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The Ethnographic Films Made by the Estonian National Museum (1961–1989) Liivo Niglas, Eva Toulouze
Reconstructing the Past and the Present: the Ethnographic Films Made by the Estonian National Museum (1961–1989) Liivo Niglas, Eva Toulouze To cite this version: Liivo Niglas, Eva Toulouze. Reconstructing the Past and the Present: the Ethnographic Films Made by the Estonian National Museum (1961–1989): Reconstruire le passé et le présent: les films ethno- graphiques réalisés par le Musée national estonien (1961–1989). Journal of Ethnology and Folkloristics, University of Tartu, Estonian National Museum and Estonian Literary Museum., 2010, 4 (2), pp.79-96. hal-01276198 HAL Id: hal-01276198 https://hal-inalco.archives-ouvertes.fr/hal-01276198 Submitted on 19 Feb 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RECOnstruCtinG THE PAst AND THE Present: THE ETHNOGR APHIC Films MADE BY THE EstOniAN NAtiONAL Museum (1961–1989) LIIVO NIGLAS MA, Researcher Department of Ethnology Institute for Cultural Research and Fine Arts University of Tartu Ülikooli 18, 50090, Tartu, Estonia e-mail: [email protected] EVA TOULOUZE PhD Hab., Associate Professor Department of Central and Eastern Europe Institut national des langues et civilisations orientales (INALCO) 2, rue de Lille, 75343 Paris, France e-mail: [email protected] ABstrACT This article* analyses the films made by the Estonian National Museum in the 1970s and the 1980s both from the point of view of the filming activity and of the content of these films. -
Methis Sisu Vol2 Paranudsed Poognalt.Indd
Noor-Eesti tähendust otsides: vanu ja uusi mõtteid Jüri Kivimäe „Me seisame kahe riigi väraval: see üks on pimedus ja teine valgus.” Gustav Suits (1905) Noor-Eesti vikerkaar kultuuri- ja mõtteloos Eesti kultuuriloos ulatub Noor-Eesti fenomen kauni ja romantilise vikerkaarena oma ajastust täna- päeva. Kirjandusloolased on seda täie enesestmõistetavusega oma tsunfti toposeks pidanud ja selle õigustuseks on asjaolu, et Noor-Eesti tekstipärand on valdavalt kirjanduslik ning et Noor- Eesti kitsamasse ringi kuulusid esmajoones kirjamehed ja -naised. Alljärgnev käsitlus ei taha mingil moel riivata kirjandusloolist kaanonit, siinsed uitmõtted on tekkinud ajaloovaatlusest ja peavad sinna ka kuuluma.1 Noor-Eestist on kirjutatud palju ja kirevas mitmekesisuses, mistõttu kõik tundub sellise mää- rani selge olevat, et siinse pealkirjaga arutlust polekski vast vaja. Ometi sisaldub pealkirjas kaht- lus, nimelt selles, et tähendust ikka veel otsitakse ja samuti osutamine, et ka siinses kirjutises tähenduse otsinguid ei lõpetata ehk teisisõnu – esitatakse vanu, juba tuntud mõtteid ja lisatakse mõningaid uusi. Mis ajendab siis ikka ja jälle Noor-Eesti tähendust otsima? Aga nimelt tõdemine, et see tähendus on aegade jooksul muutunud ja teisenenud, sest ei ole olemas Noor-Eesti tähendust „asjana iseeneses” kui igaveseks kindlaks määratut, vaid see eksisteerib üksnes „meie jaoks, meie arusaamises”. Nii nagu see tähendus oli tagasivaates teisenenud või selginenud, võrreldes näiteks Friedebert Tuglase arvamust Noor-Eestist 1915. ja 1935. aastal (vt Tuglas 1918, 1935), niisamuti Bernhard Linde tõdemisi 1918. ja 1930. aastal (vt Linde 1918, 1930); või siis Aino Kalda käsitlust raamatus „Nuori-Viro” (vt Kallas 1918); või hoopis nendes määratlustes, mille andsid Noor-Eestile edaspidi Paul Ambur, Nigol Andresen, Toomas Karjahärm, Ilmar Talve ning Tiit Hennoste ja Cornelius Hasselblatt (vt Hamburg 1935, Andresen 1975, Karjahärm 1994, Talve 2004, Hennoste 2006, Hasselblatt 2006). -
Journal of Baltic Studies Young Estonia and the Early Twentieth
This article was downloaded by: [Virve Sarapik] On: 11 September 2013, At: 03:03 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Baltic Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rbal20 Young Estonia and The Early Twentieth-Century Cultural Utopias Virve Sarapik Published online: 11 Sep 2013. To cite this article: Journal of Baltic Studies (2013): Young Estonia and The Early Twentieth-Century Cultural Utopias, Journal of Baltic Studies To link to this article: http://dx.doi.org/10.1080/01629778.2013.830356 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. -
21 Raimond KOLK ESTOŃSKA LITERATURA EMIGRACYJNA
Raimond KOLK ESTO ŃSKA LITERATURA EMIGRACYJNA Podczas drugiej wojny światowej Estoni ę napadano i okupowano trzykrotnie: naj- pierw byli to Rosjanie (1940–1941), potem Niemcy (1941–1944) i wreszcie znowu Rosjanie, którzy przył ączyli ten mały, demokratyczny kraj do Zwi ązku Socjalistycz- nych Republik Radzieckich. Po do świadczeniach pierwszej rosyjskiej okupacji wielu pisarzy esto ńskich uciekło pod koniec wojny, razem z du Ŝą liczb ą swych rodaków. W wolnym świecie stworzyli Ŝyw ą i post ępow ą literatur ę, w której starsi uznani twórcy maj ą równorz ędny udział z przedstawicielami młodszego pokolenia. Po roku 1945 wydano ponad trzysta ksi ą- Ŝek, wi ększo ść w spółdzielni b ędącej własno ści ą pisarzy, z siedzib ą w Lund (Szwecja). Esto ńska literatura emigracyjna, kontynuuj ąc tradycje ojczyste, zaabsorbowała wpływy i idee z Zachodu, zwłaszcza te płyn ące z literatury skandynawskiej. Zasadni- czo pozostała wierna realizmowi, chocia Ŝ pojawiaj ą si ę w niej tak Ŝe liczne ekspery- menty w zakresie współczesnego stylu i podej ścia. Najbardziej popularnym gatunkiem prozy jest powie ść ; opowiadania i dramaty s ą mniej powszechne. Poezja te Ŝ odznacza si ę licz ącymi si ę osi ągni ęciami. „Dla mnie i dla mojego pokolenia utrata niepodległości naszej ojczyzny i wojna stały si ę najwa Ŝniejszym i decyduj ącym do świadczeniem” — pisze Ilmar Talve, esto ński uczony i powie ściopisarz w przedmowie do jednej ze swych ksi ąŜ ek. Najbardziej popu- larnymi ksi ąŜ kami, zwłaszcza we wczesnym okresie emigracji, s ą powie ści dotycz ące współczesnych wydarze ń, kroniki indywidualnych losów w naszych niespokojnych, tragicznych czasach. -
On Estonian Folk Culture: Pro Et Contra
doi:10.7592/FEJF2014.58.ounapuu ON ESTONIAN FOLK CULTURE: PRO ET CONTRA Piret Õunapuu Abstract: The year 2013 was designated the year of heritage in Estonia, with any kind of intangible and tangible heritage enjoying pride of place. Heritage was written and spoken about and revived in all kinds of ways and manners. The motto of the year was: There is no heritage without heir. Cultural heritage is a comprehensive concept. This article focuses, above all, on indigenous cultural heritage and, more precisely, its tangible (so-called object) part. Was the Estonian peasant, 120 years back, with his gradually increasing self-confidence, proud or ashamed of his archaic household items? Rustic folk culture was highly viable at that time. In many places people still wore folk costumes – if not daily, then at least the older generation used to wear them to church. A great part of Estonians still lived as if in a museum. Actually, this reminded of the old times that people tried to put behind them, and sons were sent to school in town for a better and more civilised future. In the context of this article, the most important agency is peasants’ attitude towards tangible heritage – folk culture in the widest sense of the word. The appendix, Pro et contra, at the end of the article exemplifies this on the basis of different sources. Keywords: creation of national identity, cultural heritage, Estonian National Museum, Estonian Students’ Society, folk costumes, folk culture, Learned Es- tonian Society, material heritage, modernisation, nationalism, social changes HISTORICAL BACKGROUND By the end of the 19th century, the Russification period, several cultural spaces had evolved in the Baltic countries: indigenous, German and Russian. -
Vahur Mägi. Estonian Technology Education in Exile After the Second World
Estonian Technology Education in Exile after the Second World War Estonian Technology Education in Exile after the Second World War Vahur Mägi Tallinn University of Technology Research and Development Division Tallinn University of Technology Library Ehitajate tee 7 /Akadeemia tee 1, Tallinn 12618, Estonia e-mail: [email protected] Abstract: This paper surveys the educational pursuit of Estonian refugees during the years following the Second World War. Among the preferred countries of destination for Estonian refugees were the U.S.A., Canada, Australia, New-Zealand, where they continued to pursue their studies. The adaptation of refugees to local life in Sweden proceeded rather smoothly; the process was facilitated by the eager attitude of the refugees themselves as well as the situation in the labour market and likewise the friendliness and compassionate disposition of the Swedes. A correspondence institute was started for development of qualifications through extramural studies. The conditions in Germany were quite dissimilar, as the country was devastated and exhausted by the war. The first refugee camps were formed after capitulation. Then schools were started and various courses, including in technical training, were launched. The foremost position in vocational retraining was given to the acquisition of practical professions. In Geislingen, which was the largest centre of Estonian refugees, a technical school commenced with four departments: Building, Electrical Engineering, Mechanical Engineering and Architecture. Technology courses could also be taken at the Baltic University in Hamburg-Pinneberg, which was operating as a collective venture of Estonian–Latvian–Lithuanian refugees. With the emergence of emigration opportunities in 1949, refugee camps in Germany were gradually abandoned. -
EDUARD TUBIN COMPLETE WORKS Series VII
1 EDUARD TUBIN COMPLETE WORKS Series VII Volume XXIX Barbara von Tisenhusen Opera in three acts and nine scenes Score Edited by Mart Humal & Reet Marttila RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG GE 12924 2 Supported by the Estonian Ministry of Culture, The Cultural Endowment of Estonia Editorial Board: Kerri Kotta (editor in chief), Margus Pärtlas, Toomas Velmet, Reet Marttila, Urmas Vulp, Paul Mägi ja Sigrid Kuulmann-Martin The present volume has two editors, Mart Humal and Reet Marttila, whose tasks have been different in the preparation of the volume. Mart Humal has worked out the editorial principles for the published work and realised them in the course of editing it. He has also written the preface and the commentary. Reet Marttila has edited notation of the published work to ensure its visual and logical consistency. Corrections: Lauri Sirp Music engraving: Valdo Preema, Edition 49 Layout: Tiina Sildre English language editor: Avo Sõmer General editor:Kerri Kotta Publisher: International Eduard Tubin Society / Gehrmans Musikförlag Printed in: Tallinna Raamatutrükikoda Tallinn / Stockholm 2016 © International Eduard Tubin Society / Gehrmans Musikförlag Edition number GE 12924 ISMN 979-0-54002-308-9 GE 12924 CONTENTS 3 Introduction 4 List of Characters 17 Critical Commentary 18 GE 12924 4 INTRODUCTION Barbara von Tisenhusen (ETW 112, 1967–68) is the The short story is written in an archaic style characte- first completed opera by Eduard Tubin.1 It is based on rised by the writer as follows: ‘I wrote it in the style of a short story (with the same title) by the Finnish- old chronicles, approximately in the rhythm of Russow. -
Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914
INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Artistic Alliances and Revolutionary Rivalries in the Baltic Art World, 1890–1914 Bart Pushaw HCM 4 (1): 42–72 DOI: 10.18352/hcm.503 Abstract In the areas now known as Estonia and Latvia, art remained a field for the Baltic German minority throughout the nineteenth century. When ethnic Estonian and Latvian artists gained prominence in the late 1890s, their presence threatened Baltic German hegemony over the region’s culture. In 1905, revolution in the Russian Empire spilled over into the Baltic Provinces, sparking widespread anti-German violence. The revolution also galvanized Latvian and Estonian artists towards greater cultural autonomy and independence from Baltic German artistic insti- tutions. This article argues that the situation for artists before and after the 1905 revolution was not simply divisive along ethnic lines, as some nationalist historians have suggested. Instead, this paper examines how Baltic German, Estonian and Latvian artists oscillated between com- mon interests, inspiring rivalries, and politicized conflicts, question- ing the legitimacy of art as a universalizing language in multicultural societies. Keywords: Baltic art, Estonia, Latvia, multiculturalism, nationalism Introduction In the 1860s a visitor of the port towns of Riga or Tallinn would have surmised that these cities were primarily German-speaking areas of Imperial Russia. By 1900, however, one could hear not only German, but Latvian, Estonian, Russian, as well as Yiddish on the streets of Riga 42 HCM 2016, VOL. -
Curse Upon Iron Veljo Tormis
CURSE UPON IRON WORKS FOR MALE CHOIR BY VELJO TORMIS ORPHEI DRÄNGAR CECILIA RYDINGER ALIN VELJO TORMIS | © TÕNU TORMIS BIS-SACD-1993 BIS-SACD-1993_f-b.indd 1 2012-05-16 12.55 TORMIS, Veljo (b. 1930) 1 Incantatio maris aestuosi (1996) 5'48 Incantation for a Stormy Sea Texts: from the Kalevala; Latin version: Tuomo Pekkanen 2 Kord me tuleme tagasi (Meie varjud) (1969/1991) 3'17 Once We Will Reappear (Our Shadows) Text: Jaan Kaplinski 3 Kolm mul oli kaunist sõna (1962) 5'58 I Had Three Beautiful Words Text: Paul-Eerik Rummo Andreas Alin flute Vastlalaulud (1967) 5'18 Shrovetide Songs Texts: trad. 4 I. Vistel-vastel 1'21 5 II. Lina loitsimine (Spell upon Flax) 2'05 6 III. Liulaskmise-laul (Sledding Song) 1'45 7 Pikse litaania (1974) 5'15 Litany to Thunder for male chorus, soloists and bass drum Text: Ain Kaalep Gunnar Sundberg tenor · Henrik Stolare baritone · Magnus Einarsson bass drum 8 Viru vanne (1980) 4'10 The Viru Oath Text: Hando Runnel 2 9 Helletused (1982) 8'10 Childhood Memory – Herding Calls Text: trad. Elin Rombo soprano 10 Raua needmine (1972/1991) 10'34 Curse upon Iron Text: from the Kalevala, adapted and augmented by August Annist, Paul-Eerik Rummo and Jaan Kaplinski Gunnar Sundberg tenor · Henrik Stolare baritone · Folke Alin shaman drum 11 Muistse mere laulud (1979) 9'35 Songs of the Ancient Sea Text: trad. Magnus Sjögren tenor Hamleti laulud (1964) 8'22 Hamlet’s Songs Texts: Paul-Eerik Rummo 12 I. Meri tõmbus endasse… (The sea has retreated…) 5'33 13 II. -
Tracing Gendered Motifs in ANNE Vabarna's Peko
A WOman’S VOICE in an EPIC: TR ACinG GenDERED MOtiFS IN Anne VABARna’S PEKO ANDREAS KALKUN MA, researcher Estonian Folklore Archives Estonian Literary Museum Vanemuise 42, 51003 Tartu, Estonia e-mail: [email protected] ABSTRACT In the article* the gendered motifs found in Anne Vabarna’s Seto epic Peko are ana- lysed. Besides the narrative telling of the life of the male hero, the motives regard- ing eating, refusing to eat or offering food, and the aspect of the female body or its control deserve to be noticed. These scenes do not communicate the main plot, they are often related to minor characters of the epic and slow down the narrative, but at the same time they clearly carry artistic purpose and meaning. I consider these motifs, present in the liminal parts of the epic, to be the dominant symbols of the epic where the author’s feminine world is being exposed. Observing these mo- tifs of Peko in the context of Seto religious worldview, the life of Anne Vabarna and the social position of Seto women, the symbols become eloquent and informative. KEYWORDS: Seto epic • gendered motifs • female voice • religious worldview • symbols Anne Vabarna (1877−1964) was a remarkable Seto woman of whose creation we have documentation, unlike many other illiterate Seto women who were equally talented in traditional poetry. We can listen to Vabarna’s voice thanks to the lively interest of folk- lorists at the time and thanks to her own active participation in the recording process. In addition to her heritage stored in the Estonian Folklore Archives, several of Anne Vabarna’s recordings and texts have been published, in addition to a remarkable quan- tity of studies based on her texts.1 The Seto recognise Vabarna as one of the greatest female singers and her epic Peko is the Seto national epic. -
Estonia Above All: the Notion and Definition of Estonia in 19Th Century Lyrics
Estonia above All: The Notion and Definition of Estonia in 19th Century Lyrics Õnne Kepp In the literature of small nations created by authors whose fate, like that of the whole of the nation, has always been dependent on militant and self-interested neighbours or the ambitions of great powers, the relations between the writer, his people and country should be of special significance. Even taking a cursory glance at Estonian poetry, one notices the frequent use of the words ‘Estonia’, ‘Estonian people’, ‘the Estonian language’ and ‘an Estonian’. In different periods and under different conditions these have been understood, expressed and treated differently. e semantics of the fatherland and its usage is central in the ideology of national movements, and therefore it is of interest to observe its occurrence dur- ing the period of the national awakening and the formative years preceding it. How was the notion and definition of Estonia shaped in Estonian poetry? Being first and foremost associated with the concept of fatherland, separating ‘Estonia’ from the fatherland is quite a violent enterprise. But still, ‘Estonia’ car- ries a heavier semantic accent, while ‘fatherland’ functions rather as a romantic myth and a symbol. In addition, Ea Jansen makes a third distinction and brings in ‘home(land)’ by saying ‘fatherland is “the home of a nation”’ ( Jansen 2004: 5).1 us, ‘fatherland’ has a special emotional content for a nation. ‘Estonia’ as a con- cept is more neutral and definite. As a rule the following discussion is based on the poetic use of the word ‘Estonia’, without breaking, if need be, the association with its twin notion in the coherent (patriotic) unit. -
EDUARD TUBIN COMPLETE WORKS Series VII
1 EDUARD TUBIN COMPLETE WORKS Series VII Volume XXX Barbara von Tisenhusen Opera in three acts and nine scenes Piano score Edited by Mart Humal & Reet Marttila RAHVUSVAHELINE EDUARD TUBINA ÜHING / GEHRMANS MUSIKFÖRLAG INTERNATIONAL EDUARD TUBIN SOCIETY / GEHRMANS MUSIKFÖRLAG GE 12925 2 Supported by the Estonian Ministry of Culture, The Cultural Endowment of Estonia Editorial Board: Kerri Kotta (editor in chief), Margus Pärtlas, Toomas Velmet, Reet Marttila, Urmas Vulp, Paul Mägi ja Sigrid Kuulmann-Martin The present volume has two editors, Mart Humal and Reet Marttila, whose tasks have been different in the preparation of the volume. Mart Humal has worked out the editorial principles for the published work and realised them in the course of editing it. He has also written the preface and the commentary. Reet Marttila has edited notation of the published work to ensure its visual and logical consistency. Corrections: Lauri Sirp Music engraving: Valdo Preema, Edition 49 Layout: Tiina Sildre English language editor: Avo Sõmer General editor:Kerri Kotta Publisher: International Eduard Tubin Society / Gehrmans Musikförlag Printed in: Tallinna Raamatutrükikoda Tallinn / Stockholm 2016 © International Eduard Tubin Society / Gehrmans Musikförlag Edition number GE 12925 ISMN 979-0-54002-309-6 GE 12925 CONTENTS 3 Introduction 4 List of Characters 17 Critical Commentary 18 GE 12925 4 INTRODUCTION Barbara von Tisenhusen (ETW 112, 1967–68) is the The short story is written in an archaic style characte- first completed opera by Eduard Tubin.1 It is based on rised by the writer as follows: ‘I wrote it in the style of a short story (with the same title) by the Finnish- old chronicles, approximately in the rhythm of Russow.