated doctrine. According to these critics, in contrast to liberalism, socialism and conservatism, it lacks a comprehensive system of principles and ideas that span a wide range of political issues including issues pertaining to social justice and distribution of resources. This characterisation of nationalism resonates well with some of the classical theorists such as Anderson (1983: 5) and Gellner (1983: 124–125) who both believed nationalism to be conceptually chaotic, adding that it suffers from philosophical poverty. Malesevic rejects this claim. In doing so, he argues that nationalism is based on a rich history of ideas including those by thinkers such as Herder, Manzini, Ficthe, Hegel and Rousseau. However, he adds that it is much more than a standard political ideology. Besides offering a grand narrative of collective liberation and emancipation, nationalism constitutes a structural phenomenon that permeates the organisational configuration of the modern world (Malesevic, 2019: 13). In addition, according to Malesevic nationalism is embedded at the micro-interactional level, covering a set of social and cultural practices that is deeply ingrained and rooted in the everyday lives of people (Billig, 1995; Fox, 2017; Fox and Miller-Idriss, 2008). Against this background, Malesevic defines nationalism as a super-thick ideology that is grounded at the organisational, ideological and micro-interactional level.
Malesevic also rejects the claim that nationalism is a doctrine that had its peak in the 19th century with the decline of imperial rule. At this particular point in time when the salience of national borders and national states is very pronounced, it may not seem farfetched to reject the claim that nationalism is in decline. However, according to Malesevic, even at times when the nationalist doctrine may appear less dominant than what is currently the case, nationalism considered as a worldwide (and mass-based) sociological phenomenon only gained significance in the late 19th and 20th century. It is therefore not a thing of the past. Nationalism is, in fact, a modern phenomenon of the 20th and 21st centuries. It forms the core of modern subjectivity.
Taking a point of departure in the counterclaim that nationalism is grounded historically, organisationally, ideologically and micro-interactionally, three propositions about the nationalist doctrine emerge. Jointly, they constitute the analytical framework that one can identify across the work of third-generation nationalism scholars. The first proposition establishes the foundation of the analytical framework by clarifying levels of analysis.
Proposition 1: The nationalist doctrine cuts across and involves the following analytical levels: institutions; organisations; and agency.
The second proposition places the third generation of nationalism scholars in the context of nationalism studies. It makes it clear that this third generation is critical of, and breaks with, classical nationalism studies associated with Gellner, Anderson, Smith and Hutchinson. It does so because it seeks to stay clear of the debate on civic/ethnic nation-states which is closely associated with Smith and also the primordialist/constructivist debate. It also steers clear of the distinction between old and new nations introduced by Hugh Seton-Watson (1977).
Proposition 2: When we explore nationalism empirically, cases differ not on being old/new, ethnic/civic or primordial/constructed. Instead, cases differ on the role of, and interaction between, institutions and agency.
While the analytical framework generated by the three propositions distances itself from the second debate in nationalism studies that took place during the 1980s and 1990s, it becomes clear with the third proposition that it is not entirely unaffected by this second debate. Proposition 3 engages with the constructivist faculties of agents. In doing so, it also believes that nations are thoroughly modern thus siding relatively more with the modernist camp than the ethnosymbolist camp.
Proposition 3: The role of, and interaction between, institutions and agency reflect the historically different groundings of nationalism.
While the above outlined analytical framework draws on the first and especially the second debate, it seeks to move beyond them. It seeks to contribute to an understanding of nationalism’s present and future. This takes place against the backdrop of the contribution that sociology, and especially political sociology, has made in understanding the development and emergence of nationalism, thus reflecting the work of those scholars who helped shape the first and second debate in nationalism studies. The third generation of nationalism scholars is therefore driven by a threefold ambition. Theoretically, they wish to strengthen and sharpen the analytical gaze of nationalism scholars by clarifying levels of analysis and common denominators to be analysed. Methodologically, they aspire to provide solid ground for comparative studies of nationalism that enable us to accumulate knowledge beyond that of individual case studies. Finally, empirically they seek to facilitate non-western approaches to and accounts of non-western contexts in recognition of the fact that nationalism studies have traditionally suffered from a pronounced Eurocentrism, although with important exemptions (Banton, 1983; Breuilly, 1993 [1982]; Green, 2010, 2013, 2020; Hechter, 2013; Kedourie, 1971; Warde et al., 2019; Wimmer, 2018).
These ambitions are triggered by debates in nationalism studies and political sociology more generally. However, they are also spurred on by a wish to understand the history, legacy and main features of the nation-state without falling victim to methodological nationalism; that is, the tendency to equate the concept of society and the nation-state in modernity. The notion of methodological nationalism is associated with the German sociologist Ulrich Beck (2000) who argued that social theory was unable to account for current changes in historical circumstances most notably globalisation because it was nationally bounded; that is, the body of social theory suffered from methodological nationalism. However, efforts to identify and engage with the problem of methodological nationalism in social theory can be traced back to the 1970s (Chernilo, 2006). It includes Smith (1979) who argues that methodological nationalism is embedded in institutional practices permeating every level of sociology. This has to be seen in relation to the British sociologist Hermonio Martins (1974), who claims that social theory is inclined to see the nation-state as the terminal unit. In so doing, he offers a logical version of methodological nationalism that may be contrasted to the historical version by Smith (Chernilo, 2006, 2007; Zürn, 2001). Smith and Martins both advocate transcending methodological nationalism from within social theory. In contrast, Beck supports a relatively more radical approach which involves rethinking social theory along the lines of a set of dichotomies, for example, modern nation-state society versus world risk society (Beck, 1998), simple globalisation versus reflexive cosmopolitanism (Beck, 2000) and so on. In the context of the third nationalism debate, the scholars who are heralded as its main representatives in the present context appear to favour the former approach; that is, to transcend methodological nationalism from within social theory.
The question that remains to be answered is this: what insights do the theoretical endeavours of the third generation of nationalism scholars generate when being applied empirically? We now begin to engage with this question when we apply the analytical framework to the Nordic countries, exploring the roles and interactions between institutions and agents in the making and unmaking of boundaries in the 19th-century nation-building projects in the Nordic countries.
The Roles of, and Interactions between, Institutions and Agency in 19th-Century Nordic Countries
The Nordic Countries
The term ‘Nordic countries’ includes the following entities: Denmark, Finland, Norway and Sweden (and the countries in the Nordic part of the Arctic Region). It is thus different from the term Scandinavia, which includes only Denmark, Norway and Sweden. The instant we begin to engage with the Nordic countries, the question emerges whether the Nordic countries constitute a unit or rather four separate entities with individual cultural and political histories. To what extent are the Nordic countries characterised by similarities or differences?
In the 19th century, the Nordic countries consisted of two new nations and two state constructions that had enjoyed a status of being medium-sized empires in a European context – especially in the case of Sweden also in a Russian context – but whose significance was fading fast. What these four entities have in common is that they all embarked on national projects in the course of the 19th century. This took place against the backdrop of having constituted a unit in the period 1397–1523, that is, the Kalmar Union, which was a personal union that joined together Denmark, Norway, Sweden and Finland under the Danish monarch. The Kalmar Union dissolved into the Danish–Norwegian Kingdom governed by the Danish monarch, and Sweden, which Finland was part of. However, with the end of the Napoleonic Wars, Denmark lost Norway, which then entered into a union with Sweden, which had lost Finland to Russia in 1809. This means that to the extent that institutionalised cultures existed in Norway they were strongly influenced by the Danish state construction. In the case of Finland, although it was under Russian authority, Swedish culture and the language continued to play a large role throughout the 19th century.
Against this background, the four Nordic countries were confronted with the need to construct national identities across cultural and linguistic boundaries in the course of the 19th century not unlike their European neighbours that embarked upon nation-building in the shadow of empire. In the case of Finland, its national project involved incorporating Finnish, Swedish and Sami cultures and languages in the new Finnish nation. Norway’s task was one of building a nation that was inclusive of Norwegian, Danish and Sami cultures and languages. However, building cultural and linguistic boundaries was not limited to the new nations of Finland and Norway. Former, large-state constructions such as Denmark and Sweden were also under pressure to construct national communities. Like Finland and Norway, they were confronted with the need to span cultural and linguistic boundaries.
The Danish national community that emerged in the course of the 19th century had to be inclusive of both people and languages from the German duchies Slesvig and Holstein that were part of the Danish state construction until 1864. The 19th century is rich with material that confirms the difficulties associated with engaging in this kind of integrative work. And not surprisingly, it had deep socio-economic and political roots and involved a Danish critique of, and resistance towards, the German-speaking upper class inside the Danish state construction – an upper class that resided in the capital of Copenhagen and that held a very dominant position in the state apparatus (Feldbæk, 1991). German was, therefore, the lingua franca in the Danish state, with Danish being spoken mainly by the lower classes (Adriansen, 1990; Winge, 1991).
Turning to the roles of, and interaction between, institutions and agency within the realm of art and culture – with culture understood as a phenomenon that feeds into the construction of national identities and that consolidates states by providing them with cultural legitimacy – a clear divide cuts across the Nordic countries and challenges the view of them as a single entity. Both Denmark and Sweden possessed well-established old cultural institutions such as royal theatres, conservatories, monuments statues, and the like (Adriansen, 1990, 1999; Elgenius, 2011). In other words, both Denmark and Sweden had clearly established and expressed institutionalised cultures on which the national projects could find solid ground – although Danish cultural institutions had strong German influences.
In sharp contrast, Finland and Norway did not have such institutionalised cultures. These national entities had to make a special effort to construct such institutions. This, in turn, left a huge space and need for agency – including the agency of artists – to construct national cultures and thus contribute to the development and emergence of vibrant national communities that cut across former linguistic and cultural boundaries.
So, when we apply the three propositions to the Nordic countries in the 19th century, two types of national projects stand out. The first type is the national projects of Finland and Norway. Key to these projects is the establishment of cultural institutions. Here the agency of cultural actors such as painters, composers and playwrights were important to take up and enrich the empty spaces that recently established cultural institutions offered.
The second type of national project is that of Denmark and Sweden. At the heart of this project is the transformation of cultural institutions from institutions tied to the absolutist monarchy, and thus the state, to the cultural institutions tied to the foundation of the democratic nation-states of Denmark and Sweden respectively. Here agency takes on a completely different form. It is an agency concerned with transformation rather than creation and enrichment.
Exploring the Agency of Composers
When exploring the history of Danish music in the 19th century, what stands out is that the notion of ‘the nation’ does not play a dominant role. This is in sharp contrast to the notion of ‘the Nordic’, especially the idea of a particular Nordic sound. The Danish fascination with the Nordic and the related absence of the nation in the field of music should be seen in the context of Scandinavianism that played an important role in the Nordic countries and especially in Denmark in the 19th century (Glenthøj, 2017). Scandinavianism was a movement aimed at uniting the three Scandinavian countries. It was above all a Danish and Swedish initiative – with the Danes taking the lead. In doing so, they acted on their own asymmetrical relations; that is, the Danish–German relationship that worsened considerably as the 19th century progressed. In this context, the idea of a united Scandinavia appeared highly attractive. The conditions dictated by geopolitics influenced the cultural life within Denmark and so Danish 19th-century music was fascinated with ‘the Nordic’. This fascination was gradually institutionalised for instance via festivals such as ‘Nordic Days of Music’ (Nordiske Musikdage) and ‘Nordic Music Festival’ (Nordisk Musikfestival) (Beyer, 1998; Hanson, 1988).
When we look at Finland and Norway, we see a different situation. The fascination with the Nordic countries and related hopes associated with Scandinavianism receive little attention. Instead, the critical issue was the nation and, in turn, establishing cultural institutions that had the capacity to uphold and cement the nascent national communities. This leaves ample scope for agency. The following section provides a brief exploration of two such agencies that contributed to the construction of national culture within the field of music: Edward Grieg (1843–1907) and Jean Sibelius (1865–1957).
While Grieg and Sibelius carried out significant cultural agency in Norway and Finland, respectively, how they went about it and became national composers differs. Greig’s entry into specifically national compositions was via European classical music – he was trained in Leipzig – and he developed the Norwegian national tone against the backdrop of European composition, bringing in elements from Norwegian folk music. In doing this, Grieg combined international currents in classical music with alleged authentic folk music thus contributing to the development of ‘national music’. With time Grieg increasingly combined European classical music with Norwegian folk elements. This is very pronounced in some of his pieces for piano, for instance, opus 72 – Slätter/Norwegian Peasant dances (Vollsnes, 1999, 2000).
What is particularly fascinating in this context is that European composers, especially the impressionists such as Claude Debussy, picked up the works of Grieg and contributed to him becoming a highly recognised composer internationally. Grieg’s international success and recognition, in turn, fed back into the nascent Norwegian national identity and helped consolidate it. Greig’s example illustrates the significance of exchanges between local (national) and international musical environments showcasing that classical music is not a national, but, above all, a cross-cultural phenomenon that arises in, and under the influence of, international music scenes. Composers, as well as painters and writers, were not immobile actors. In contrast, they travelled widely and were inspired by each other’s work. These inspirations contributed, in turn, to the development of national cultural expressions.
Turning to Finland and the oeuvre of Sibelius, we observe that he took a different route to become a national composer. From early on in his career, he was strongly influenced by national romantic music, especially Russian music. Reading the Kalevala inspired him to look for a particular type of Finnish folk music – runo songs – that he became acquainted with through the music of Larin Paraske, the famous Ingrian runo singer (1833–1904) (Korhonen, 2003). These significantly influenced and shaped his early compositions – Finlandia which had its first performance in 1900 where it became an instant success. This brings a completely non-European tone into Finnish national music, a development that continues as Sibelius writes the Finland Hymn – a deliberate nationalist piece that builds on the last element of Finlandia that he, with the Finland hymn, turned into a stand-alone piece.
Sibelius’s cultural national agency is probably one of the clearest examples of the agency of artists in the context of nation-building. Moreover, Sibelius’s example confirms the interaction between agency and institutions. Finnish musicologists highlight that Sibelius’s almost immediate success and elevation to a national composer must be seen in the context of the fact that he arrived in Helsinki in 1885 – only three years after the founding of the Music Institute (1882) and an orchestra in Helsinki. He was at the right place, at the right time, ready and able to enrich cultural institutions that in turn offered him a platform to perform (Korhonen, 2003).
In the context of the Nordic tone, the topic that opened this section, it was mainly Sibelius and Grieg who made it famous internationally and gave it its attributes; that is, an emphasis on clangs in the minor, the use of horn clangs and dark and desolate themes (Schwab, 1988, 1998; Vollsnes, 1998). This may seem somewhat ironic given that Norway and Finland were less preoccupied with the Nordic tone and the Scandinavian movement of the 19th century than Sweden and especially Denmark. Their primary concern was to find a national tone and a national musical expression. In the effort to do so, they engaged in national constructive work and therefore became national composers and actors.
The Nordic tone was primarily a Danish and secondly a Swedish concern. The geopolitical motivation that underlies the Danish call for a united Scandinavia informed the arts, as we have seen above, and also music giving rise to a pronounced fascination with the Nordic tone. In Denmark, this tone is associated with the works of Hartmann (the older), who acted as a national composer. This is in contrast to Niels Wilhelm Gade (1817–1890) who was mainly a German classicist although German audiences perceived him to be Nordic, not Danish (Brincker, 2003; Jensen, 1991; Schiørring, 1978). Robert Schumann composed a piece for piano in the Nordic tone over the notes G–A–D–E, and he wrote one of his most famous articles about the young composer.
In 1844, Gade’s 2nd Symphony was performed for the first time in Leipzig, and by the end of that year, he was employed as a conductor at the Gewandhaus Concerts, together with Mendelssohn. During the following four years, Gade worked as a conductor and composer in Leipzig. The Nordic tone was concentrated in a few pieces which drew on themes from the romantic era. Gade composed an overture inspired by the Ossian overture, namely, Im Hochland (In the Highlands), drawing on Scottish romantic themes and the dramatic cantate Comala which draws on both Scottish and German themes.
In 1847, Mendelssohn died and Gade finished the season in Leipzig after which he went to Denmark immediately before the start of the Slesvig–Holstein war of 1848–1850. Gade aspired to do in Copenhagen what Mendelssohn had done in Leipzig and used his experience to develop a bourgeois musical environment in Copenhagen. In order to do so, it was imperative for Gade to establish himself as the leading composer and conductor in Copenhagen. The groundwork for this was laid when he became the director of the reorganised Music Society in Copenhagen. This placed Gade at the very centre of Danish musical life, organisationally as well as institutionally (Brincker, forthcoming).
The case of Gade offers clear insights into the interactions between institutions, organisations and agency and reveals that these interactions span national projects and boundaries. In this context, it is vital that a firmly established institutional and organisational framework was awaiting Gade when he returned to Denmark from Leipzig – in sharp contrast to Grieg and Sibelius who were confronted with nascent national cultural institutions that needed to be enriched. It became Gade’s task to transform these institutions from entities associated with the state, the court and the king to cultural institutions of the emerging bourgeoisie. And so, while Grieg and Sibelius were significant actors in national projects defined by the need to establish institutions, Gade played a vital role in a national project defined by the transformation of institutions. In that, the cases signify different roles of, and interactions between, institutions and agency.
Concluding Remarks
This article set out to explore how sociology can contribute to an understanding of nationalism’s present and future. In doing so, it used as its point of departure the works of the third generation of nationalism scholars, most notably their claim that nationalism is grounded historically, institutionally, organisationally and micro-interactionally (Malesevic, 2013, 2019; Wimmer, 2018). Elaborating on this claim, the article presented three propositions. Key to these three propositions is the roles of, and interactions between, institutions, organisations and agency. The article provided a brief insight into the analytical potential of the three propositions by applying them to nation-state formation in the 19th-century Nordic countries, focusing in particular on the roles of, and interactions between, cultural institutions and cultural agents.
The present analysis, though preliminary, indicates that the three Nordic composers: Grieg, Sibelius and Gade, were confronted with institutional frameworks that reflected the emergence of the nation as the central principle underlying the organisational configuration of the modern world. It appears that this shaped their oeuvres significantly. Most importantly, it inspired them to engage with contemporary society in a way that facilitated explicitly national receptions and interpretations of their works. The application of the three propositions reveals that other receptions and interpretations than the national were possible, most notably the Nordic. This reminds us that classical music is not a national, but, above all, a cross-cultural phenomenon. Nevertheless, classical music is made ‘national’ in several ways, partly when subjected to national interpretations, and partly when its style is perceived as national, causing it to be inscribed in a national musical tradition.
The analysis of the four Nordic entities led us to distinguish between two types of national projects, one revolving around the establishment of national cultural institutions (in Finland and Norway) and another centring on the transformation of these institutions (in Denmark and Sweden). Central to these two types of national projects is the asymmetrical relations that dominated this particular region. These relations have not received much attention in scholarly literature. However, the analytical framework and the three propositions tap into and draw attention to the impact of asymmetries among the Nordic countries and emphasise the role of the imperial past.
This bodes well for our understanding of the present and the future of nationalism. The analytical framework that is being advocated by third-generation nationalism scholars captures asymmetric relations both between and within the four Nordic nation-states and does so with a sensitivity to the historical grounding of nationalism. As a result, it offers a possible way into the development of areas in nationalism studies, such as post-colonial and gender relations, that have so far been neglected.
Finally, the analytical framework that constitutes the core of this article does so with a foundation in nationalism studies. It acknowledges the intellectual debt to these studies – the first and second debate within nationalism studies – while taking a critical position in relation to them. This acknowledges the fact that nation-states involve diversities that escape the civic–ethnic and primordial–constructed distinctions. These diversities constitute critical issues that sociology needs to address in its contribution to an understanding of nationalism’s present and future.
Footnotes
Funding
The author received no financial support for the research, authorship and/or publication of this article.
