After the evening's performance, the newly appointed Swedish Minister for Development Cooperation and Foreign Trade, Benjamin Dousa, joined the conductor, soloist and ambassador on stage.
No expense was spared at the Stockholm Concert Hall on Sunday as the People’s Republic of China celebrated 75 years since the nation’s founding. In addition to mingling with refreshments and a speech by China’s Ambassador to Sweden Cui Aimin, the Shanghai Philharmonic Orchestra offered a magnificent concert that prompted one resounding applause after another from an enraptured audience.
The celebration was also attended by the newly appointed Swedish Minister for Development Cooperation and Foreign Trade, Benjamin Dousa.
After the audience had stood and listened to both the Swedish and Chinese national anthems, the celebration of the national day, which formally falls on October 1, began with a solemn speech by China’s Ambassador to Sweden, Cui Aimin.
Mr. Aimin began his speech by drawing attention to the country’s current socio-economic prosperity.
– Over the past 75 years, the Chinese people, under the leadership of the Communist Party of China, have continued to struggle and accomplish two great achievements:China’s rapid economic development and long-term social stability.
According to Mr. Aimin, this prosperity (in addition to the hard work of the Chinese people) is based on the wise and strong leadership of the Communist Party. At the same time, he refers to the Chinese state’s promotion of “people’s democracy in the whole process of ensuring people’s participation in state affairs”.
Chinese Ambassador to Sweden, Cui Aimin, gives a speech at the Stockholm Concert Hall during the celebration of China’s 75th National Day.
The Ambassador further points out that the Chinese leadership is “determined to pursue the Chinese path of human rights development”, referring to China’s active participation in “human rights governance globally”.
It also mentioned the “300 priority reform tasks” adopted at the Third Plenary Session of the 20th Central Committee of the Communist Party of China earlier this year, which Aimin says “provide a solid guarantee for Chinese-style modernization and offer more new opportunities for China and the rest of the world to deepen win-win cooperation and develop together”. China’s continued economic strength “demonstrates the international community’s strong confidence in China’s development potential”. This development potential, referred to as “high-quality development” and “new qualitative productive forces” , is of course a fundamental aspect of China’s relationship with the outside world.
– In this way, China also contributes more to the development and prosperity of the world, said Ambassador Aimin.
He concluded by noting that it is now 74 years since the establishment of diplomatic relations between China and Sweden, and that the relationship between the two countries has “developed steadily” and “achieved great success”. The Ambassador referred to “fruitful cooperation achievements” in “technology and research, green and low-carbon innovation, and sustainable development” and “great exchange activities” in “culture, education, sports and other fields”.
The Ambassador concluded his speech with the words:
– Next, the Shanghai Philharmonic Orchestra, which has come all the way from China to Sweden, will give us a grand musical feast with its amazing skills.Let us now listen to the harmonious sounds of integration and mutual learning between Eastern and Western civilizations, celebrate the 75th anniversary of the People’s Republic of China, and wish that China-Sweden relations move towards a brighter future.
Shanghai Philharmonic Orchestra on the stage of Stockholm Concert Hall.
After the Ambassador’s speech, it was time for the main event of the evening: the Shanghai Philharmonic Orchestra under the baton of the young, but renowned, conductor Zhang Liang, a judgment that was obviously shared by many of the spectators, judging by the enthusiastic shouts of “what a conductor!” which were heard a number of times during the concert.
The evening’s program, which consisted of classical arrangements of both Chinese and Western composers, such as Antonín Dvořák and Johannes Brahms, was as majestic and impressive as it was captivating and dynamic. One of the musical highlights of the evening was the first violinist’s solo passage, which without virtuoso excesses held the audience’s attention in a silk-wrapped iron grip.
The soloist of the evening, Liu Wenwen, performs the suona concert “Hundreds of birds pay tribute to the phoenix”.
Another obvious highlight of the evening was the soloist, Liu Wenwen, China’s first doctor of philosophy in the traditional Chinese trumpet-like instrument suona. Dressed in a glittering blue evening gown, she performed in perfect harmony with the symphony orchestra the suona concerto Hundreds of Birds Pay Tribute to the Phoenix, an experience that cannot be well described in words, except that the connection to birds was very obvious.
The final number of the evening was Carl Sjöberg’s setting of the Gustaf Geijer’s poem from 1879, arranged by the orchestra’s resident composer Peng-Peng Gong – a combination that hardly left many spectators unmoved.
Cultural editorial team
Facts about China's National Day
China's National Day is formally celebrated on October 1. The celebration marks the proclamation of the People's Republic of China in 1949 following the victory of Mao Zedong's Communist Party in the war against Chiang Kai-Shek's Nationalist Kuomintang Party, which until then ruled the Chinese mainland and after the war retreated to Taiwan.
Sweden was the first Western country to establish diplomatic relations with the People's Republic of China, in 1950.
Short feature on the Shanghai Philharmonic Orchestra's Sweden tour
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UNESCO estimates that about half of the Earth’s approximately 7,000 languages will be forgotten by the end of this century. Thousands of languages are at risk as global languages often replace the smaller ones.
Around a decade ago, about one language disappeared every three months, but by 2019, this increased to one language every 40 days. This means that nine languages are lost each year.
Languages go extinct when they simply stop being used, usually because English and other official languages take over, leaving the smaller languages behind.
– It pains my heart every day to see that a language is dying off, because it’s not just about the language, it’s also about the people, Tochi Precious, a Nigerian living in Abuja and helping activists working for endangered languages through the organization Wikitongues, told The Guardian:
– It’s also about the history associated with it and the culture. When it dies, everything linked to it dies off too.
English is considered more important
Ongota, a language belonging to the Afro-Asiatic family, has long been considered “dying” and is spoken in a village on the western bank of the Weito River in south-western Ethiopia. As it is not taught in schools or to children, it is in danger of dying out in the near future.
Igbo, a West African language, is also at risk and is predicted to be extinct by 2025. It is one of Nigeria’s largest languages and is written in the Latin alphabet. In 1999, around 18 million people spoke the language, but the number has declined since then. Precious is actively working to save Igbo together with other activists. Among other things, they are compiling an extensive register of words and making films using the language to preserve it.
There is hope
Although the language is relatively widespread, many parents believe that only English, Nigeria’s official language, will be useful for children in the future. According to Precious, it has long been the norm in the country that those who do not speak English are excluded from society. However, she believes that efforts to save the language have paid off.
– I have realised that, yes, a language can be endangered but then the people who speak the language can also fight for its survival. Because 2025 is already here, and definitely Igbo is not going extinct, she says.
Investigative journalist James O’Keefe is back with a new documentary entitled Line in the Sand.This time, O’Keefe goes to the front lines of the migrant industrial complex, using hidden cameras and raw testimony.
In Line in the Sand, O’Keefe reveals the shocking reality behind the US border crisis like never before: Mexican freight trains, cartel tunnels and US-funded detention camps for children. The film depicts a corrupt system with a clear message of demand for change.
In the documentary, James O’Keefe and his team travel south to investigate how secure the existing part of the border wall actually is. The film also seeks to draw attention to the actors who benefit from the migration chaos on the Mexican-US border.
It includes interviews with several migrants who share their stories and destinations, highlighting the dangers they face on their journey. From falling off moving trains, to the risk of children going missing along the way.
“‘Line in the Sand’ is a brutal watch. One of our homies was crying by Act Three,” shares Tim Pool (@Timcast).
“There’s this moment where a border guard says to James, ‘Hey man, big fan,’ right as children are being trafficked,” he adds.
The documentary also shows how parts of the border wall under the Biden administration were cut up, highlighting the inadequacy of border protection.
James O’Keefe uses hidden cameras to reveal the financial interests driving the border crisis, including how US tax dollars are funding the transportation and housing of migrants.
Line in the Sand has received generally positive reviews, but also some criticism for what critics say is its focus on O’Keefe himself. Those who praise the film describe it in terms such as “a necessary and poignant documentary that sheds light on an ongoing crisis”.
Known for his previous role in Project Veritas, O’Keefe’s Line in the Sand once again challenges the established media with its revelations, using a storytelling technique that combines investigative journalism with powerful visual narratives.
For more information and to watch the documentary, visit Tucker Carlson’s official website.
–The farmstead gnome has played a prominent role in Swedish folklore as one of the most important protective spirits. His influence was so significant that people not only offered him food but also prepared a straw bed for him. A satisfied gnome would bring prosperity, known as “tomtebolycka”, to the household, while a displeased one could bring misfortune.
In Nordic folklore, the farmstead gnome is among the most well-known beings, enjoying a particularly close connection with Swedes. Tales of various supernatural entities were common, but gnomes were especially prevalent and widely believed in. The Institute for Language and Folklore (ISOF) houses over a thousand archival stories about these gnomes.
“My mother had seen a gnome. She was so sure of it. She was walking along a road when she saw a tiny man with a red cap running ahead of her. When they reached a fork in the road, he ran down the other path” recounted Adolf Johansson, born in 1883 (recorded by Ragnar Nilsson, IFGH 4786, p. 4, Institute for Language and Folklore, Gothenburg).
The word “tomte” originates from the term tomt (homestead) and was previously used in the form tomt-gubbe, later evolving into tomtegubbe, according to the cultural organization Kulturminnet. The being is also known by other names, such as gårdstomte, hustomte, tomtevätte, tomtrået, tomtenisse, or tomtebisse.
Christmas cards by artist Jenny Nyström.
The Spirit of the Farmstead
The term bissemeans leader, sage, or “top hen” (a Swedish expression for “head honcho”). In many ways, the farmstead gnome fulfilled such a role. He watched over the farm and assisted with daily chores, such as sifting flour, sweeping, haymaking, carrying straw, and tending to the animals. He was often described as the very spirit of the farm. Some stories claimed that he was the first man to cultivate the land, unable to rest in death and thus continuing to guard “his” farm.
The farmstead gnome is closely related to the vätte, a subterranean being believed to dwell beneath human houses in folklore.
Finding a horse with a braided mane in the morning was a sign that the gnome had visited the stable. Gnomes were said to love horses and braiding their manes. The horse, considered the gnome’s favorite animal, was never to be neglected, as mistreatment could have severe consequences.
A Temperamental Being
The gnome brought security to everyday life, and his satisfaction was key to the farm’s success. However, he was easily angered and intolerant of negligence. A dirty barn could earn someone a slap or a kick. It was crucial to avoid working at night on the farm, as that was the gnome’s time for labor. Disturbing him could result in a noisy reprisal the following night.
“They didn’t like it when people made noise after dark. If you did, the same noise would return later, without anything being done. I heard it myself more than once. I also saw them once”, said Ingeborg Nilsson West, born in 1836 (recorded by Olle Lindskog, IFGH 964, pp. 11–12, Institute for Language and Folklore, Gothenburg).
The gnome was considered conservative and resistant to modern agricultural machinery or significant changes. Introducing too many modern elements could prompt him to abandon the farm, an ominous sign. If angered, the gnome might kill a cow or otherwise sabotage farm work, according to ISOF records. A farm’s prosperity or hardship was often attributed to the state of its gnome.
Rewards and Rituals
Rewarding the gnome was crucial. People commonly prepared a straw bed for him in the barn and offered him tobacco, which he reportedly enjoyed. At Christmas, it was traditional to leave out a bowl of porridge, leading to the term tomtegröt. The porridge had to include butter, as one story illustrates:
“They had to give the gnome milk and porridge on Christmas Eve. There had to be butter in the porridge. At one place here, they had a gnome. They gave him porridge on Christmas Eve, but there was no butter on top. The butter was underneath, but the gnome didn’t see it. He became so furious that he went to the barn and killed their best cow”, recounted Viola Gustafsson in 1927 (IFGH 937, pp. 40–41, Institute for Language and Folklore, Gothenburg).
The gnome was often credited with magical powers, such as saving farms from famine by increasing grain yields or warning of dangers like fire or livestock illness. A satisfied and content gnome symbolized security and prosperity, embodying the concept of tomtebolycka.
A well-known legend tells of the gnome pulling a straw of hay. He huffs and puffs with effort, which prompts the farmer to mock him for struggling with such a small load. The gnome becomes angry and retorts that if he exerts as much effort back at the farmer as the farmer has mocked him, the farmer will have nothing left to boast about. In reality, the gnome had been carrying far more than the farmer realized, and after the incident, the farmer ends up impoverished.
Gnomes. Olaus Magnus’ History of the Nordic Peoples. Book 3 – Chapter 22 – On the Service of Spirits. – Published in 1555.
Common in the smithy
The farmstead gnome was not confined solely to farms. There are also tales of forest gnomes, who, for example, would wake charcoal burners if their kilns began to burn during the night. A story from Axel Lind, born in 1884 and recorded by Olle Lindskog in 1927, describes how blacksmiths were particularly superstitious and believed strongly in gnomes.
“My uncle used to say that if a blacksmith tried to take coal from a bin that wasn’t his own, the gnome would immediately appear and give him a resounding slap”, reads one account in IFGH 961, pp. 5–9, Institute for Language and Folklore, Gothenburg.
The origins of belief in the farmstead gnome are unclear, but according to the Nordic Museum (Nordiska museet), it can be traced back to at least the 7th or 8th century. In written records, the gnome is mentioned by Saint Birgitta, who in the 14th century criticized the custom of offering porridge to the gnome, considering it ungodly. The Swedish priest Olaus Magnus also references gnomes in his book History of the Nordic Peoples, where he includes illustrations of them.
Invisible to most
The farmstead gnome is a being that typically remains invisible but is sometimes said to reveal itself to certain individuals. Those who were synsk or clairvoyant might catch a glimpse of the gnome, but it was crucial to show him respect. Generally, people knew a gnome was present on the farm not by seeing him, but by noticing the traces of his work.
The gnome is often described as a small, elderly man, ranging in size from a few decimeters to roughly the size of a child.
“In Restebacken, my father saw a gnome. He was as small as a three-year-old child but as quick as a cat”, recounted Maja Kajsa Johansson, born in 1868 (recorded by Ragnar Nilsson, IFGH 3018, p. 6, Institute for Language and Folklore, Gothenburg).
The gnome is sometimes described as a being with one eye but more often as a figure with two green eyes that glow in the dark. He frequently has white or gray hair and a beard, typically dressed in gray clothes and a gray or red cap. Occasionally, people would gift him new clothes as a kind gesture, but they had to be modest. If the clothes were too extravagant, he might deem himself “too fine” to work.
The gnome was believed to be incredibly strong and was said to be able to lift an entire horse. He could also be mischievous, hiding objects or playing pranks. Even today, the expression “the household gnome has been up to something” is used jokingly when something goes missing. There are also tales of the gnome amusing himself by throwing items down chimneys.
Unlike other beings that often lived in families, the gnome is usually described as solitary. However, there are stories that mention female gnomes (tomtegummor) and gnome children. The gnome often resided in the farm’s stable or barn but could also inhabit the mill, smithy, distillery, mine, ship, or even inside the house.
Gnomes and Christmas
In Sweden and the Nordic countries, there are two distinct types of gnomes: the farmstead gnome (gårdstomte) and the Christmas gnome (jultomte). The traditional red-clad Christmas gnome traces its origins to legends about the generous Saint Nicholas, who later became known as Santa Claus. According to Kulturminnet, Santa Claus gained popularity in Sweden during the 1860s. While Santa Claus is widely recognized around the world, in Sweden, his image has been influenced by the farmstead gnome. As a result, the Swedish Christmas gnome is often considered a blend of the farmstead gnome and Santa Claus.
Illustration inspired by the poem “The Gnome.” Illustration: Jenny Nyström/New Illustrated Magazine
Two individuals were particularly instrumental in shaping the Swedish image of the Christmas gnome: the author Viktor Rydberg and the artist Jenny Nyström. In 1871, Rydberg published the Christmas tale Lille Viggs äventyr på julafton (Little Vigg’s Adventure on Christmas Eve), a story that doesn’t directly feature the Christmas gnome but instead includes a gift-giving goblin (vätte). Nyström illustrated the tale, and the goblin became a prototype for the Swedish Christmas gnome. Rydberg is said to have given Nyström detailed instructions on how this goblin should be portrayed. Together, they helped connect the traditional household gnome to Christmas. Nyström continued to refine the image of the gnome in Sweden, painting thousands of Christmas postcards and illustrating Rydberg’s famous poem Tomten (The Gnome), which begins:
The midwinter night’s cold is harsh,
the stars sparkle and glimmer.
All are asleep in the lonely farmstead,
deep in the midnight hour.
The moon walks its silent path,
the snow glows white on pine and fir,
the snow glows white on the rooftops.
Only the gnome is awake
It is unclear who first coined the term jultomte (Christmas gnome), but Jenny Nyström continued to draw significant inspiration from the farmstead gnome of folklore. In this way, the modern Swedish Christmas gnome has become firmly rooted in holiday traditions, according to the Nordic Museum.
One notable distinction of the Swedish Christmas gnome is that he is rarely associated with reindeer. In Swedish tradition, the gnome instead travels with horses, goats, or pigs. He is most often depicted as solitary, walking through the snow with a sack on his back.
The Farmstead Gnome Today
Despite an increasingly secularized society and a decline in belief in supernatural beings, folklore still holds a place in our collective consciousness. Many old myths and beliefs have adapted and endured over time, often taking on new forms, rooted in a deep human need to understand the world through the mystical and inexplicable. In an age where science explains the physical world, the supernatural continues to fascinate, providing space for stories and traditions.
Interest in folklore is not merely a relic of the past. It thrives in contemporary popular culture, where farmstead gnomes and other mythical beings are brought to life in books, films, and TV series. Even modern media, such as podcasts, frequently share new accounts of supernatural phenomena. It is also intriguing to observe how traditions from other cultures, like American “Nisse doors”, are gaining popularity in Sweden. This demonstrates the universal and timeless appeal of mythical figures. Although these nisse differ from the Swedish farmstead gnome, they share a common love for mischief and humor – qualities that ensure such characters remain captivating.
The question of why folklore persists, even in a rational and technological world, is complex. Perhaps it is a way to hold onto something ancient, a link to the past when the world felt more mysterious and uncertain. Or it may reflect an intrinsic human attraction to the unexplained, a need to believe in something beyond what we can see and measure. Whatever the reason, figures like gnomes, farmstead spirits, and other mythical beings will likely remain a part of our shared cultural identity, reminding us that there may be more to the world than we understand.
Christmas with Jenny Nyström – Mother of the Swedish “jultomte”
After an initial rejection by the major publishing house Bonnier, Jenny Eugenia Nyström became a prolific artist, celebrated especially for her Christmas-themed works. More than a century after her prime, her art continues to embody the traditional spirit of Christmas in Scandinavia.
