Christer Kihlman’s 1960 debut novel, ”Se upp salige!”, sparked controversy with its scathing portrayal of the Finnish-Swedish Lucia tradition. Set in the fictional town of Lexå, the story revolves around a divorced newspaper editor entangled in a forbidden love affair with a fourteen-year-old girl. Kihlman uses this backdrop to dissect the hypocrisy and self-righteousness he perceived within the bourgeois society, particularly concerning the annual Lucia pageant. The novel highlights the stark contrast between the idealized image of Lucia and the exploitative nature of the selection process, as the male-dominated editorial board acts as a self-appointed jury, objectifying and reducing the young female candidates to mere bodies.
The Finnish-Swedish Lucia tradition originated in the late 1940s, initiated by Allan Schulman at the Västra Nyland newspaper. Schulman’s concept of a ”Finland’s Lucia” contest soon transitioned to the larger Hufvudstadsbladet (HBL) newspaper, which, in partnership with the Folkhälsan association, has overseen the tradition since 1950. This transition effectively cemented the tradition within the established Finnish-Swedish community, intertwining it with the values and expectations of this social stratum, further fueling Kihlman’s critique. The tradition evolved into a significant fundraising event, utilizing the image of Lucia to solicit donations for charitable causes, a practice that later drew criticism for ostensibly masking societal inequalities and the need for robust social welfare programs.
The novel’s narrative intersects with the real-life experience of Märta Tikkanen, a former Lucia herself. In 1953, then Märta Cavonius, she was crowned HBL’s Lucia, a seemingly innocent event that would later shape her life in unforeseen ways. The newspaper’s portrayal of her as the epitome of a virtuous young woman from a respectable family underscores the idealized image of Lucia, a symbol of purity and goodness. However, this same event led to her fateful encounter with Henrik Tikkanen, an artist working for HBL, who would become her husband. Their clandestine relationship, detailed in Tikkanen’s autobiographical works, adds another layer of complexity to the Lucia narrative, challenging the pristine facade projected by the tradition.
Henrik Tikkanen’s own account of working at HBL, depicted in his 1976 novel ”Bävervägen 11 Hertonäs,” provides further insight into the social dynamics at play. He recounts being sent on assignments designed to exploit the poverty of rural communities, creating emotionally charged stories to garner sympathy and donations from HBL’s affluent readership. This practice, though intended for charitable purposes, reveals a patronizing attitude towards the less fortunate and highlights the stark class divide within Finnish-Swedish society, a theme that resonates with Kihlman’s critique. The Lucia tradition, with its focus on virtuous young women from privileged backgrounds, further reinforces these social hierarchies.
Feminist critiques of the Lucia tradition emerged prominently in later decades. Sanna Tahvanainen’s 2000 article, ”Tänd på Lucia” (Light Lucia on Fire), condemned the tradition as outdated, sexist, and hypocritical. She argued that the emphasis on outward appearances and demure behavior perpetuated harmful stereotypes about women. Her scathing critique coincided with the broader societal shift away from traditional beauty pageants, exemplified by the discontinuation of the Miss Sweden contest. HBL’s attempt in 2007 to mitigate these concerns by presenting Lucia candidates as silhouettes, thereby minimizing the focus on physical appearance, proved largely ineffective in the age of readily accessible information online.
Despite these criticisms, many have defended the Lucia tradition, viewing it as a positive symbol of hope, charity, and community spirit. Merete Mazzarella, for example, emphasized Lucia’s symbolic significance, representing personal engagement and compassion. Ylva Perera, HBL’s literary editor, echoed this sentiment, highlighting the aspirational nature of the Lucia ideal. Even Christer Kihlman, despite his harsh critique, didn’t advocate for abolishing the tradition. He argued, rather provocatively, that it should be further encouraged, as it exposed the inherent contradictions and hypocrisy of the bourgeois society he sought to critique. The Lucia tradition, therefore, continues to be a subject of debate and reinterpretation, reflecting evolving social values and ongoing discussions about gender, class, and representation.
