Unveiling History: A New Sign for Hans Egede
On National Day, June 21, a striking stainless steel sign was installed on the statue of Hans Egede located at the Marmorkirken in Copenhagen, sparking conversations about colonization and representation in public spaces.
The sign prominently reads, “Hans Egede, missionary and coloniser,” and features a dual-language description—both in Danish and English—that delves into Egede’s controversial role in the colonization of Greenland.
This initiative was spearheaded by Nordting, a political art project based in Tromsø, Norway. Over the past few years, they have placed similar signs on Egede statues in Harstad, where he was born, and Kabelvåg in Lofoten, where he served as a priest.
According to artist Amund Sjølie Sveen, who leads the Nordting project, this effort aims to challenge the prevailing narrative about the Danish-Norwegian missionary. “The intention is to contextualize Hans Egede’s story in a manner that reflects a more accurate understanding of history,” Sveen explains.
Surrounding the Marble Church are 14 bronze statues of prominent Danish church figures, including Egede. “The statue at the Marble Church stands without any sort of comment or clarification,” Sveen notes. “In public spaces, statues typically serve to celebrate individuals and their stories.”
What the Sign Reveals
The sign attached to Egede’s statue provides a stark glimpse into his legacy. It describes Egede as the “Apostle of Greenland,” highlighting his arrival in Kalaallit Nunaat in 1721 as a Christian colonizer sent by the Danish crown. His mission, aimed at converting the local populace, was marked by a banning of vital cultural practices, such as drumming and mask dancing. His personal diaries reveal a troubling account of power dynamics rooted in racism and violence.
Egede’s work initiated an era of Danish colonization in Greenland, intertwining economic and cultural transformations. While celebrated as a heroic figure in Danish history, the narrative surrounding him has faced sharp criticism—particularly from Inuit communities—who regard the glorification of Egede as a continuation of colonial oppression.
In a parallel effort, cities have also begun to place new signs beneath streets named after Egede, prompting deeper reflection on his legacy. “We believe it’s crucial to nuance the story in light of contemporary understandings of colonization and its lasting effects,” Sveen states.
Engaging with Controversy
Sjølie Sveen emphasizes the lack of context provided by statues depicting individuals with contentious legacies. “Statues are meant to celebrate, but as our understanding of history evolves, this creates a disconnect,” he observes.
The decision to install a sign on the Hans Egede statue in Copenhagen feels timely, especially given that statues in Norway have already been updated. “Hans Egede is undeniably a significant figure in Danish history concerning Greenland,” he adds.
When asked about the possibility of placing a sign on the Hans Egede statue in Nuuk, Sveen expressed hope but acknowledged the importance of local perspectives. “Ultimately, it’s up to the people of Nuuk to determine the best course for that statue.”
The Lein in Nuuk
The statue of Hans Egede in Nuuk, perched dramatically on a cliff overlooking Nuutoqaq, has not gone unnoticed. Over the years, it has been subjected to multiple acts of defacement, including being covered in red paint and adorned with traditional Inuit tattoos.
In 2020, the statue garnered significant media attention when the word “decolonize” was painted on it during National Day celebrations, coinciding with a global reckoning over monuments honoring colonial figures.
As for the new sign in Copenhagen, it has since been removed. However, similar Nordting signs on Egede statues in Harstad and Oslo remain in place two years later.
Efforts to engage with the parish priest, Mikkel Wold, and parish council chairman, Bente Dahl, at Marmorkirken have been met with reluctance for interviews. They conveyed in an email, “While we strive for dialogue with differing viewpoints, we cannot engage with acts that vandalize cultural heritage.”
Nordting’s reach extends beyond historical commentary; they are also the creative force behind the Pan-Arctic Vision, a unique artistic celebration reminiscent of Eurovision focused on the Arctic.
As the conversation continues, questions of how history is commemorated—and who gets to decide—remain at the forefront of public discourse, illustrating the nuanced and often contentious relationship between memory and representation.